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LP
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ACTLP 8020LP
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"Forget the boxes. Forget the rules. Just play. Two of the most compelling voices in modern jazz -- trumpeter Theo Croker and pianist Sullivan Fortner -- come together for a fearless duo album that strips everything down to pure, in-the-moment expression. No rehearsals. No pre-written compositions. No expectations. Just two master improvisers in total conversation, creating music that's alive, unfiltered, and utterly free. This is raw, boundary-breaking jazz at its most honest."
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WHYT 093LP
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Conamara-raised musician and performer Olan Monk presents Songs for Nothing, their second album. Songs for Nothing was written upon Olan Monk's return to the west coast of Ireland. The album is imbued with the influence of sean-nós singing, Irish language songs in the "old style" that often proclaim tales of love, loss and landscape; and also heavily indebted to the late Sinéad O'Connor's confessional songwriting. Reconstructing these influences through their unique perspective has resulted in a fragmentary album veering between collaged pop, machinic rock and slow airs, "dedicated to Conamara and all who have called it home." The western, Atlantic-facing edge of Ireland has a particular feeling and energy, one that permeates the release: the granite pulsates, the ocean and sky reflect intensities, seaweed rots on shingle shores, plants bloom, ancient trees come up for air from the drowned forest in Galway Bay, the sun splinters through the low clouds. The album's title suggests a one-way transaction, an offering to the listener expecting nothing in return, but also a devotion to nothingness; and the realm of infinite possibility that springs from its well: singing out into a sparse landscape, which once was home to long-lost forests and communities. A departure from Olan Monk's previous, more electronic work, the instrumental arrangements of Songs for Nothing delve deeper into the "descriptor" with elements of shoegaze, witch house, cloud rap and Irish traditional music bleeding through the walls of the studio. Songs for Nothing, in melding influences old and new feels at times absurd, but never ironic; it is from the heart, and its respect for song traditions and dedication to process are felt in two arrangements of older songs embracing this new trajectory: "Fate (Reprise)" is an earlier recording reimagined as a doomer ballad with Maria Somerville singing in a duet, and "Amhrán Mhaínse" is a Conamara anthem slowed down as a duo of accordion performed by Peadar Tom Mercier accompanied by heavy guitar drones. Folding in other Irish neo-traditional expressionists and experimentalists, the record also features Michael Speers, Dylan Kerr, Aindriú De Buitléir, Risteárd O'hAodha, and Róisín Berkeley.
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AGIT 073LP
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"Howdy punkè rocke fans, welcome to Forced Communal Existence -- the wonderful and frightening world of Alien Nosejob's EP's and singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while Ausmuteants were on tour in Japan 2016. There was a lot of 'Wallaby Beat / Murder Punk' being played in the background while seeing the sites of Mount Fuji and 'Bar Fuck Yeah'. In between shows Jake was organizing the release of Danny Graham and Plastic And The EPs records on the label he co-ran Xerox Music. Both artists played parts in the sound and ethos of the Panel Beat EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they're not. 500 copies were pressed and self-released, with a photo slipped inside each copy at random. Next is The Death Of The Vinyl Boom, which was self-recorded in a shed in November 2017. This is the only Alien Nosejob release to feature a cover -- Flyblown by Adelaidean arty weirdo band Jackson Zumdish. The idea behind this EP was to incorporate the simplicity and scrappiness of the late-'70s DIY Australian sound, but give them the complicated structures of prog songs. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited 'live set' video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7" was recorded at the same time as a disco 12" maxi. This EP came out in Feb 2020 and sounds somewhere between early Gang Green, Die Kruezen and the Beastie Boys old bullshit. Finishing the record is a cover by The Aints. Originally written by Ed Keupper for The Saints' Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on 'ALTA' cassette compilation during the lockdown."
