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Surfing on a sun-drenched wave of psychedelia comes Brighton's very own Wax Machine. Primarily recorded and mixed in a closet room directly above a mortuary, their self-produced album Hermit's Groove is a heady trip through progressive psychedelia, kitsch Italian library music and Brazilian tropicalia. Wax Machine is the project of Brazilian-born, Italian/English-raised Lau Ro, who takes a deep dive into their Brazilian heritage on this LP, taking inspiration from '60s tropicalia music and movement and the likes of Os Mutantes, Caetano Veloso, and Gal Costa. The album features a version of "Canto De Iemanja" from Vinicius De Moraes and Baden Powell's seminal 1966 Brazilian album Os Afro sambas. "Canto De Iemanja" is about the goddess of the sea Iemanja, a chant Lau has often found themselves singing to the sea in their hometown of Brighton. Album opener "Guardians of Eden" is carried in on a cloud of flutes and birdsong. The first half celebrates the light and beauty of this world, while the second half is a reflection on the shadow of our existence here. The three minute, psychedelic explosion of "Springtime" is a "meditation on the cycles of nature, the dance of duality, the swinging of the cosmic pendulum." Two EPs in 2018 preceded their debut album Earthsong of Silence in 2020, with Clash Magazine declaring that Wax Machine "occupy a space somewhere in the gaps where English psych-folk, sun drenched West Coast sounds, Brazilian Tropicália and spiritual jazz overlap."

Ouzo Bazooka enchant on Kapaim, drawing listeners through a maze of hypnotic, head snapping grooves, cosmic string bending, and swirling guitar explorations. As trailblazers of the new Middle Eastern psychedelia movement, the band fuse traditional folk sounds with gritty soul, funk, and rock. Their latest release is a testament to their boundary-pushing spirit, offering a soundscape that is both otherworldly and deeply rooted. Across five albums and a decade, Ouzo Bazooka have gained acclaim for their pioneering blend of Middle Eastern sounds, psych, and surf rock. The band has achieved international recognition for their music and performances, from the UK all the way to Japan. Kapaim (Hebrew for "palms") sees Kinrot refining the Ouzo Bazooka sound back into a largely solo endeavor. With more space to experiment, the mostly instrumental album is beautifully arranged and given room to breathe. The bass grooves, wonky synth motifs, head-nodding percussion, and soaring guitar solos create a hypnotic and uplifting experience. Opening the album, "Asia" begins with an almost pensive bassline that initiates a languid groove. As drums, guitars, and synths join, the melody feels both thoughtful and nostalgic yet hopeful. The consistent bassline conveys a sense of roots and continuity as the song evolves. The title track, "Kapaim," urges listeners to clap along to a groove as solid as steel, fusing the legendary New Orleans instrumental funk of The Meters with snake-charming synths and cosmic Anatolian guitar licks. An otherworldly intro gives way to a tight bass-and-funk groove reminiscent of Bob James' heavily sampled "Nautilus" on "Seed," before Kinrot makes a rare vocal appearance, imagining himself as a seed at the center of the universe. The album recalls the cinematic depth of David Axelrod but with a distinctive Middle Eastern/Mediterranean touch. Fans of Glass Beams, Derya Yıldırım, LA LOM, and hip-hop producer Oh No's sample-heavy tour of Turkish, Lebanese and Greek psych, Dr. No's Oxperiment, will find much to love. A testament to Kinrot's incredible talent -- not least his meticulous arranging, production skills, and ear for soul, funk, and psychedelic rock, as well as his ability to blend musical traditions across cultures and eras -- Kapaim carries a deep emotional resonance. It is Ouzo Bazooka's most personal and addictive album to date, radiating joy, creativity, and a spirit of boundless freedom.

LP version. 30th anniversary splatter color vinyl. "Originally released in 1996, Reject All American is Bikini Kill's second and final full-length. Out of print for seven years. Bikini Kill was a feminist punk band based in Olympia, WA and Washington, D.C., forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early '90s via their political lyrics, zines, and confrontational live performances."

