PRE-ORDERS

"Following two remix EPs featuring reworks by Mad Professor, Peaking Lights and Danilo Plessow, Sensible Soccers return with Camminando di Notte, an album exploring the space where instrumental electronics, organic rhythms and dub-inflected textures converge into a sound of warm, hypnotic and subtly disorienting beauty. The album opens with “Chuva Morna” and "Balsinha Mentirosa", setting the tone with softly played guitars, hazy electronics and rarefied percussion. Rather than moving towards a conventional song structure, the tracks unfold through texture and repetition, establishing the dreamlike atmosphere that runs throughout the record. Together with “Rosa Mota” (previously remixed by Peaking Lights), these opening tracks form the album's most spacious and introspective passage. Guitars, synths and electronic details drift in and out of focus, creating a sound that feels simultaneously tactile and distant. The mood shifts with “Berlaitada” and “Baile de Saia Travada”, where dub production techniques meet a distinctly Mediterranean and Atlantic sense of space. Both tracks were previously reworked by Mad Professor, but here their original forms reveal a more subtle relationship between bass, rhythm and psychedelia. “Efeito Zandinga” pushes the album further into a kind of Lusitanian hypnagogia, combining an understated electronic pulse with echoes of 1980s arcade production and imaginary library music. Its persistent groove gives the track a quietly propulsive quality, while the arrangement remains deliberately uncluttered. On “Sarava”, previously revisited by Danilo Plessow, the rhythmic element becomes even more pronounced. A rolling psychedelic groove and Afrobeat inflections carry the track forward without sacrificing the album's characteristic sense of restraint. The closing “Trance Discreto” stretches these ideas into an extended instrumental piece, gradually connecting krautrock repetition, minimalism and electronic texture. Across Camminando di Notte, Sensible Soccers operate in the space between listening music and dance music without settling completely into either. Dub, ambient, psychedelic electronics, guitar music and Mediterranean rhythmic traditions are treated less as genres than as materials, assembled into a sound that is spacious, understated and distinctly their own."

Altarpiece H. af K. by Eric Wubbels - composer, pianist, co-director of New York's Wet Ink Ensemble, and 2023 recipient of the Ernst von Siemens Composer Prize. "An entirely acoustic spectral work for three bassoons, the piece draws its name and spirit from Hilma af Klint's Paintings for the Temple. Written for Dana Jessen, Ben Roidl-Ward, and Katherine Young, it exploits the bassoon's capacity for multiphonics and microtonal inflection to build dense, vibrating spectra from the instruments' fundamental acoustic properties alone — no electronics, no processing — occupying a rare space between the spectral worlds of S celsi and Dumitrescu and the sustained physical weight of Sunn O))). Across two long movements, the music moves between stasis and propulsion, arriving at transformation through sustained attention . Recorded at Power Station Studios and produced by Randall Dunn."

Settima Tacca's "A Cup, a Horse and Signs That Point at Wells" via Stroom. " “Everybody wants the map, but the correct one is not coming. This is understood, somewhere below language, by everyone who wants a map anyway. Meanwhile the map dealers, those slick druids and wizards, goddamn sell-outs, will try to seduce you with one. Don't buy from them. Their maps only show burned black fields. What passes instead between the ones still walking is smaller and does not require a subscription. A sign. Nailed to a fencepost, or to an unexpected streetlight surrounded by darkness. Left by someone who was thirsty on this road back when you were only a rumor. It says one thing: water, this way. So leave signs. Just mark the water you found and move along. It is one of the oldest customs - strangers keeping each other alive and hydrated on a long road.”

Colombian experimental composer Lucrecia Dalt scores Rabbit Trap, a folk-horror film starring Dev Patel and Rosy McEwen as musicians who move to the Welsh countryside and stumble upon a mysterious sound while making field recordings. Dalt builds the film’s unsettling world from synths, ambient electronics and ominous drones, matching its tale of music, ancient woodland forces and supernatural disturbance. The soundtrack follows acclaimed releases including ¡Ay! and Dalt’s film work on The Baby and On Becoming a Guinea Fowl, with Rosy McEwen also contributing vocals.