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CD
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ATA 042CD
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ATA Records presents the fourth volume of their regular soundtrack series, the Library Archives. An honest and forthright homage to the golden age of library recording, this new release is no exception -- with nods to David Shire, Roger Webb, '60s/'70s Hollywood, early anime and golden era video games. Hammond & Farfisa organ, soul flute and vibraphone are joined by the Baldwin electric harpsichord, alto flute and trumpet, all coloring the usual high-end rhythm section of drums and bongos, electric bass, piano and guitars. Moods range from the dynamic "The Galata Extraction" to the whimsical "Travers" and the romantic "Redford in Sheepskin," from the brooding "Tatsuya," the "Sword" to the sensual "Dunaway's Eyes." Walter in Gabardine and Sutherland fly the ATA library flag of '70s-era NYC soundtracks -- and both "A Dilemma for Holbrook" and "Roundtree" are drenched in soul flute so funky, it should be on the cheese counter. Now four volumes (and a couple of singles) in, The Library Archive will eventually stand as a testament to the love the ATA producers and artists have for the original composers and performers of the great music libraries of the past.
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12"
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BP 028EP
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A Bristol x Paris link-up between SSSLIP and Bamao Yendé delivers with BP028. A label debut for both artists on the BPR original series. All killer no filler ear worms from across the spectrum. A balanced collection of functional low end tools for the dance. Bristol-based producer SSSLIP, known for their experimental club hybrid productions and a growing back catalogue of strong outings on No dice, ec2a and their own imprint SSS Audio. Sharing the EP with Parisian DJ and producer, Bamao Yendé, head of Boukan Records, blending inspirations through garage, broken beat, and Kuduro.
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BTR 120LP
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Muito Kaballa return in style with a refined modern sound on Tomorrow A Flower for the London-based imprint Batov Records, blending indie pop, soul, hip hop, jazz, Brazilian rhythms, and West African grooves. Initially the solo project of tenor saxophonist and composer Niklas Mündemann, Muito Kaballa has grown into a full-blown ensemble, based between Cologne and Berlin. Tomorrow A Flower builds on the success of the ensemble's acclaimed Like a River album, whilst moving away from the previous album's strong jazz leanings, towards a more direct, contemporary yet sophisticated pop feel. Still oozing with soul, and nods to not only African funk and hip hop but strong modern references, including electronic pop favorites "Jungle By Night" and cosmic groove merchants Khruangbin. The album commences with "Loving You", a heartwarming yet almost melancholy groover simultaneously recalling both classic soul, and the contemporary soul of electronic maverick Jitwan. Held to earth by a steady mid-tempo snare-and-tambourine rhythm, whilst the irresistible harmonizing between voice and horn threatens to lift it off the ground as the vocal slowly unfolds. "In My Delir" follows perfectly. Featuring South African singer and KEXP fave, Petite Noir, and shaped in collaboration with Muito guitarist Benjamin Schneider, the song opens with a beguiling guitar riff that melts through the speakers like a disintegrating highlife loop. On the epic album standout, "Make Me Bigger," guest vocalist Jermain Peterson asks the listener to "take my hand and make me bigger", on a stirring ode to friendship and its power to overcome fears and self-doubt. West African grooves and Afrobeats support coiling vines of jazz, soul, and pop that will no doubt appeal to fans of SAULT, Michael Kiwanuka, and Yazmin Lacey. Tomorrow A Flower is a modern classic -- interlacing multiple genres of sound into new perspectives that complement each and leave room for the enchanting and original songs and sounds of Niklas Mündeman and Muito Kaballa.
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7"
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BTR 129EP
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With effortless cool, Moriah Plaza blend Brazilian samba, cinematic Latin jazz and psychedelic '60s pop on new EP Propolis. This EP picks up from the where their debut album left off, except now presenting more of a collaborative effort from the relatively settled Berlin-based group of Tamir Chen (bass) and Moosh Lahav (keys, flute), originally from Tel Aviv and formerly of the shoegaze band Soda Fabric, alongside Gretchen Schadebrodt (vocals, guitar) from Chile and Alice Moss (drums) from the UK. Title track "Propolis," co-written with Brazilian poet and singer Cecília Erisman, carries a joyful Brazilian tone, recalling Os Mutantes and Hermeto Pascoal.