Originally self-produced in 150 copies (on by Le Kiosque d'Orphée in 1977), Mar-Vista's only album is one of France's most strange and radical records.. The story of Mar-Vista begins in northern France, in Lille, in the early 1970s, with the meeting of two music enthusiasts: Claude Cuvelier and Jean Skowron. They connected through Claude's brother. At that time, Jean was already standing out at blues concerts for his singular sonic approach: he placed microphones inside suitcases that he struck to produce raw, primitive sounds -- an experimental process that immediately impressed Claude. A shared vision quickly took shape: to create repetitive, atmospheric music, freed from traditional formats. In 1973, they gave birth to Mar-Vista, with the desire to compose long, immersive works, sometimes built around a single chord, in the spirit of Balinese music. The duo gradually equipped themselves: a Mini Korg in 1972, a Yamaha synthesizer, a Farfisa organ, and even a drum machine discovered by chance during a television appearance by Henri Salvador. The home studio became their creative sanctuary. Jean worked on a 4-track Teac tape recorder, Claude on a Philips model. Each freely composed their own side of the future album, while collaborating on each other's ideas. Side A, led by Jean, is more rooted in the progressive electronic music of the time, influenced by Heldon, Amon Düül, and Soft Machine. Side B, bearing more of Claude's imprint and his influences (Terry Riley, La Monte Young), is far more experimental and consists of a 22-minute trippy instrumental piece. Despite its confidential release at the time, the album is now considered one of the most remarkable works of the genre ever released in France. A second album project inspired by the universe of H. P. Lovecraft was in progress, but family responsibilities slowed this creative momentum. The second vinyl of this reissue is composed of unreleased tracks, featuring improvised pieces without synthesizers, recorded live in August 1973 on a hill near Valence, in the garden of friends (Hervé and Martine). Psychedelic electronic music, experimental, and acid folk -- a collector's grail for fans of Klaus Schulze, Terry Riley, Neu, Heldon, and Silver Apples. Includes a previously unreleased second record from 1973.

Composed by Forever Pavot for the film L'Engloutie, this soundtrack for Louise Hemon's film reveals a more intimate and cinematic side of Forever Pavot's universe. Between hypnotic melodies, ethereal Morricone-esque choirs, delicate orchestrations, and psychedelic textures, these tracks accompany the images with a unique elegance. Both contemplative and mysterious, this music extends the film's enigmatic charm far beyond the screen. Limited edition of only 300 copies.

2026 repress. All rhythm tracks by Bunny Lee at Studio One.

2026 repress. Reissue of Ital Dub, originally released in 1975. This is Augustus Pablo's first collaboration with King Tubby.

2026 rperess. Here for the first time from Clock Tower Records is a collection of gems brought back from the '70s: Augustus Pablo's Yard Style Melodica Songs. All tracks produced by Brad Osbourne in the '70s, some of which were only released on 7". Featuring Robert Shakespeare and Aston "Family Man" Barret (bass), Earl "Chinna" Smith (guitar), Carlton Barret (drums), Augustus Pablo (organ, piano, and clarinet), Richard Hall (tenor sax), Bobby Ellis (trumpet), and Vincent Gordon (trombone). Produced by Brad Osborne. Includes poster.

"Horace Andy started his career when he was 16 years old with his first hit 'Black Man Country.' His music was produced by many, including Studio One, Clocktower Records, and many others. Songs that became some of his best hits were 'Skylarking,' 'You Are My Angel,' 'Love of a Woman' and many others. Now in 2026 here comes Horace Andy with great new songs such as 'Agony Shame' and 'Scandal Herb Stock' with his producer Nkrumah Jah Thomas, so once again let's enjoy this great new LP and dance till you drop. Because music is life." -- Alfred Newman

Picture disc version. Reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.

"If you had to pick one album that best represents the pinnacle of the art of dub, you'd cull the candidates down pretty quickly to ten or 12, and it would get very difficult after that. Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers its title track -- a dub version of Jacob Miller's 'Baby I Love You So'-- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. Absolutely essential." --Rick Anderson, All Music

Picture disc version. Originally issued in 1973, Blackboard Jungle Dub is considered a milestone in the history of dub. Tracks include "African Skank" -- based on Junior Byles' "A Place Called Africa" -- and "Dreamland Skank", "Moving Skank" and "Kaya Skank" which are dub versions of Wailers" "Dreamland", "Keep On Moving" and "Kaya".

