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Another late night oooooze from short span, this time from NYC’s Eden Aurelius doing that sticky, hazed thing you’ll love if you’ve a feel for False Aralia, 3XL, Emer… "A beautifully poised collection for Short Span. A gorgeous showcase of her singular talent within a sparkling scene. Recorded in Brooklyn, NY, this is an innovative, and graceful body of music that feels truly contemporary. This album felt important for us to have out in time for summer. Emerging out of the heat, a feeling brought alive with the sun. Music that evolves throughout seasons and carries a spectrum of emotional range. Entre Nous is tight, but expansive. Its depth and complexity is languid but has gravitational pull. Like much of her work, this record feels so refreshing because its tracks are both sensory and illusory tones built in gossamer and transitory layers of satin. They have a remarkable sense of presence and pressure - floating rhythmically without sharp edges. There is guidance and gentle control that lead throughout the record. The B side opens with “Ion” featuring Pontiac Streator. The song is formed out of a textural haze. A glistening, iridescent light appears, broken through fabric, projecting a blurred image onto the surface nearby. A hypnotic and evocative collaboration. The shared connection between the two artists’ command of rhythm and ambient language. Mastered and cut by Mike Grinser at Manmade.
Originally released on Mark Ernestus and Moritz von Oswald's Chain Reaction label in 1999, Hallucinator's Landlocked is compiled onto a 2LP for the first time. Created by London trio Anna Piva, Edward George and Trevor Mathison, the album became a quietly influential early dub techno release, built from deep bass, echo, fractured rhythms and carefully sculpted space. Across twelve tracks, sounds fade in and out with hypnotic precision, creating an atmosphere that values silence as much as texture. Beneath its abstract surface sits a dedication to the memory of Stephen Lawrence, lending the music a lasting emotional resonance. More than 25 years on, Landlocked remains a distinctive work of immersive, minimalist electronic music.
Haruomi Hosono, the pioneering Japanese musician, producer, composer, and founding member of Yellow Magic Orchestra and Happy End, has “found his voice in a late career renaissance," writes The Wire. His five-decade legacy continues to grow and attract new fans, and has been cited by an acclaimed list of artists, including Mac DeMarco, Cameron Winter, Ginger Root, Vampire Weekend, and Harry Styles. Shaped by mid-century American music, Hosono's work now reverberates back through a new generation of Western artists—a remarkable circular exchange.
Yours Sincerely, his 23rd studio album and first collection of new music in over seven years, finds Hosono ever-pushing his exploratory songcraft: “I am now 78 years old, but from here on, I feel a growing curiosity toward the unknown music that my new self will create, while also embracing the music of my former self—as if I now carry two musical worlds within me.” Across arrangements that span tender psych-folk and bubbling avant-pop, Hosono contemplates the concept of a maternal force that envelops the Earth, “humanity’s understanding of the unconditional love possessed by those who give us life,” he says. Songs tap into a collective current, engaging the “deeply buried instincts—maternal compassion and mercy, things we rarely engage with in our daily lives.”
The work represents an artistic and subconscious shift. Several tracks feature female vocalists, such as “Note of Mothership”, a group-chanted expression of childlike wonder, “To a Wild Rose”, which delights with oceanside hums and prose, and on the elegant, marching “Figlio Perdute.” “This was a completely new approach for me,” he adds.
The unofficial title track, “Sincerely”, frames the legend in his signature mode, strumming, singing, playfully pondering the answer to a simple question. How do you express the Japanese ideas of omoiyari (compassion), jihi (慈悲), or boseiai (母性愛) in English? Hosono explains, “I searched, but no word felt quite right. Each came close, yet carried a slightly different nuance…I turned to a more familiar word often used to close a letter: ‘Sincerely.’”
“It is in this spirit that I offer this album to you—sincerely, from the heart.”