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7"
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BEWITH 009-7
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Frank Maston's beloved 2025 single finally gets its long overdue vinyl release! "Foreign Affairs" drifts through London fog and Paris shimmer, its avant-lounge glow wrapping each melody in a wistful ache. On B-side "Liaison," ghostly strings and a solitary piano paint a deserted twilight shoreline, Pacôme Henry's distinct 16mm cinematography hovering nearby. Originally written for a film Maston was scoring in 2024, he decided to keep it aside for himself. The two songs were recorded in Paris and London in the summer of 2024. Aside from the rhythm section and piano, there's vibraphone, a full string section, trombones and alto and concert flutes. The artwork for this 7" single has Roman campaign flags, referencing the foreign affairs in sort of a sassy way.
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BLACK 001X-LP
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"Although The Black Dot/White Spot performance space in Nanaimo, BC has now passed into legend, The Black Dot label continues apace. To prove this we off¬er you The Twain, an extraordinary album helmed by BC-based string maestro Gordon Grdina, whose Square Peg combo's debut LP was The Black Dot's first release. This new project came about when Gordon encountered Michiyo Yagi's Trio, the Far out East-Improv Japan at the 2016 Jazztopad Festival in Poland. With Yagi on koto, Takahiro Honda on drums, and Koichi Makagami on vocals, the sound was beyond belief. Yagi and Honda regularly play as the duo DOJO, and their communication happens on a molecular level, giving their music a wild sense of freedom while maintaining clarity and forward-moving power. The vocals of Makagami (whose avant credentials stretch back as far as the Tokyo Kid Brothers) added an absolutely otherworldly element to the whole, as anyone who has seen him perform will surely attest to. Gordon was blown away, and knew he wanted to figure out a way to collaborate with this crew. Plans were laid, and eventually a session came together at Tokyo's GOK Studio in 2019. Three hour-long sets were recorded. One with Gord and DOJO, another with Gord and Koichi, and a final one with all four. These three hours were boiled down and edited into shorter segments. So what we have here is la creme de la creme. Things are blazing from the very start. Gord and Michiyo's work together the way Larry Coryell and Sonny Sharrock's did on the wilder parts of Memphis Underground. It's like a Vulcan Mind Meld style jam, conducted by the ghost of Jimi Hendrix. Honda's drums are tucked in there with a kind of free rock mass so huge it's hard to get your head around. And Koichi's vocals -- ranging from gibbered sound poetry to the peeps of twenty happy babies -- are akin to instructions being beamed in from alien galaxies. Taken together, these four musical voices all manage to remain distinct while at the same time conjoining for a kind of Fifth Mind synergy that will blow your mind for good." --Byron Coley
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DOT 001LP
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Originally released in 2020. "Gorgeous live debut LP by an extremely flexible quartet put together by Vancouver based string-monster, Gordon Grdina. Grdina plays both electric guitar and oud. His guitar work here recalls a couple of very different players -- the clean angular scramble of Boston's Joe Morris, and also the more lyrical passages played by the master of power-distortion, Sonny Sharrock. On oud (an instrument most often associated with traditional music of Northern African and Western Asia) he creates a new approach to the instrument, perhaps parallel to what Chicago's Joshua Abrams is doing with the guimbri. Grdina's fellow travelers in Square Peg are all similar in their multi-directional tactics. Players unafraid to go deep into uncharted territory, with wide discographies on which they play with legends and neophytes with equal power. Brooklyn-born violinist Mat Maneri has collaborated with everyone from Cecil Taylor to Robin Williamson, and is known for his totally open approach to both violin and viola. Maneri's playing here most often reminds me of '70s Leroy Jenkins, shifting from dark sonorities to light-drenched obliquity in the blink of an eye. New York-based Shahzad Ismaily plays bass and synth here, although I've seen him at festivals where he played six different instruments in six different groups. Ismaily can pretty much do anything, but here he creates a flowing, near-constant foundation effectively holding everything together. German drummer, Christian