Limited 2026 restock. "In the 1970s, Tucker Zimmerman made some low-key acoustic guitar records in England. He was raised in California, and sang like it. And between those two circumstances, Zimmerman happens to have sat in with a whole lotta famous people; The Spiders From Mars, guys from Yes and Traffic and T Rex, Mary Hopkin, Paul Butterfield, Aynsley Dunbar, Ricky Fataar, and plenty more. The seriously famous are always moving along to whatever's new. But Zimmerman has kept his hand in. There were a couple records in the '80s, an interest in novels and words, one in the '90s, an '00s collaboration with another American expat who works on the Belgian version of The Voice, etc. Now he has a new record for the teens. Of himself reading poetry no less. And that is exactly the sort of project that could easily degenerate into the underground dude's answer to a Stan Lee cameo. The reason it doesn't is less about the words chosen (though they're fine) and more about the obvious lived grit in the Mucinex-wracked glottis that is Zimmerman's voice these days. The sensitive folk rocker has given way to a grizzled gentleman. Zimmerman is more confident as his 77 years and sounds like a paisley Sam Elliott who spends days wandering outside dispensing advice to clouds and dogs. Zimmerman has also found a precise complement in accompanist Josh Burkett, whose life reads like an indie update to the performer Zimmerman was in the '70s. Burkett runs a record store in Western Mass., and has been a heavy in interesting underground projects of one sort or another for roughly 30 years (Vermonster, Bimbo Shrineheads, Tarp, playing with Ed Askew, and solo records). The seams are allowed to show on these recordings. You can hear Zimmerman stop and go back to correct himself, and the sound levels vary. That puts things firmly in the contemporary camp, ensuring that this ain't no greatest hits that never were. In fact, Josh nips in with his acoustic guitar so subtly, and gets the rhythm of each talking point so just right so that the two performers dovetail again and again. And so, the record can exist between them both, a new thing all it's own." --Angela Sawyer

15 sections span the course of two sides, creating a total run time of 41 minutes and 52 seconds that is reminiscent of the Groupe de resherches musicales (GRM). Old Style Tip-On jacket at Stoughton Pressed at QRP in Salina, Kansas 2022.

2026 repress; originally released 2009. Double LP version. "Tim has incorporated more pulses into this work and also works with a sound palette including overdriven mellotron strings and synthesizer. At times this album is less overtly aggressive than previous works, but the notion that this is pastoral work would be dead wrong as there are plenty of the agitated crescendos that he is know for. This music backs off from the void of immensity in favor of a terrain of lushness and warmth. This heat, this work of musical abstraction, is largely made possible by the tools of digital technology that he employs. It is a means of musical production that allows for the obliteration of questions of representation or instrumentation. Strings, synthesizers, pianos and guitars all fade away into the fog of what they once were. A tropical mist (or a northerly breeze) of sound is also a musical resonance of imagination. The title comes from a quote, 'The imaginary country? one that cannot be found on a map,' uttered by Debussy in regards to the sad state of musical affairs at the time, arguing that music was in dire need for alternate worlds of possibility. In some ways this is a utopian work, in the sense of the term meaning that of 'no-place'. All the tracks are landmarks in a dream cartography."

2026 repress; gatefold 2LP version. "...approaches a form of secular musical transcendentalism from within the battered temple of spirituality. Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine. While the title of the piece 'Hatred of Music' might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. Historical rituals of destroying pianos, mountains of pirated CDRs pushed by bulldozers in Eastern Europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. They also really didn't at all. Despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases Hecker's continued mastery of organizing sound into a visceral near entity. It is an almost physical presence that the listener feels as much as hears."