Black Truffle is thrilled to announce a second volume of unheard concert performances from legendary Pakistani kyhal singer Salamat Ali Khan, recorded at Berlin’s Neue Nationalgalerie as part of the MetaMusik festival in 1974. Like the first volume, the immaculate recording by Michael Hönig (of krautrock legends Agitation Free) captures Khan performing a single extended raag in the company of Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. In addition to his stunningly inventive and moving vocal performance, Khan is heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither). The lack of an underlying tanpura drone gives the music its characteristic floating quality, with the three instruments and voice masterfully dancing around one another as they sketch the outlines of this grand, 40-minute Raag Chandrakauns. If anything, this epic performance of the late-night Raag Chandrakauns is even more seductively spacious and psychedelic than the music heard on the first volume. Obeying the traditional shape of Hindustani classical vocal music performance, a gradual rise in both pitch and rhythmic activity, the music hovers for twenty minutes in a reflective calm, the pulse only gently stated by the tabla while harmonium ornamentation and zither strums float by. In this meditative space, Khan gradually orients us to the contours of the raag, beginning with long notes at the bottom of his register. His improvisation at once builds with a stunningly firm sense of internal logic and seems liberated to explore every melodic and ornamental byway that comes up along the way. By the time we turn to the record’s second side, the music has grown into something far more frenetic, with virtuoso tabla passages at times occupying centre stage between Khan’s increasingly rhythmic melodic variations. Concluding with a sequence of unison tabla and voice passages of breathtaking complexity, the performance is met with rapturous applause. Arriving in a blue-toned variant of the first volume’s sleeve, with acclaimed musicologist Peter Pannke’s liner notes in the original German, Metamusik Festival Berlin ’74 Volume II is not to be missed. Essential listening not just for Hidustanti classic aficionados, but for anyone who needs reminding of the magic of collective music making in the moment.
Shinichi Atobe has managed to stay off the grid since he made an appearance on Basic Channel's Chain Reaction imprint back in 2001. He delivered the second-to-last 12" on the label and then disappeared without a trace, leaving behind a solitary record that's been selling for crazy money and a trail of speculation that has led some people to wonder whether the project was in fact the work of someone on the Basic Channel payroll. That killer Chain Reaction 12" has also been a longtime favorite of Demdike Stare, who have been trying to follow the trail and make contact with Atobe for some time, whoever he turned out to be. A lead from the Basic Channel office turned up an address in Japan and -- unbelievably -- an album full of archival and new material. Demdike painstakingly assembled and compiled the material for this debut album. And what a weird and brilliant album it is -- deploying a slow-churn opener that sounds like a syrupy Actress track, before working through a brilliantly sharp and tactile nine-minute piano house roller that sounds like DJ Sprinkles, then diving headlong into a heady, Vainqueur-inspired drone-world. It's a confounding album, full of odd little signatures that give the whole thing a timeless feeling completely detached from the zeitgeist, like a sound bubble from another era. This is only the second album release on Demdike Stare's DDS imprint, following the release of Nate Young's Regression Vol. 3 (Other Days) (DDS 007LP) in 2013. Who knows what they might turn up next? Mastered by Matt Colton at Alchemy.
Demdike Stare’s DDS label kicks off a new series of limited edition 12”s with the return of Shinichi Atobe, offering a slow evolution of his inimitable deep house, finely balanced with a new found sub-heavy bias while unlocking extra space in the upper registers.
Atobe’s third 12” since debuting on Chain Reaction in 2001 marks a subtle but crucial development of his style, leaning towards classically deep, dub house templates. On both sides he adds supple flesh and hypnotic emotive pathos to his stripped formula, resulting in some of the most immediate and enduring work in his canon thus far. It coincidentally also marks a decade since he first graced DDS with his debut album ‘Butterfly Effect’, followed by a tranche of cultishly acclaimed albums in the years since.
On the A-side pearl ‘Ongaku 1’ he steps out with a shimmering take on the effortless gait of M-Series blueprints, as derived from the deepest NYC house, delicately ornamented with cascading levels of detail. Precision-tooled kicks precipitate Prescription-via-Maurizio feathered dub chords, interlaced with a frisson of darker strings and synth melodies for the full goosebump. ‘Dub 6(six)’ on the flip whisks up a psychedelic lattice of arps and synth voices with ruder bass ballast, taking its sweet time before the kicks come to swing the ‘floor deep and wide.
Straight bullets, no messing.
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maya ongaku has always been searching for what exists just beyond the edge of perception. Since forming in the seaside towns surrounding Enoshima, the trio has followed a path guided less by intention than intuition, allowing songs, ideas, and experiences to emerge through a process they describe as 自然発生 (shizen hassei), spontaneous occurrence. Nothing Space Music is the deepest expression of that philosophy to date. Written in the aftermath of several years of international touring, the album emerged from a growing desire to reconnect with silence. As stages became larger and the world around them moved faster, the band found themselves drawn toward the quieter spaces beneath it all. What began as a reflection on stillness & silence eventually expanded into the idea of "Nothing Space". To realise the album, maya ongaku created an entirely new environment for themselves. Near a seaside shrine in their hometown, the trio transformed a large soundproof building into Nothing Space Studio, a space built specifically around the needs of this record. Nothing Space Music: a meditation on presence, perception, and the possibility of rediscovering the world through attentive listening.