Ghost Funk Orchestra present Yours in The Ranks of Death, their fifth album and most personal set to date. Composer Seth Applebaum pares back the group’s sound, giving their signature rhythms and melodies more room to breathe. Reflective and ethereal, the record brings GFO’s psychedelic soul, jazz, funk and boogaloo influences into tighter focus while retaining the off-kilter character that has defined their work since joining Karma Chief Records in 2018.

Ghost Funk Orchestra present Yours in The Ranks of Death, their fifth album and most personal set to date. Composer Seth Applebaum pares back the group’s sound, giving their signature rhythms and melodies more room to breathe. Reflective and ethereal, the record brings GFO’s psychedelic soul, jazz, funk and boogaloo influences into tighter focus while retaining the off-kilter character that has defined their work since joining Karma Chief Records in 2018.

Colemine Records revives its Brighter Days Ahead series with a glimpse of what the label has lined up for 2027. Where the first collection gathered singles released during 2020, this instalment looks forward, bringing together early mixes and forthcoming music from Finnigan & Wood, Delvon Lamarr Organ Trio, Andrew Gabbard, Salvator Dragatto, Mae Powell, Parlor Greens, The Representatives, Taylor Williams, The Mighty Sol, Say She She, Jr. Thomas & The Volcanos and The Ironsides. A handy snapshot of where the Colemine universe is heading next.

Fionn Regan’s eighth album, Berlin, Berlin, is a stark, intimate and instinctive collection of songs, written and recorded in just five days in East London. "Arriving swiftly after the acclaimed O Avalanche, it embraces minimalism, atmosphere and poetic storytelling, unfolding like a half-remembered film glimpsed in the small hours. From the spectral opening of ‘Hurricane Bruise’ to the nocturnal title track and the warm devotion of closing song ‘Love Blood’, Berlin, Berlin moves through winter light, rain-soaked streets, lost characters and fleeting romance. Raw yet richly cinematic, it feels less constructed than discovered—a record shaped by instinct, intuition and the mysterious pull of the songs themselves. A natural storyteller whose career stretches back to his Mercury Prize shortlisted debut The End of History, Regan has created a record that feels timeless and quietly radical: a lost cult classic waiting to be found."

Recorded over three rain-soaked days in Los Angeles, Evergreen is the first collaboration between trombonist Kalia Vandever and Darkside guitarist Dave Harrington. Their music moves between jazz and electronics, with Vandever’s breathy, soaring brass set against Harrington’s guitars, drum machines and samples. At its heaviest, the record builds into dense walls of guitar and electronic rhythm; elsewhere, the duo strip things back to intimate melodies and close, reflective playing. The result finds both musicians exploring territory beyond their solo work, moving through longing, melancholy and moments of release.

The final installment in the Cairo Records soul series. A double LP with a gold foil cover and a 24 page 12 X12 full color liner note booklet. It's all classic soul and R&B! It's got rockers and deep ballads (mostly deep ballads). It's a winner....

RÓIS aka Rose Connolly’s eclectic ear for melody developed at an early age; growing up in a family of traditional music players, RÓIS’s formative years were shaped not only by playing beloved Irish folk songs passed down through generations (for a period, she was even part of a wedding and funeral band with her sister) but also by an appreciation for more conventional song structures that came from listening to the likes of the Beatles, Nirvana, and Bowie. Her musical taste would expand to include techno and jazz, with a particular fondness for the work of Cory Henry and Robert Glasper. MO LÉAN – RÓIS’ second album - is a remarkable testament to Connolly’s affecting artistry. Anchoring the album is a desire to recontextualise the celebration of death. Drawing from elements synonymous with the country’s DNA: traditional sean-nós tunes, the Irish language and the omnipresent toll of the Angelus – RÓIS carries them into the modern day with her unique approach to melody and production as well as her electrifying vocal performances. The album explores the Irish pagan tradition of caoineadh, or keening which was an integral part of the mourning process, during which veiled women gathered around the body to sing and howl. Taking place over several days, these wakes became joyously unruly sessions during which music, dance and storytelling emboldened the essence of the deceased as they began a new chapter in their life cycle. However, in the middle of the Twentieth Century, these traditions were suppressed as the Catholic Church decreed a total termination on all public lamentation. Later, the impact of colonisation sealed its fate through the decimation of the Irish language, and wiping out the rural communities that kept the tradition alive. Across MO LÉAN, RÓIS performs a resuscitation of the ardent rituals surrounding death and throws open the doors that tried to hide away such inherent and important ways of Irish life.