2026 repress; gatefold double LP version. "Virgins was recorded during three periods in 2012, mostly in Reykjavik, Montreal and Seattle, using ensembles in live performance. The sound palette of this work is wider, almost 'percussive' and tighter sounding than previous works. While this album remains committed to a painterly form of musical abstraction, it is also a record of restrained composition recorded live primarily in intimate studio rooms. This record employs woodwinds, piano and synthesizers towards an effort at doing what digital music does not do naturally--making music that is out of time, out of tune and out of phase. This follow-up to his Juno-awarded Ravedeath, 1972 album exchanges gristled distortion and cavernous sound in favour of a close, airy, more defined palette. At times it points to the theological aspirations of early minimalist music. But it is not 'fake church music' for a secular age, rather something like an attempt at the sound of frankincense in slow-motion, or of a pulsing, flickering fluorescence in the grotto. Some pieces go off the rails before forming into anything, others eschew crescendo compositional structures or bombastic density while going sideways instead. It points to the ongoing development of Hecker's work. It suggests illusory memories of drug- hazed jams or communal music performance that may have never been performed or been heard. These are mp3s that give confusing accounts either of sound's glowing physicality or of its prismatic evasiveness. It is an offering of music into the void, a gift of digital filler between distractions. Yet hopefully it also stands as a document of the enduring faith in the narcotic, enigmatic function of music as long-form expression."

Limited 2026 restock. One-sided LP. "While much of early 2025 appears to be a whirlwind of abject disappointment littered with genuine horror and an undeniable waste of actual human potential, here we find a much-needed escape from modern agonies in this mesmerizing collaborative from Joshua Burkett & Lau Nau. Both artists have been laying trails of singular beauty for decades and the combination of their aesthetics create a true mind meld as complimentary as softly falling snow lit by the first light of dawn. Subtly swirling magical elements twinkle and undulate and slowly suck the listener in deeper and deeper to the very heart of the album's nest. A fragile, melancholic aura transcends the poignant and insular sound world, and evokes a camera panning back to slowly reveal a vast landscape of wintry yearning in which heartbreak and reverie calmly intermingle, both create an extremely comforting bath of sound. Lau Nau (Laura Naukkarinen) is a Finnish sound artist and musician whose multi-disciplinary endeavors also include film scores, compositions for theatre, dance and choral performances and multi- channel sound installations, as well as her passion for presenting live scores for silent films.. She participated in projects with an improvisatory bent such as Avarus & Kemialliset Ystävät as well as collaborations with Kuupuu and Tsembla (plus don't forget Hertta Lussu Assa!). Her solo recordings as Lau Nau emerged with a fully formed aesthetic of a dreamy sound world in which a hybrid of song craft and abstraction merged to generate ultra evocative pastures of bliss and melancholy. Each subsequent album has achieved greater levels of sophistication with her most recent amazing works. Burkett is a musician, writer, illustrator, painter, and naturalist and has been a quietly guiding light of the Western Massachusetts underground music community for the past 30 years... He has many previous duo collaborations under his belt, having worked with the late, great Ed Askew, releasing a duo album with the phenomenal Tucker Zimmerman in 2020, his electronic project TARP with Conrad Capistran and others. There is an undeniable specialness to this new release which exudes a time stopping magic that is guaranteed to stretch out your latest night or earliest morning... My only critique of this album would be that as a single sided LP, so one is left craving more of these glorious sounds to bask in. But what could be more novel and precious in this era of the endless tsunami of content than to be left wishing for more of something?" --Robert Thomas, 2025

2026 repress; LP version. "Ava Mendoza has never made an album quite as personal as her second solo full-length, The Circular Train. Through her decades of collaborations with Nels Cline, Carla Bozulich, William Parker, Fred Frith, Matana Roberts, and Mick Barr -- plus years leading her power trio Unnatural Ways and playing in Bill Orcutt's quartet -- the guitarist's name has become synonymous with virtuoso technique, raw passion, and visceral resonance, a player pushing the edges of the guitar's possibilities. Along the way, from 2007 to 2023, Mendoza was writing these slow-burning, incandescent songs. The Circular Train is comprised solely of her single-tracked guitar playing and, on two songs, her corporeal singing. Her first solo LP of original material since relocating from California to New York City a decade ago, much of The Circular Train was honed amid pandemic years that clarified the virtues of slowing down. This expressive avant-rock is a definitive introduction to one of the most uncompromising and inquisitive visions in creative music. Mendoza's thrilling melange of free jazz, blues, noise, classical training, and blazing experimental rock'n'roll all coheres with ecstatic feedback, with picking and solos that crest with shimmer. Sometimes she sounds like a one-woman Sonic Youth with guttural and poised vocals that equally evoke Patti Smith and blues greats like Jessie Mae Hemphill.