Lillinger, has also played in myriad formats, generally jazz-based, but also those involving avant-garde rock and experimental composition. His playing here is tightly focused and highly propulsive. Not unlike what Chris Corsano does when he goes right down the middle. The pieces on this album are numbered rather than named, but they are not lacking identity. From the first burst of bent notes, Square Peg is boiling. Without horns or reeds or even prominent keys to hang melodic laundry, the music feels like blocks of harmonic interplay shifting around like tectonic plates. Some of the parts where Ismaily plays synth make me think of the communion between Larry Young and John McLaughlin in Tony Williams Lifetime, but the when Grdina is on oud, the sound is unlike anything I've heard. And it is cool as hell, way beyond what little I know of non-trad oud players (Sandy Bull, John Berberian, Solomon Feldthouse). The textures the ensemble creates are hard to give name to as well. Some parts are definitely jazzoid, others are more like free-rock, still others have an almost avant-folk heft (not unlike the Wall Matthews-led Entourage LPs on Folkways). In all, it's a great LP on a great new label. And I'm looking forward to what everyone comes up with next." --Byron Coley, 2019
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DOT 002LP
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Originally released in 2020. "Welcome to the second release in the Black Dot LP series. Black Dot albums are all recorded live at the White Spot performance space in beautiful downtown Nanaimo BC, a venue which Mats Gustafsson visited on June 23, 2019. Mats is many things to many people -- a doting father, a fancier of fine bourbons, an enthusiastic sport fisherman and a record collector of unparalleled passion. But he is probably best known as a musical performer/composer/explorer with world-gobbling intentions. On this evening in June, Mats was in extremely fine solo form. Playing baritone sax, fluteophone and three 'vinyl killer' record players (containing three copies of his own Hockey 10" on Gaffer), Mats began the evening with the sounds of tabletop hockey. The hockey sounds were courtesy of the 'vinyl killer' (which look like Hot Wheels versions of VW mini-buses driving around a record), and this madness was soon intercut with insanely fleet breath manipulation on the baritone. Gustafsson is one of the few players (along Anthony Braxton, Peter Brotzmann and the late Hamiett Bluiett) who has managed to bend the baritone sax to his will. Even the tenor is a big horn, requiring some real meat/lung duality for successful wrangling, but the baritone is a monster. Although Mats handles it as though it were a baby otter (albeit a large baby otter.) His click-stop playing shows he has darn nice tongue control, with grumbles of mutated melodic construction poking up and then hiding again, burrowing deep into the fabric of pure sound. As the set continues, the sax gets more aggressive -- inflating and inventing new strategies of sonic architecture, tearing up the air, sometimes inhabiting the so-called freak register like it was born there, at others playing melodies as though Coleman Hawkins' ghost was haunting its bell. Sometimes when he's playing, Mats gets an expression on his face that suggests he's revisiting the entire history of jazz music (something I know he carries around in his head at all moments). And I suspect those spirits were visibly passing across his visage this night in British Columbia. Although he is revered as an avant-gardist, Gustafsson is much more than that. He embodies a tradition that connects all kinds of seemingly unrelated segments of the music, creating unexpected combinations of sound and technique that span a variety of theoretically unbridgeable gaps. The force of his playing and personality create a furnace in which everything must melt and combine." --Byron Coley
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LP
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DOT 003LP