Reona is the debut album on Kou Records by REONA — tap dancer, metal percussionist, improviser, and one of the most viscerally original sound artists working anywhere in the world today.Recorded over two days in January 2026 at Studio Dede and produced by Randall Dunn, the album captures REONA's full-body practice in real time: tap shoes and wooden board as rhythmic foundation, layered against metal sheets, chains, stainless steel bowls, plastic bags, loudspeakers, and an arsenal of found and handmade objects accumulated across years of performance. The instruments carry their own histories — a signboard from Okinawa stamped with the warning of unexploded bomb disposal, a transportation company sign from the Jingisukan Pot Museum in Iwamizawa, a festival bell acquired at the start of the COVID era, South Indian meal plates, an oil pot from Taiwan. Stomp, scratch, touch, strike, blow, groan — REONA makes full use of everything from her legs to her mouth, collapsing the boundary between dance and percussion, body and instrument. Her practice sits at a rarely occupied intersection: the Japanese noise tradition of Merzbow and Otomo Yoshihide on one side, the percussive physicality of Milford Graves and Han Bennink on the other — with no precedent for what happens when those two worlds meet in a single body.Track 7, M108, features a guest appearance by Atsuo — drummer of legendary Japanese rock band Boris — in a collision of two distinct but kindred approaches to rhythm and noise.Recorded, mixed, and produced by Randall Dunn. Mastered by Ben Greenberg. Dolby Atmos mixes by Ben Greenberg. Lacquer cut by Paul Gold at Salt Mastering. Front cover artwork Legend of the Snow Spirit by Kazuki Tomokawa; back cover portrait by Allison Brant.

pressed in Japan. Special Japan edition by Warner Music Japan

pressed in Japan. Special Japan edition by Warner Music Japan

[Meditations Japan Edition] Grey Marble Vinyl LP+Japanese Obi. LIMITED 97 copies.

Kali Malone’s music reminds the listener that spectacle is felt in the chest. Its otherworldliness, represented by its scale, duration, and presentation in spaces defined by the aesthetics of transcendence, activates intimately held feelings of wonder and insight. Here is a space where sound can unlock a state of reflection and unwavering tenderness. Still, the creation of that music, Malone’s own experience of it in performance, has been one defined by focus and rigor, by adherence to structures that dictate cyclical returns and the detailed work of exploring microtonal harmony. For all its grandeur, her music is elemental at its core: born of sweat, concentration, the physicality of pipes vibrating as air rushes through them, the desire to share the emotional intensity ignited with each tonal shift. Burning Song, Malone’s first new album of solo compositions since early 2024’s All Life Long, represents a transformation in her compositional strategy towards a process that is more intuitive and direct. Feeling supersedes matrices, and each piece proceeds linearly, connected to one another by subtle bridging tones. The album was recorded at the historic Thomaskirche in Leipzig, Germany, where J.S. Bach was cantor for the last 27 years of his life; his body rests beneath the sanctuary. Malone is the first musician to perform contemporary works on the church’s Bach Organ, an instrument completed in 2000 but with bespoke tuning and temperament systems based on historical norms of the baroque period. She is joined by Lucy Railton on cello and Stephen O’Malley on bowed acoustic guitar, the same trio that honed a profound connection based on deep listening through the development of Malone’s work Does Spring Hide Its Joy. Recording took place over the course of two late nights in August 2025, with the engineer Francesco Donadello placing over 20 microphones throughout the room and closely upon the instruments, allowing the listener to locate themselves within the music as it fills the historic sanctum. Chord follows chord, each in slow succession, emerging like stones of various shades and shapes on a winding path. The trio moves as one, stepwise, through passages that are alternately ambiguous and radiant, at times triumphant as the tones rise towards the organ’s upper register. By discarding canon form, which has dominated much of her organ work, there is a clear sense of freedom that allows these pieces to unfold more gradually and speak more declaratively than ever before. Even with the presence of one of the most canonized and dissected composers of all time just underfoot, Malone felt the pressure of tradition lifting, an ease of being dictating the flow of the music. She is careful to never extend the narratives of any individual piece beyond what feels conclusive, resulting in a relatively compact cycle of compositions. The first half of Burning Song was commissioned for the 2023 Venice Music Biennale and presented at the remarkably ornate San Pietro di Castello. Initial seeds of these pieces were developed on a piano backstage at Bozar in Brussels following a solo electronic performance, long after the audience and staff had departed. It was the first time Malone had used the piano as a compositional tool since her childhood, offering a portal to a younger self. The album’s final three pieces were composed swiftly in the month preceding the recording session in 2025, their stately progressions emerging within her mind’s ear with a sense of ease and inevitability, hovering in the moment just before understanding, where revelation lives. The album’s final piece, “My Eve My Dawn,” represents a clear vision of this process; foregrounding the cohesion between endings and beginnings, it moves through passages of sadness and joy, the linking tones offering a sense of continuity, and thus of acceptance. The metaphor of burning holds two meanings. Fire moves in ways that appear intuitive, changing shape moment by moment, and relentlessly insistent. Here, Malone moves from harnessing the fractaline beauty of mathematics to reveling in the impact of feelings, of foresight, of something more undefined and from within. But burning is a process of change in which transformation spreads from a nexus point to rapidly consume whatever it encounters. The freedom found in the process of composing and realizing Burning Song is one that opens innumerable doors of possibility. In the fertility of ashes grows whatever comes next.