Further Explorations follows on from Gentle Fire's 3CD retrospective box set Explorations, released in 2020. These new archive recordings came to light in the process of unearthing the tapes for the 4CD box set by their fellow Stockhausen collaborators Intermodulation. The pieces used on this CD are taken from two sessions recorded for German radio in 1973 and 74, one for Sender Freies Berlin and the other for Hessischer Rundfunk in Frankfurt. These beautifully recorded and preserved pieces are finally rescued from the depths. Gentle Fire were a quintessentially British group and these recordings have about them a similar atmosphere to much of the music on Brian Eno's Obscure Records series and would not have been out of place on this predominantly Anglophilic label. Slow, eccentric and experimental are terms that come to mind. Of the five pieces they play on this CD three are devised by members of the group, and one piece each by the Berlin composer Erhard Grosskopf (a text-based piece with instruments, live electronics and tape) and "Edges" (a different version to the one on the 1974 LP by Gentle Fire), by the legendary Christian Wolff. Over 79 mins of music by a group that failed to get much attention in the history books. Comes in a 6-panel card cover with 8-page booklet. Hand numbered edition of 500.

Limited 2026 restock. Past & Present present Girls In The Garage Volume 5, the fifth volume of a series of garage rock compilations focusing on female artists. Prior to Joan Jett, Patti Smith, Courtney Love and other era-defining women in rock, there were the girls in the garage. Like their male counterparts discovered, being in a band was not only cool and alluring, it was sexual and ultimately political without making a political statement. The garage band was a medium that enabled a voice to be heard, whether it be an adolescent fury of angst and frustration or plain old hormones. Girls In the Garage captures the raw essence of those juvenile dreams played out through guitars, drums, microphones and amplifiers. Prevailing gender roles would be tested, and rock 'n' roll became someone else's domain: the girls. Although it's been said that it was rare for a girl group to play on their own records in the mid-1960s, they were many exceptions. On both sides of the Atlantic, cynical and shrewd producers largely employed session musicians, afraid of any conceivable faults at the hands of such young and innocent hands, male and female. The ones who didn't were bold visionaries that believed not only in this new generation's ambitions, but their capabilities as well. As the female presence in rock n' roll gained traction through the appearance of figures such as The Vejtables' Jan Errico, The Honeycombs' Honey Lantree, and the fabulous Maureen Tucker (The Velvet Underground), so too did the rise of all-female bands. Liverpool's Liverbirds and Hull's Mandy and The Girlfriends gave weight to the idea that it was "normal" and paved the way for like-minded girls to pick up their guitars. Although the prevailing attitude among both major and independent record labels was never going to be inspiring or welcoming, times were changing and girls didn't just want to have fun. Emerging groups such as The Pleasure Seekers, White Boots, Ace Of Cups, Bittersweets, and The Luv'd Ones were playing rock n' roll on their own terms whilst breaking new ground, whether they were trying to or not. Features: The Majorettes, The Bermudas, The Occasionals, Bente Lind & the Lunicks, The Pussycats, Jeff/The Atlantics, The What Four, Linda Gayle, The Girls, Stacy's 5th Mavricks, Tammy & the Sounds, Beatlemaids, Angel & the Devines, The Electric Lollipop, Zuma. 180 gram, white vinyl; Includes full-color, four-page booklet; hand-numbered sleeves.