Recomposed by Carl Craig & Moritz von Oswald is an extraordinary album that combines classical music and electronic sound art in a fascinating way. The two electronic music pioneers draw on recordings of Ravel’s Boléro and Rhapsodie espagnole, as well as Mussorgsky’s Pictures at an Exhibition, conducted by Herbert von Karajan and performed by the Berlin Philharmonic, and use them to create an original, cohesive musical work. In doing so, Craig and von Oswald do not simply juxtapose classical and electronic music. Instead, they break down the source material into short sequences, individual tracks and patterns, and use these to develop a fascinating musical work that balances abstraction and groove, austerity and grace. Ravel’s atmospheric soundscape meets electronic textures, whilst Mussorgsky’s emotional drama forms a surprising connection with the Detroit sound. A bold and impressive album that casts familiar works in a completely new light.
“Live (At Open Ground)” by While My Sequencer Gently Bleeps is being released on Funkscapes as a cassette tape and documents a one-hour live set that offers a dense sequence of deep basses, clever drum patterns, and sparkling melodies. Recorded during a Funkscapes night at Open Ground in Wuppertal, the tape brings together well-known pieces as well as several previously unreleased tracks and conveys the immediate flow of the performance on cassette. At the center is Stefan Schwander’s project While My Sequencer Gently Bleeps, whose work is characterized by a playful combination of bass-focused drive, quirky bleeps, and warm harmonies. Schwander, also active as Harmonious Thelonious, A Rocket In Dub, and Antonelli Electr., uses the Elektron Monomachine as his main instrument and pushes its sequencing and sound capabilities to the limit. This approach shapes the characteristic sound of the set, in which loops, modulated bass lines, and pinpoint synth accents interlock organically. As a documentary live release, the cassette captures both the improvisatory energy and the meticulous sound shaping: stripped-down rhythms meet dub-like depth, while melodic fragments lend the set a surprising lightness. “Live (At Open Ground)” thus offers a focused glimpse into the project’s current musical self and its fusion of club aesthetics and experimental sound design.
Now a 'cult classic' , repressed for 2023 ears on All City Dublin. Onra started the project in August 2006, freshly returned from a trip to Vietnam, the land of his grandparents. A vinyl junkie at heart, he really couldn’t come back to France without bringing back some wax. After hours spent riding on a motorbike through the streets of Saigon, a taxi finally helped him find some Asian records - he almost felt like an explorer discovering a forgotten treasure. He bought 30 records, most of them in poor condition, went back to his crib and started making beats with material that he wasn’t quite used to …
In a new duo collaboration that defies conventions and background, Midori Takada and Jakob Bro took up residence in Tokyo’s Avaco Studios to record their first album, あなたに出会うまで / Until I Met You. The title, taken from a Midori Takada composition, refers to the spiritual bond that arises in every new friendship, whether in music or in life. Until I Met You is pure acoustic music, a tapestry of dreamlike compositions with beautiful melodies that sees ambient music icon Midori Takada on grand piano, marimba and various percussion instruments and acclaimed Danish composer Jakob Bro on the acoustic guitar. Although somewhat unexpected choices of instruments, Takada and Bro share the affinity of openness and exploring sound as source material. Taking a step deeper beyond musical training, cultural background and age difference (which also would be besides the point since Midori Takada is by Bro considered forever young at heart, and Bro himself is nearly fluent in Japanese language), Until I Met You is its own ecosystem, a gesture of unity and worldbuilding. “I try to express myself with sound and have no ambition with my instrument other than to create moments of beauty with my fellow collaborators. I see Midori Takada as someone who can do exactly this. Turn a moment of nothing into something,” says Jakob Bro. Midori Takada (b. 1951) is a percussionist, composer and performance artist, whose output over the past 50 years weaves through solo, group and theatrical practices. Considered a rebel in the classical world of