Portland’s Roman Norfleet (Cosmic Tones Research Trio, MerKaBa Brotherhood) and Be Present Art Group extend their incredible outpouring of spiritual, liberatory music. "The Remembering is sonic libation for those who came before us. Drawing from Black American history, revolutionary thought, and the enduring spirit of resistance, the music weaves in echoes of the figures, movements, and ideas that have shaped generations. It honors the past while carrying its spirit into the present."

East And West was originally released as a 5-track mini-album in 1984 while Anna Domino was living in downtown New York, sharing the neighbourhood with the likes of Brian Eno, Talking Heads and Laurie Anderson, roaring with creative purpose as the city seemed to be decaying around her. Described by Pitchfork as “The Velvet Underground & Nico of avant-pop,” it was the undeniable result of the era’s fruitful no-wave and post-punk scenes and a stone-cold classic pop record, with a vocalist who floats above it all like the elusive host of a glamorous party. This reissue collects together tracks from the original release with some of the key singles from the period, along with 7 exclusive unreleased demos, digitised from Anna’s original 4-track tapes. Included in these are 6 early versions of songs from East And West and one completely new track ‘Happy To Go’. Much has been made of Anna’s idiosyncratic, minimalistic and avant-garde approach to pop songwriting and it is remarkable how much of that is already present in these early recordings. A unique document of her creative process.

Eiafuawn is the mess you miss, back with its first new recordings in 20 years. Recorded at home by Clay Parton, Endless Body is a 4-song EP, overflowing with layers of dreamy guitars, murky vocals, and bouncing bass lines. Available now for preorder on compact disc and single-sided LP, with B-side etching ok

Eiafuawn is the mess you miss, back with its first new recordings in 20 years. Recorded at home by Clay Parton, Endless Body is a 4-song EP, overflowing with layers of dreamy guitars, murky vocals, and bouncing bass lines. Available now for preorder on compact disc and single-sided LP, with B-side etching ok