"For every moment of overwhelming sorrow, there's another of indescribable bliss. For every death, there's a birth. For all of the darkness, there's just as much light. Deathchant have never shied away from extremes. Their sound seamlessly oscillates from high-octane rubber-burning riffs and gravelly chants to purring feedback and melodies as expansive as the desert at night. After gathering millions of streams, earning enthusiastic acclaim, and an endless string of packed shows, the Los Angeles, CA quartet -- Thomas J Lemieux (guitar, vocals, keys, bass), Doug Stuckey (guitar, vocals), Quinn-George Camacho (bass), and Nick 'Joose' Mcdonnell (drums) -- explore life's highs, lows, and everything in between on their fourth full-length LP, Kova. Named after their late friend Davey Kova, it's simultaneously a raucous send-off worthy of a Viking, an introspective look at manhood, and a dyed-in-the-wool badass barnstorming hard rock record. Back in 2018, Deathchant began to make noise on the West Coast. The group captivated a cult-like audience with the self-titled Deathchant (2019), Waste (2021), and Thrones (2023). They landed looks from CBS News, Angry Metal Guy, and It's Psychedelic Baby Magazine who marveled at their 'combination of rumbling noise, chiming guitar melodies, bluesy boogie, NWOBHM thrash, and punk fury.' Plus, they ignited the YouTube channel Jam In The Van with a fiery performance and canvased the globe on tour, playing at festivals such as Psycho Las Vegas, Desertfest Belgium, Keep It Low Festival, and SonicBlast Festival. While writing Kova, they said goodbye to its namesake. 'My best friend Davey Kova was a dude who white-knuckled life, treated each day like it was his last, took chances, rode fast, and partied hard, but he was the sweetest guy you could ever meet,' sighs TJ. 'It's a weird way to live, yet it's beautiful. He passed away during the writing process. The record seemed to finish itself after that. The album is a eulogy to not just Davey, but countless friends we've lost in the last couple of years.'"

"Elements of the past, present, and future coalesce within the spell cast by Early Moods. The Los Angeles band channel the sludge-born spirits of seminal doom metal and beckon them to attack even faster with a jolt of NWOBHM guitar-craft and a twist of thrash attitude. The quintet -- Alberto Alcaraz (vocals, keys), Oscar Hernandez (guitar), Eddie Andrade (guitar), Elix Felciano (bass), and Chris Flores (drums) -- transfix with otherworldly transmissions of cosmic and catchy heaviness. 'Our sound is more honed,' notes Elix. 'We've found our identity. I think it takes a couple of albums for most bands. This record isn't too far removed from what we've done in the past, but the songwriting has certainly matured. You can hear the chemistry. You can feel the mood changes in specific songs and all of the dynamics. It's really alive.' Originally formed by Alberto and Eddie, the musicians unlocked an uncanny balance between heavy and hypnotic on the self-titled Early Moods in 2022. The sound further crystallized on A Sinner's Past (2024). Along the way, they incited the applause of Angry Metal Guy, The Obelisk, and more. Hitting the road, the group shared stages with the likes of High On Fire, Candlemass, Pentagram, Coven, Lucifer, Pagan Altar, and more in addition to joining the bill of Desertfest. They recorded Ready For The Grave at Cyan Sound Studio with producer Toshi Kasai (Melvins, Tool). He invariably inspired them to level up. Ultimately, Early Moods deliver a body of work befitting of their energy on stage. It's powerful enough you'll feel like they're in the room with you."

A Note From mHz: "In 2020, I was invited by Nicolas Bernier to create a work centered on sine waves as part of his collaborative research-creation project at the University of Montreal. Thinking about such unique qualities of sine waves directed me to a somewhat similar phenomenon elsewhere: prime numbers. A prime number cannot be divided by any number other than 1 and itself. At the same time, any other number can be expressed as a product of a series of prime numbers. Defined based on this seemingly simple premise, prime numbers have been pivotal to many significant mathematical conjectures and theorems for centuries. Therefore, at their core, just like sine waves, prime numbers are the simplest, yet most elegant and foundational entities within their respective systems. Prime Frequencies explores the sonic qualities of different prime number categories through sinusoidal sound waves. The series is structured into 47 pieces created using a number of algorithmic and aleatoric compositional techniques developed in the programming language ChucK. Each piece presents a unique sonification of the prime number category it is titled after, with all frequency and time-domain values determined by primes within that category. The project is presented in two different formats: the album version and the code version. The album version comprises a one-off rendering of the code that has undergone basic audio processing and is intended for more conventional modes of distribution and listening. As the perceived loudness of incoming sound waves changes drastically according to their frequency, this version is meant to provide a more standard listening experience. The code version of the project (available as a bonus item with this release in both web-based and local formats) includes the complete code developed for the project without any further audio processing or modification. The web-based format can be run directly in a browser. Alternatively, using a set of basic instructions, the source code can be downloaded and compiled locally using any operating system's command line. In either format, the series can be experienced interactively: the listener can use keyboard shortcuts to navigate between different pieces or to view information about the specific prime number category that each composition is based on. The code version also includes a visual accompaniment displaying the numeric values of the prime numbers that represent the frequencies of the active sine waves throughout."