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Originally released in 2021. "crys cole is a Canadian-born composer, currently based in Berlin. She has a long history as a sound artist, both for performances and recordings that display a subtle approach to sound generation (often involving small gestures and the amplification of objects not necessarily designed to produce music). She also creates sculptural installations featuring sound as one element amongst others. This might suggest she possesses some of the mania associated with Fluxus, but crys's work generally eschews the antic, focusing on the slow build and accretion of sound layers. On this night in Nanaimo BC, Oren and crys sat at a pair of tables. Oren held a guitar and his table was covered with electronics. crys held no instrument in her hands, but her table contained a mass of objects, some clearly electric in nature, others looking more like random bits found in a kitchen drawer. Working with these tools and microphones to amplify their voices and/or gestures, the pair created the two pieces here -- wonderfully flowing soundscapes from imaginary vistas of otherness. The instruments they employ sometimes recall the essence of things you've heard before, but more often they are sonic events whose source can only be discerned (and then, only fitfully), by trying to see who is doing what with their hands. The interplay of gesticulation and the slow swaying of their bodies resembles a kind of slow-motion dance, almost like something taking place underwater. And at times there is a concordant submarine heft to the music. Drifting as though heard through a waving wall of water at 20,000 leagues beneath the sea. Other portions make you feel as though you are lying in a tent at night in a jungle filled with cyborg insects. It was a night of music that came and went like a dream state. Beautiful, familiar and utterly strange all at the same time. Sadly, this will be the last LP in this series recorded at the original White Room, upstairs at 4 Church Street in downtown Nanaimo. A new landlord wanted to do something different with the legendary performance space/gallery, and so it goes. We are assured, however, that a new venue will be secured in the Nanaimo area, and the shows (with concomitant live LPs) will continue once the plague has abated. For now, take the opportunity to take a trip with Oren and crys. You won't regret a moment of it." --Byron Coley
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DOT 004LP
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"Drummer extraordinaire Chris Corsano is one of the best-known percussionists of his era as well as one of the most peripatetic musicians this side of Mike Watt (with whom he sometimes collaborates.) Saxophonist Steve Baczkowski (aka 'Buffalo Steve') tends to travel less, favoring gigs within a few hundred miles of his base in upstate New York. So although he has a heavy rep (especially on baritone), his discographical count and overall profile is lower than Corsano's. That said, the two have been friends and collaborators for many years. I think I first saw them play together as part of Thurston Moore's nine piece Dream/Aktion Unit at the 2005 Victoriaville Festival. They have also recorded together regularly, often with Paul Flaherty and/or William 'Bill' Nace. That said, This Is Not a Prayer for You documents a February 2017 session, recorded in Steve's Buffalo NY living room, representing their first recording as a duo. Chris reports they listened to Dewey Redman & Ed Blackwell's 1980 duo set, Red & Black at Willisau, before they began to play, but the skronk they came up with belongs to no one else. Steve plays both baritone and tenor (sometimes with various things jammed into their bells) while Chris handles drums, percussion and slide clarinet. Between the two of them they conjure up a hell of a beautiful racket. Steve's baritone playing has a savage mass that makes me think of Frank Wright in terms of gnarly edge and sheer force, while Chris' drumming is an example of his fleetest 'straight ahead' action, displaying an approach that is without frills while still managing to be ten places at once. The opening cut, 'Slowly Getting Rid of Everything in the Middle of the Room,' is as gorgeous a piece of sax/drum dynamism as you could ask for. And the rest of the album follows suit. The sounds range from a epic sequence of the kind of blats Han Bennink sometimes managed to coax from Brotzmann when they played in duo, to a piece, 'Even the Chairs Look Like They Are Resting,' pairing slow freak register sax-slink with Corsano's slide clarinet for artistic results. But the meat of this matter is dark and red and has to do with the interplay between two musicians who know how to stay nimble even when their playing gets hard as hell, and who never falter in their ability to listen to each other. It's a deep, immersive and thoroughly wonderful spin. I'm just glad we're able to hear it at long last." --Byron Coley
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DOT 005LP