We are in the presence of what is probably the Chopi people's greatest cultural expression. What you hear on this recording is nothing less than an outpouring of feeling: joy and resolve, love and defiance. This way of being reaches back beyond recorded memory. Some say that timbila may have emerged around 1800; others argue that it is far older. What is certain is that its rhythms have endured with undiminished vitality to the present day, faithful to their origins and nuances while, at times, embracing the inevitable versatility of an ever-changing musical universe. The timbila tradition does not depend on formal music schools or conservatories; it is inherited. Its performers are born with it in their blood, passed down by those who gave them life. From a very early age, they begin to handle the instruments and carry them throughout their lives in a tireless pursuit of perfection. This is why the great timbila masters are inimitable, almost beyond reach. Yet all the rhythmic energy bubbling through this recording is more than a ritual. It follows a cadence that begins within the family. The group’s members are all brothers. That is hardly surprising: they are the sons of the celebrated Venâncio Mbande, a true master of timbila. An icon and the focal point of timbila festivals through 2007, he died on 25 June 2015, leaving us the legacy presented here. The order of the pieces is not random: they are interconnected and tell a coherent story. It may seem strange that the recording includes several Mtsitso (introductions), but their arrangement follows principles established over the long history of timbila, in which each member has the prerogative to introduce a theme within an orchestra that never loses its unity. Indeed, the score is conceived primarily for live performance, where technique and precision are essential. This album stands as a monument to the master Venâncio Mbande, a tribute to the Chopi people, and an interpretation of Mbande's unforgettable work. The pieces do not have individual titles in the conventional sense. Instead, they follow a sequence shaped by that distant, unknown moment when timbila became a form of catharsis, a bulwark against ill omens. Everything follows a precise order: 1. Mtsitso wo kheta (first introduction) 2. Mtsitso wa wumbidi (second introduction) 3. Mtsitso wa wuraru (third introduction) 4. Mtsitso wa wumune (fourth introduction) At first, this may seem difficult to understand, but there are things that only enigmas reveal, and only subtly. The titles are branches of the same line. Mtsitso prepares the ground for the dancers. Ngenisso (entrance) is exactly that: the entry of those who later divide into two groups, giving way to Mwenisso. Then Chibudu (lively dance) resounds, summoning all the energy of the instrumentalists and dancers. Yet this is not the performance's climax. That height is reached with Mzeno (apotheosis), the moment when the orchestra's degree of refinement becomes clear. Finally, everything ends with Mabandla (the final dance movement) and Mtsitso wo Gwita (the closing mtsitso). Timbila is one of Africa's great orchestral traditions. Each performance follows a defined musical structure rooted in rural life and a strong sense of community. Tradition remains the foundation of the orchestras, even as modernity gradually brings visible change to society. Young people are turning their attention towards new aspirations shaped by contemporary life. Even so, the tradition endures. The timbila tradition lives in Zavala, in Inhambane Province, continually reminding us of the glory of the Vatxopi (Chopi) ancestors. In the past, entire communities took part in the orchestras. In the mid-twentieth century, there were more orchestras than there are today, drawing members from neighbouring districts. Performances were held regularly, keeping pace with the events of social life, and orchestra members were respected within the community. Timbila culture flourished. MWENJE Mwenje is the name of the tree given to bring light to the Vatxopi. Its wood is used to make the instruments, and the tree now appears to be endangered. No mwenje remain in the woodlands around the communities; people must walk great distances to find this precious resource, and even then it is scarce. Replanting may be the only solution. Some have begun this work, although it is said that the results will not be seen for about fifty years. Mwenje does not grow strong in nurseries. Its natural home is the untended bush, where its thorns help shape the tree that will one day give voice to the timbila. Those concerned with its survival are therefore called upon to act quickly. Learning the basics of timbila construction can take six months or more. Once the knowledge has been acquired, the craft enters its most delicate stage, beginning with the selection of the wood itself. A craftsperson may need around thirty days to make an instrument, depending on the dexterity of their hands and the sensitivity of their ear, for each instrument is tuned by ear. Nature is generous. Almost all the materials needed to make a timbila can be found within the community. The exceptions are glue and cow gut, which are needed to fit the membranes. The quality of the instruments varies from one ensemble to another; each has its own talent and its own standards of craftsmanship. A well-made timbila can last for twenty years. Learning to play begins very early and unfolds naturally, since children are in constant contact with the instruments. Women, too, are now beginning to take an interest in this cycle of learning. This is a clear sign that the tradition remains vibrant among the Vatxopi, who regard timbila as the heart of their culture.

After years playing with Hot Chip and LCD Soundsystem, Al Doyle takes the microphone on his first solo album, Hollywood Saviour. Recorded at his East London studio, it strips things back to guitar, bass, drums and electronics, drawing on post-punk, electro-funk and raw rock ’n’ roll. Doyle channels Iggy Pop, Pete Shelley and PiL-era John Lydon across songs ranging from the psychedelic ‘Hard Times in America’ to the bleak festive pop of ‘All I Want for Christmas’, alongside a cover of Throbbing Gristle’s ‘Something Came Over Me’.