Top-notch Synthwave/Italosynthhorror on a sexy flexy, reworked by Aipd Q41/B47. The two tracks were composed by pdqb while he worked for Silvio Berlusconi's Mediaset TV production company. The flexi was originally included in the November 1985 issue of the Italian Playboy Magazine and is extremely sought after. To recreate it as faithfully as possible, pdqb reconstructed the track from memory -- using a self-conducted cognitive interview, instructing AI exactly how it had to sound. The original conditions no longer exist: no broken synths, no absurdly long cables, no direct-to-tape chaos, no instant flexi pressings.

Los Totes Vol. 3 compiles more "celebrated bangers and anthems" from the Colombian label TraTraTrax. This edition features Maoupa Mazzocchetti, Clara!, Wost, Anthony Naples, DJ Babatr, Aquarian and Entrañas. Remixes come from Pariah, Pangaea and Substance.

Saxophonist Patrick Shiroishi and drummer Jason Nazary present their new album, here i am no i. here i am no i is a free-flowing body of work with continuous forward-motion, building on the acoustic duo setting and expands with electronics and voice landing somewhere beyond genre. Dedicated to Jaimie Branch, the album is a spontaneous product of trying to come to terms with the unimaginable loss of a close friend. The seven tracks included on the album echo the organic process and the emotional necessity for this music to exist. From the searching mood set by opener "self portrait against blue," everything feels very live while also adding sonic layers to build a sound space beyond the usual sax/drums duo setting. Listeners familiar with the two artists' previous work find natural entry points in the electro-acoustic scope of the album, while discovering possibilities brought on by this specific new setting. There's a "tone poem" quality to the music, one which feels devotional without any obvious references to "spiritual" musical cornerstones. Patrick Shiroishi is a Japanese-American multi-instrumentalist, composer and poet based in Los Angeles. He is a member of hardcore punk band The Armed, contemporary classical group Wild Up and ambient jazz band Fuubutsushi. Shiroishi has guested on records by Chelsea Wolfe, Xiu Xiu, Emma Ruth Rundle, By Storm, Yellow Eyes, Lia Kohl, Water Damage, Big Brave, Agriculture, and Dirty Projectors, plus more. His solo work has appeared on labels such as Sub Pop, Touch, American Dreams and Otherly Love. Jason Nazary is a Brooklyn-based drummer and producer, whose work has previously appeared on the We Jazz label on the solo album Spring Collection and on New Monuments by Amirtha Kidambi's Elder Ones. His early projects include the influential noise jazz group, Little Women, anteloper, an electro-acoustic duo w the late jaimie branch. He currently performs regularly with Amirtha Kidambi's Elder Ones, Helado Negro, Darius Jones, as well as solo and his own groups, the improvising avant hip-hop quartet, WRENS, and the duo with Saint Abdullah. here i am no i is released by We Jazz Records on vinyl and digital formats. The LP comes as a blue marbled edition with insert. The album artwork is based on images by American photographer and film director Trevor Naud.

Yore Records welcomes back DJ Alone Again from NYC for a second journey into timeless house aesthetics. Across four cuts, DJ Alone Again moves effortlessly between raw, uplifting New York energy and deeper late-night moods. From classic swinging drums, dusty stabs and peak-time pressure to warm chords and smoother hypnotic grooves, this EP captures different shades of the unmistakable '90s house spirit. A sincere nod to classic underground house music and another statement by Yore Records. Strictly limited to 200 copies worldwide.