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"Although it is true that the Nanaimo concert hall known as 'The White Room' has been eradicated by real estate greedheads, Jack and Dave (who ran the place and its documenting record label) have decided to keep the label going because why the hell not? The first fruit of this divine union is the Belfort Strasse LP by Eugene Chadbourne's Contemporary Rock Band (whose name was copped from an otherwise anonymous Pismo Beach cover band). Under this exquisitely generic banner you'll find Eugene Chadbourne on vocals, guitar and banjo, Schroeder on drums, Jan Fitsjen on bass and baritone guitar and occasionally Titus Waldenfels on lap steel. Unlike their namesake, this Contemporary Rock Band only plays a couple of covers -- Johnny Paycheck's 'The Cave' and Willie Nelson's 'Wake Me When It's Over.' These are also the tracks on which Waldenfels's lap steel adds musical width, while on 'Prisoner' (recorded for Bulgarian National Radio), the ensemble features solely Chadbourne and Schroeder. The material here was recorded in 2018-19 in a basement studio on Belfort Strasse in Freiburg-im-Brieslau, Germany or in taverns within walking distance of the studio, using a mobile recording facility. A few of the tunes have appeared on some of Eugene's recent CDRs, but this the first vinyl appearance of the music, and a damn fine appearance it is. Unlike his more 'purely' avant instrumental records, Belfort Strasse is a suite of Eugene's sometimes-straight/sometimes-bent lyrics, spiced up with experimentally-canted musical flourishes that fuck with time, melody and harmonics in equal measure and at their own cruel pace. Eugene's approach is so amazingly advanced it can often be head-spinning to try and unravel its intent, but the overall effect kinda destroys the perceptual barriers between sounds deemed 'inside' and 'outside.' This is a trick Chadbourne has long been working at, but as much as I loved many of his early efforts at this syncretic mode of creation, over the years his tactics have become a bit less manic, which seems like a good thing in terms of making the lines blurrier than ever. Eugene is an artist whose aesthetic has long seemed to be dictated by Duke Ellington's statement, 'if it sounds good and feels good then it is. Good. There's no art when one does something without intention.' And to my ear, Belfort Strasse, is Eugene's most adamant exemplar of this dictum yet. If you can't dig it. I'm not certain you can dig." --Byron Coley
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12"
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BWL 064EP
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Devianza, leading artist and owner of the label, returns to production by launching a new series of single-sided vinyl releases, each featuring only two tracks. The first instalment is a sonic catharsis rising from the very depths of a generous land, abundant with new seeds ready to sprout. Le Piante di Elena is a dreamlike homage to a primordial world -- untouched, pure, and still fertile. A tribute to a newborn bearer of the most radical values of a necessary humanism: a call to return to nature in its most spiritual and purest form.
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CD
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BSR 827CD
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"A cornerstone of soulful reggae, Lover's Rock by Jamaican legend Delroy Wilson bridges his deep roots in ska and rocksteady with the smooth, romantic vibes of the UK's lovers rock movement. It's a noteworthy entry in the lovers rock canon and a testament to Wilson's versatility. Originally released in 1978 by Burning Sounds, this album captures Wilson's velvet-toned voice over laid-back riddims and heartfelt lyrics -- a perfect entry point for fans of both classic reggae and tender love songs. A must-have for collectors of golden-era reggae and lovers rock enthusiasts alike. Original UK pressing is increasingly rare and prized for its warm analogue sound and classic artwork. Recommended if you like: John Holt, Gregory Isaacs, Dennis Brown, Sugar Minott."
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LP
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BSR 827LP
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LP version. "A cornerstone of soulful reggae, Lover's Rock by Jamaican legend Delroy Wilson bridges his deep roots in ska and rocksteady with the smooth, romantic vibes of the UK's lovers rock movement. It's a noteworthy entry in the lovers rock canon and a testament to Wilson's versatility. Originally released in 1978 by Burning Sounds, this album captures Wilson's velvet-toned voice over laid-back riddims and heartfelt lyrics -- a perfect entry point for fans of both classic reggae and tender love songs. A must-have for collectors of golden-era reggae and lovers rock enthusiasts alike. Original UK pressing is increasingly rare and prized for its warm analogue sound and classic artwork. Recommended if you like: John Holt, Gregory Isaacs, Dennis Brown, Sugar Minott."