music, she debuted as soloist in 1978 with the Berlin Radio Symphony Orchestra, but later abandoned her Western classical training to study drumming in Ghana and Côte d'Ivoire and Gamelan music of Indonesia, and composing works that incorporate the structures of traditional music. She has also worked extensively with improvised music and appeared in numerous productions by the world-renowned director Tadashi Suzuki. As an environmental musician, she has created soundscapes for the Art Institute of Chicago and the Victoria & Albert Museum in the United Kingdom. Her landmark album, Through The Looking Glass (1983) is considered an essential recording of minimalist music in chime with the peak period ambient and fourth world musics explored by Jon Hassell, Don Cherry and Brian Eno, but born of a distinctly Japanese ceremonial and meditative musical sensibility. The LP reissue sparked a series of sold out solo performances across Europe and the U.S., including the London Barbican, Paris Palais de Tokyo, Berlin Hebbel am Ufer, The Kitchen in New York, and the Getty Centre in Los Angeles. Nearly 45 years after her first soloist performance with the Radio-Symphonie-Orchester Berlin, almost as if by fate Takada began her collaboration with Jakob Bro with a 2022 commission by Pierre Boulez Saal, resulting in two improvised concerts in Berlin and Copenhagen. These encounters also led to meeting Nordic greats such as Palle Mikkelborg, Marilyn Mazur, Nils Petter Molvær, Jesper Zeuthen, Anja Lechner, and a performance at the World Expo in Osaka. Jakob Bro (b. 1978) is a guitarist and composer based in Copenhagen, Denmark. He has recorded more than 20 albums as a bandleader with artists such as Lee Konitz, Bill Frisell, Paul Motian, Charles Lloyd and many others, and his various ensembles are depicted in the award-winning film “Music for Black Pigeons” (dir. by Jørgen Leth and Andreas Koefoed), which premiered at the Venice Biennale and has been featured at film festivals around the world. Since 2020 Jakob Bro has had a yearly stint at New York’s Village Vanguard, and he frequently performs in Japan. “Jakob Bro creates magical music, impossible to categorize or capture. His songs are best described as jewels revolving in mid-air, reflecting and refracting light,” writes Downbeat. “Based on an idea of the slow, simple melody and a nearly Buddhist ideal of relinquishing the ego, Jakob Bro has lifted jazz into a new future,” Danish newspaper Politiken adds. It is Bro’s conviction that “the music has to breathe. It’s important that a kind of organic conversation is taking place.” The Bro–Takada collaboration began with a commission from Pierre Boulez Saal in Berlin. They have played World Expo in Osaka and are set to perform at festivals across Europe and Japan in the coming year. あなたに出会うまで / Until I Met You will be released on LP/CD/digital by Loveland Music and rings (Disk Union Japan) on September 12, 2025.
Carrier winds the rhythmic tension to breaking point on his 4th self-released 12”, flexing fine-tuned muscle memory and inch-tight production in acres of negative space across a trio of soundsystem phantoms that dance in the long shadow of D&B and broken beat science. Huge tip FFO Autechre, Burial, Photek, T++. Now three years into a generational run of inspirational plates - including an AOTY ’25 with ‘Rhythm Immortal’ for Modern Love - Carrier’s core sense of discipline and restraint continues to yield peerless reward on ‘Thresholds’. A lifetime’s love of, and immersion in, fwd UK dance musics has prompted him to chase a particular dragon of syncopated swerve and cavernous psychoacoustics to logical, next-level depths diffusing that dread pressure with an adroit, tendon-twitching precision and tactility. Carrier has been instrumental in reminding ravers what was lost when D&B went stadium and pop-chart scale over the past decades, daring to run against the grain, trust his instincts, to return a sense of mystery and bold experimentalism to what was once a thrilling paradigm. This new trio of cuts eke exquisite nuance from tweaked fundamentals, swivelling 2-step off the bone into smoky hall-of-mirrors reflections of ‘Cure’, and specialising in a razor’s edge, toes-off-the-ground sorcery in a recursive, wraithlike zinger, ‘Scout’ that dips to the sexiest, tongue-tip breakdown, beside the tantric, anticipatory chicanery of ‘Black Channels’ which finishes us off with an all-tension-no-release weapon for the ages.