Fresh from ongoing actvities with cult entity The Crying Nudes alongside Dean Blunt, Fine Glindvad Jensen finally lands a new album, crooning across an impressionistic blur of chamber pop, Americana, doo-wop and blunted trip-hop, tipped FFO Cindy Lee, Mazzy Star, Jessica Pratt, Lana Del Rey. 'Jazz Dreams' isn't a jazz album in any sense of the word, but the record and its maze of hazy, almost-familiar earworms took shape like a Jazz improv session. And If you copped 2024's 'Rocky Top Ballads' - still one of the modish Escho imprint's finest - you'll already know just how special Fine's technical songwriting is. In a pop landscape dominated by brevity and ohrwurms, it's refreshing to get handed songs that make harmonic complexity feel like a completely carefree endeavour. None of it would matter, though, if Fine's informally exquisite vocals didn't keep us captivated from beginning to end. She welcomes us with 'The Thing', a seemingly offhand Badalamenti-does-dub jam that wouldn't have felt out of place on the 'Mullholland Drive' soundtrack. It's a perfect place to start - pulling us gently into her waking dream, letting us know early-on that anything can happen. A phone rings, and we half expect to hear Bill Pullman on the other end of the line, instead Fine welds a molasses-slow bassline to strangulated pads and snakelike strings. "Just breathe," she cries. "Just breathe with me." In its own way, 'Jazz Dreams' sounds like a Fine mixtape, putting her own spin on dusty faves she half remembers. 'Goodbye Brain' sounds like an intersection of classic girl group and post-punk, while the brief 'Sometimes I Rush' is a ruff-edged, C86-tinted glow-up of Massive Attack's 'Mezzanine' steeze. And even when the album threatens to veer into more placid waters on the downtempo single 'Run', Fine claws it back with whip-smart harmonies that wake us from the dream for a brief moment. Impeccably crafted from beginning to end - just tune into 'Portal' and some of the most subtle synthwork we've heard for years - the album is that most illusive treat, a pop album that never panders for a moment. Or maybe it's a collage of illusory experiments that just shows off Fine's superior understanding of pop history. Either way, it's gonna be on the listening pile for a minute.

Fresh from ongoing actvities with cult entity The Crying Nudes alongside Dean Blunt, Fine Glindvad Jensen finally lands a new album, crooning across an impressionistic blur of chamber pop, Americana, doo-wop and blunted trip-hop, tipped FFO Cindy Lee, Mazzy Star, Jessica Pratt, Lana Del Rey. 'Jazz Dreams' isn't a jazz album in any sense of the word, but the record and its maze of hazy, almost-familiar earworms took shape like a Jazz improv session. And If you copped 2024's 'Rocky Top Ballads' - still one of the modish Escho imprint's finest - you'll already know just how special Fine's technical songwriting is. In a pop landscape dominated by brevity and ohrwurms, it's refreshing to get handed songs that make harmonic complexity feel like a completely carefree endeavour. None of it would matter, though, if Fine's informally exquisite vocals didn't keep us captivated from beginning to end. She welcomes us with 'The Thing', a seemingly offhand Badalamenti-does-dub jam that wouldn't have felt out of place on the 'Mullholland Drive' soundtrack. It's a perfect place to start - pulling us gently into her waking dream, letting us know early-on that anything can happen. A phone rings, and we half expect to hear Bill Pullman on the other end of the line, instead Fine welds a molasses-slow bassline to strangulated pads and snakelike strings. "Just breathe," she cries. "Just breathe with me." In its own way, 'Jazz Dreams' sounds like a Fine mixtape, putting her own spin on dusty faves she half remembers. 'Goodbye Brain' sounds like an intersection of classic girl group and post-punk, while the brief 'Sometimes I Rush' is a ruff-edged, C86-tinted glow-up of Massive Attack's 'Mezzanine' steeze. And even when the album threatens to veer into more placid waters on the downtempo single 'Run', Fine claws it back with whip-smart harmonies that wake us from the dream for a brief moment. Impeccably crafted from beginning to end - just tune into 'Portal' and some of the most subtle synthwork we've heard for years - the album is that most illusive treat, a pop album that never panders for a moment. Or maybe it's a collage of illusory experiments that just shows off Fine's superior understanding of pop history. Either way, it's gonna be on the listening pile for a minute.

Fukuoka, early '80s. In the backstreets of Hakata, between neon lights and moonlight, three figures shaped darkness and grey shades from the Far East. The "Moonlight" EP and all the Neo Museum rarities finally collected in one vinyl release: the most ritualistic and lunar side of Japanese new wave shines again.