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BSR 828CD
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"Two titanic forces in reggae history -- Roots Radics and The Mighty Revolutionaires -- unite for a powerful dubwise journey on Outernational Riddim. This long-anticipated collaboration blends heavyweight rhythms, militant drum patterns, and deep, atmospheric dubs that channel the essence of Jamaican roots music with a forward-thinking production style. The Roots Radics, known for backing icons like Gregory Isaacs, Barrington Levy, and Israel Vibration, bring their unmistakable heavyweight style to this session. Meanwhile, The Revolutionaires, studio legends behind countless Channel One classics, lace the tracks with their tight arrangements and classic rockers grooves. Produced and mixed in true dubwise tradition, Outernational Riddim delivers an essential release for fans of roots reggae, dub collectors, and sound system culture. From deep and meditative grooves to militant stepper rhythms, Outernational Riddim is a testament to the timeless strength of Jamaican instrumental reggae and dub -- an 'outernational' statement from two of reggae's most respected rhythm sections."
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BSR 828LP
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LP version. "Two titanic forces in reggae history -- Roots Radics and The Mighty Revolutionaires -- unite for a powerful dubwise journey on Outernational Riddim. This long-anticipated collaboration blends heavyweight rhythms, militant drum patterns, and deep, atmospheric dubs that channel the essence of Jamaican roots music with a forward-thinking production style. The Roots Radics, known for backing icons like Gregory Isaacs, Barrington Levy, and Israel Vibration, bring their unmistakable heavyweight style to this session. Meanwhile, The Revolutionaires, studio legends behind countless Channel One classics, lace the tracks with their tight arrangements and classic rockers grooves. Produced and mixed in true dubwise tradition, Outernational Riddim delivers an essential release for fans of roots reggae, dub collectors, and sound system culture. From deep and meditative grooves to militant stepper rhythms, Outernational Riddim is a testament to the timeless strength of Jamaican instrumental reggae and dub -- an 'outernational' statement from two of reggae's most respected rhythm sections."
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BYR 052LP
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Joanna Duda Trio's new album, Delighted, weaves a hypnotic tapestry of sound that immediately captivates the listener. From the very first note, the track invites you into a world where inventive rhythms and melodies dance with a mesmerizing intensity. The crispness of the percussion and the looming intensity of the double bass create a vivid sonic landscape that feels both fresh and accessible, while undeniably complex. Duda's composition is one of her strengths, having been sought out to compose the music for the first Polish film for Netflix Originals, Erotica (2022), and she again demonstrates her uncanny ability to blend subtle complexity with melodic piano hooks that ooze playfulness. Beneath the surface a darker, more menacing undertone that keeps the listener on edge.
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CCK 7002CS
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Cassette version. High Hopes -- new album from the Mole. High Hopes is 17 songs across 40 minutes that, as advertised, sounds nothing like High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen. What's heard on High Hopes is the Mole's exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip-hop sludge, up to micro boogie and almost house before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both "Que Rico" and album stand out "GoinF4er." Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on "GoinF4er" and "Danuel Tate" (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long-standing goal of the Mole's; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come. High Hopes is the Mole's fifth solo album and his second album for Circus Company, who have also proudly released two EPs of Mole magic.