Argento is the new project from composer and producer David August. Released by Music From Memory, Miraggi draws on time spent between Berlin and Italy's Tyrrhenian coast, blending synthesisers, acoustic percussion, field recordings and electronics into an imagined soundtrack to the Mediterranean. Inspired by Italian library music, jazz fusion and Balearic sounds, the album was created with drummer and percussionist Lorenzo Setti, whose playing helped define its fluid rhythms. Dreamlike yet grounded, Miraggi captures the pull of place, where atmosphere and landscape are as vital as melody.
PRE-ORDERSep 18, 2026 (EST) LP - Black SS083lp 6669454152402 $13.00 3 TOTAL 3 Teranga, the final album in the Wau Wau Collectif trilogy, the dreamy cross-cultural collaboration across cultures, finds the band finally coming together. Taking its name from the Wolof word “teranga” is used to express a welcomeness, a hospitality to others, and something loosely as a shared meeting - an apt title for the album that is an expression of a meeting. The project began in the village of Toubab Dialaw in 2018, where two musicians Arouna Kane and Karl-Jonas Winquist first conceived of the idea. Over the subsequent years, the project evolved, with the two producers trading files back and forth over WhatsApp, incorporating their network of friends and colleagues into what would become a the Wau Wau Collectif, culminating in their first album “Yaral Sa Doom” (2021) and "Mariage” (2022). Their latest album, Teranga, is the third entry and final entry in this trilogy, finalized and mixed during the the band's first live tour - a five week sprawling journey across Europe with "three swedes, three Senegalaise, and a french driver, a lovely mess of languages”, Karl-Jonas explains. At the heart at the heart of Wau Wau Collective is a strong musical foundation, borne not just by the wide cultural swath from which the collective draws inspiration but from the deftly talented musicians - composed and performed with a staggering 26 different songwriters and musicians, playing an impressive array of instrumentation, from balfon, ngoni, calabasse, violin, cello, saxophone, and omnicord. The resulting sound is complicated to place, but sonically has certainly found its place in Teranga. At times, dreamy and meditative, but imbued with an organic soul, a wholly unique sound that is both anachronistic and future facing. “Oh, Africa” could be at home on a classic reissue, with an almost Turkish guitar riff, where 100 ans (their first live studio recording) reminiscent of early 2000s Amadou et Mariam. With roots in avant garde (Karl-Jonas has cited Barney Wilen's Moshi as an inspiration) while Wau Wau draws inspirations from these experiments, though diverging in their dedication to the collaborative spirit - a project enabled by cellphones, WhatsApp, and mp3s zipping around the internet - slightly ironic considering how acoustic and grounded and human it feels. As we close the chapter on the trilogy, Karl-Jonas insists that this may well be just the beginning: “we have barely started in some ways” he says, with plans shaping in the next year for getting the whole band together, and more tours on the horizon, more hope, more humanity, and more coming together.
"Después de llover” is about musical conversations between two people who have only recently met; they come from very different places, do not speak the same languages, and perhaps have little in common other than the resonance of their instruments. This encounter leads them to explore an imaginary world where they share sounds to build a place where they can go and play with the moisture of the plants growing in the water, listen to the pudus playing with the herons, rest on the floripondios, and perhaps stay there waiting for the rain to return. These pieces were recorded on a summer day in 2025 in Indrė’s home with kanklės, txompe, and violin. ------- “ Después de llover ” son conversaciones sonoras de dos personas que se conocen desde hace poco tiempo, vienen de lugares muy diferentes, no hablan las mismas lenguas y tal vez no tienen tanto en común más que la resonancia de sus instrumentos. Este encuentro les lleva a explorar un mundo imaginario donde comparten sonidos para construir un lugar donde poder ir a jugar con la humedad de las plantas que crecen en el agua, ir a escuchar a los pudus jugar con las garzas, ir a descansar sobre los floripondios y tal vez quedarse ahí a esperar a que regrese la lluvia. Estas piezas fueron grabadas en el verano de 2025 en la casa de Indre con kanklės, txompe y violín.