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2LP
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DE 355LP
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Double LP version. "Cybernetic disco maestro Patrick Cowley graces Dark Entries once again with Hard Ware, an LP of far-out funk and synthpop celebrating what would have been Cowley's 75th birthday. Best known for his chart-topping disco anthems, Cowley left the world with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley's friends and family to uncover the singular artist's lesser-known sides, including his soundtracks for gay pornographic films, which the label chronicled on compilation albums School Daze, Muscle Up, and Afternooners. Hard Ware presents the closing chapter in a trilogy of unreleased Cowley dancefloor bangers that began with 2022's heavy-hitting Male Box and was continued with the soul and garage-inflected From Behind in 2024. The most expansive release in said trilogy, Hard Ware delivers ten tracks of pure, uncut Cowley: sultry, psychedelic, sarcastic, and just a bit sleazy. Cowley devotees will delight in 'Tech-No,' a sparse instrumental demo version of his epically dystopian 'Tech-No-Logical World.' You could soundtrack your next aerobics session with cheeky numbers like 'Pajama Party Massacre' or 'Shake It Up,' both of which feature Cowley himself on vocals. The frenetic 'Big Ass in Motion' is built around samples from Rudy Ray Moore and The Madam's infamous Sensuous Black Woman, an X-rated comedy record that would later feature in classic booty house records. Mid-tempo cosmic groovers are well-represented with jams like 'Hellfire' and 'Megablue,' which perfectly capture Cowley's bathhouse-in-outerspace sensibilities. No collection of Cowley's work would be complete without an interstellar floor-filler, and there's quite a few here, like 'Jungle Jump,' which pits whirling beats with dub-laced swirls of synth, or 'Spellbinding Lover,' a Donna Summer-indebted melancholic boogie masterpiece that features Sylvester backup singer Jeanie Tracy. Hard Ware closes with the chilling synth-hymn 'Ice Age,' in which Loverde vocalist Peggy Gibbons sings of a coming frosty apocalypse. The story told in 'Ice Age' mirrors the coming AIDS crisis and feels like a haunting premonition from Cowley. The record comes in a sleeve with a hand-airbrushed circuitboard-inspired design by Gwenaël Rattke, and includes lyrics as well as liner notes by Andrew Ryce and Peggy Gibbons. Hard Ware is another crucial document of a tremendous talent taken too soon."
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2LP
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CREP 112LP
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PRAED return to Discrepant, after their 2017's entry Fabrication of Silver Dreams. Known for their signature blend of Egyptian Shaabi, free jazz and improvisation, the Lebanese duo behind PRAED -- Raed Yassin and Paed Conca -- now assemble a full orchestra for the second time taking the music to a deeper, rooted level. Following their 2020 release Live in Sharjah, also under the PRAED Orchestra! moniker, the duo now revisit their unique blend of Arabic heritage and free jazz sensibilities with an album that keeps pushing further into strange and unexpected directions. The Dictionary of Lost Meanings is just that, seven fully composed pieces and large-scale improvisations, performed by an expanded ensemble of musicians from across the globe. The result is dense and playful, unpredictable but familiar, a record where Arabic rhythms and microtonal melodies collide playfully against electronics, warped vocals and orchestral textures. It's less about genre than about memory -- like tuning into a radio station broadcasting from somewhere between the past and the future. PRAED continue to blur the line between popular culture and experimental music in ways that feel both grounded and completely their own.
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CD
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DASH 092CD
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"Stella Donnelly returns with a deeply personal and anchored album, a body of work that traces the journey back to herself after a period of profound change. Recorded in Naarm/Melbourne, the album carries the grounding energy of place, offering a sonic landscape that feels both intimate and expansive. Joining Donnelly on the record are longtime collaborators and friends Marcel Tussie, Sophie Ozard, Julia Wallace, Timothy Harvey, and Ellie Mason, whose playing brings a looseness and vitality to the music, holding space for Donnelly's voice to shine in its most tender and unguarded forms."
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LP
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DASH 092LP
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LP version. "Stella Donnelly returns with a deeply personal and anchored album, a body of work that traces the journey back to herself after a period of profound change. Recorded in Naarm/Melbourne, the album carries the grounding energy of place, offering a sonic landscape that feels both intimate and expansive. Joining Donnelly on the record are longtime collaborators and friends Marcel Tussie, Sophie Ozard, Julia Wallace, Timothy Harvey, and Ellie Mason, whose playing brings a looseness and vitality to the music, holding space for Donnelly's voice to shine in its most tender and unguarded forms."
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