opo’s 666ridims (2020 - 2026), compiled by J.TRIPP, brings together tracks from his 666ridims netlabel, reflecting on the singular sound worlds of some of his solo work. Like a discovery made by neutrino sensors, opo’s tracks research the transformation of rhythm, swing, and structure, aiming for a new grid. Sketchy and raw, processing emotions and experiences, regaling stories, and asking questions, opo relates in trance verse. All tracks here breathe his focus on improvisation, experimentation, and collaboration. Some of the beats featured on 666ridims (2020 - 2026) are outlines for freestyles and songwriting ideas, a practice formed during a long-distance music conversation with illustrator, printmaker, painter, designer, and maker Billy Bigwood. Other tracks are more club-oriented, like speculative genres programmed in odd meters. Japanese Barcelona-based DJ Hanakito contributes to one track, using samples and chops sourced from her vinyl imports. Through Afroelectronic experimentation and diasporic narratives, opo encodes his soul's past and future through his music. Encoded, activated, returned. Initiate only when you receive permission from all your mental fragments. Keep transmissions in mind and dislodge and follow the command cluster's trail. Strongly influenced by sci-fi, ancestral afro musics, jazz, performance art, and food, as musical lines and shards of meaning cascade, 666ridims (2020 - 2026) is a minimalist dive into strange meters, polyrhythm, and the transcendence of ideas. Fast, slow. Exhilarating. We don’t discover physical laws; we just collaborate on them.
Originally released in June 2009, The Ecstatic stands as a defining artistic statement from Mos Def (now known as yasiin bey) — a richly textured return to form that reaffirmed his status as one of hip-hop’s most adventurous and intellectually engaged voices. Arriving a decade after his celebrated debut Black on Both Sides, the album was widely regarded as his strongest work in years, earning near-universal praise for its lyrical breadth, eclectic production, and thematic ambition. Musically, The Ecstatic weaves a global sonic tapestry shaped by an array of forward-thinking producers including Madlib, J Dilla, Oh No, Preservation, Mr. Flash, Chad Hugo (of The Neptunes), and Georgia Anne Muldrow. The resulting soundscape is both rooted in hip-hop tradition and unbound by genre, integrating elements of jazz, soul, Middle-Eastern inflection, and experimental sample work. Tracks like “Supermagic” and “Twilite Speedball” establish a vibrant, restless energy that mirrors the album’s expansive creative scope. Lyrically, yasiin bey traverses personal, political, and philosophical terrain with characteristic incisiveness, confronting social inequality, Western imperialism, and questions of cultural identity with poetic urgency. Embracing risk and complexity rather than nostalgia, The Ecstatic remains a mature, deeply felt body of work whose ambition, depth, and enduring resonance have solidified its place as a standout entry in Mos Def’s catalog and in modern hip-hop history.
Released in 1971, Maggot Brain stands as the towering masterpiece in Funkadelic’s groundbreaking catalog. Initially misunderstood upon release, the album is now widely regarded as one of the most influential records of all time. Anchored by Eddie Hazel’s otherworldly guitar performance on the legendary title track and featuring enduring favorites like “Can You Get To That,” Maggot Brain redefined the possibilities of funk, rock, and psychedelic music. For this definitive 2026 reissue, the album was mastered directly from analog tape, preserving the raw power, depth, and atmosphere of the original recordings with extraordinary detail. A longtime holy grail for collectors, Maggot Brain receives the fully analog treatment it has long deserved.
Prince Riser crafts a heavyweight set of dubwise excursions that bridges classic analogue warmth and digital-era reggae innovation. Drawing inspiration from the lineage of Dread & Fred, Exterminator and King Jammy, Through The Storm pairs rugged rhythms, swirling Kawai synth lines and deep bass pressure with a strong sound system sensibility. Alongside the title track's expansive dub explorations, the album features three vocal cuts, each backed by its own dub counterpart. Sammy Gold's 'Poverty Ina Russia' hits with imposing low-end force, Madi Simmons' 'Keep On Trodding' channels the spirit of classic Wackie's productions, while Prince Riser steps to the mic himself on the driving digi-stepper 'Travelling Gal'. Enhanced with additional production from disrupt at the Jahtari studio, Through The Storm is a focused collection of modern dub built for speakers, selectors and late-night sessions.
Geoff Farina’s Southern Records tenure was not just about Karate. His late-90s guitar-and-vocal solo output included the bedroom-recorded Usonian Dream Sequence that echoed The Secret Stars’ intimate lo-fi sentiments, Reverse Eclipse that rode the more delicate fringes of Unsolved-era Karate, and the single Steely Dan, a paean to a contemporaneous guilty pleasure. FFF collects all three long-out-of-print releases here on vinyl for the first time, fastidiously packaged and punctuated with Farina’s written reflections on their making.
When one thinks of the terms “mass” and “massive” in music, especially contemporary music, perhaps certain aural images come to mind: generic metal heaviness; dynamics-bereft noise; ear-battering dance floor madness; the multitudinous forms of drone darkness. All of these are massive in their own fashion. However, this new studio album from 7FO (pronounced “nana f o”), a composer-performer based in northern Osaka, investigates and inhabits a different aspect of the massive. A glorious combination: dense low frequencies; sculpturally condensed blocks of sound, subtly swinging gravitational fields ― and a surprising sense of rolling and rollicking joyfulness and play. “Massive” doesn’t have to mean “dark” ― consider the sun. This is the third 7FO release on EM Records, following the well-received “Ryu no Nukegara (Dragon's Husk)" (2018). On these 2024-25 recordings, 7FO focuses his drum machines, synths and musical vision into eight compact structures which were partially inspired by the intense essence of American pre-war blues and the shining soul of traditional Ethiopian music, especially the works related to King Solomon and the Queen of Sheba. While not obviously evident, the glowing core of these musics has been captured and condensed here; another inspiration is the massive sculptural 1980s works of Yoshi Wada ― although there are obvious differences, there is a similar material tangibility to the vibration of the air. The final piece, “Shirohebi”, is an update of the b-side of 7FO's 7-inch single "Healing Sword" (2023), featured on Henry Rollins’ radio program. We invite you to experience and enjoy these eight massive blocks of sound, imbued with 7FO’s heartfelt warmth and humour, dense but not dark; shifting, rolling, appearing and disappearing: 7FO once picked up a roadside stone, which split as it sat in his palm. This experience, referenced in the release’s title, hints at the metaphysical magic of music, a realm beyond mere coincidence: even the massive density of stone can split, and reveal the magic within. Available on CD, LP and digital download. Artwork by Hiroaki Hidaka.
Celebrating half a century since its legendary debut, Guruh Gipsy returns in a definitive 2026 official reissue—honoring one of the most visionary works in Indonesian music history. Widely regarded as one of the greatest Indonesian albums of all time, this landmark release is an experimental collaboration between Guruh Soekarnoputra and the progressive rock collective Gipsy. Its bold fusion of Balinese traditional music, orchestral composition, and progressive rock spirit resulted in a work far ahead of its time—a sonic artifact that remains deeply relevant and inspiring today.
Previously released on Low Company in 2023, Purely Physical Teeny Tapes reissue the full album from Tarquin Manek, one of the most prolific, distinct and perhaps under-recognised producers in our orbit. If bezonked, subaquatic dub-pop zoners are your thing, anything from The Skaters to Swell Maps, YL Hooi to Carla dal Forno, CS + Kreme to Jac Berrocal, this one’s for you. The 16th and final number from short-lived yet beloved London shop-turned-label Low Company renders a raft of works made by Tarquin Manek (F Ingers, Kallista Kult, Tarcar) 2013-2020, and shafted in the release schedule until now. Nine songs depict Tarquin in his soggiest songwriting mode, floating over rugged, groggy loops in a rare, non-collaborative form. It’s a captivating self-portrait of an artist who is perhaps best known for his collaborations and work behind the scenes, variously fostering talents from the Naarm (Melbourne) undergrowth such as YL Hooi and Carla dal Forno, the latter of whom was his bandmate in F Ingers alongside Sam Karmel of CS + Kreme, and many of whom would grace Low Company and its cult predecessor Blackest Ever Black. A sense of desiccated bliss riddles the bittersweet fantasy tang of ‘Breathing Under Honey’, where Manek sets a course from the bleached coral underfoot on ‘Stones on the Beach’, to a lizard-hipped bossa shuffle on ‘Mirage Game’, via superb bouts of Count Ossie-meets-Spencer Clark whims on ’Submerging Emergency’, thru Hassellian trumpet gargling in the sink on ‘Sea Slug Bender’, to instrumental cyberpunk sea shanty, ‘Age Old Squall’, or coming across Lewis on a jolly with drunken sailors at a late night Berlin bar on ‘Basic Trouble’. Of course it all hits that crinkled sweetspot for levels of eyes-half-shut perpendicular pop that we’ve come to expect from Low Company and their constellation of affiliates, joining dots between the ahead-of-their-time ‘80s post punk tape oddities that surface on Efficient Space, A Colourful Storm’s febrile dream sequences, to rickety DIY bops from the London mulch. Laters, Low Company - a proper bunch of sound cnuts.