New Arrivals / Last week
Re-Make Re-Model
“Re-Make Re-Model” is the result of a five-year dialogue between Norway and New Zealand sound artists Lasse Marhaug and Bruce Russell. What first started as a friendly challenge during the Covid19-lockdown to re-work selected works from each other’s catalogue – using different techniques and experimental approaches, challenging each other to go to extremes – extended to what is now a double-CD and a 100-page book package of writings and photos. Each CDs has eight tracks, a total of 100 minutes o…
Thresholds
On Thresholds, Andrew Anderson assembles a disquieting tapestry of foley‑like detail, field recordings and dream logic, a vinyl debut where precise sound art slips into phantasmagoria, hovering at the edge of memory, image and pure atmosphere.
Kobaia
In early 1967, John Coltrane died. Christian Vander was twenty years old, living in something close to poverty in Paris, and Coltrane's death pulled the ground from under him. He went to Italy, to Milan and Turin, and spent nearly two years in a state of deliberate self-destruction. One morning in Turin he woke up and decided to stop. He returned to Paris, met bassist Laurent Thibault, and began working on something that had no name yet.
By 1969 Magma existed as a group. By 1970 they had a contr…
1001 Centigrades
Back to Black series. Recorded at Michel Magne studios in Herouville, 5-10 of April, 1971. After losing guitarist Claude Engel and reinforcing the brass section with Jeff Seffer on saxophones and Louis Toesca on trumpet, Magma went back into the studio in 1971 to record a second album. All the originality and greatness of Kobaia are there, in even greater measure because everything is magnified. The two tracks composed respectively by Teddy Lasry and François Cahen occasionally introduce a jazzi…
Oblivion Seekers
On Oblivion Seekers, Ben Vida turns everyday speech into a glowing maze: neutral‑toned duets, drifting chamber textures and collaged overheard phrases dissolve meaning and sound into one long, entrancing mantra of language in motion.
Nafs At Peace
On Nafs At Peace, Jaubi turn a Lahore jam into a spiritual suite: North Indian raga, hip‑hop pulse and modal jazz woven into a journey from turmoil to stillness, as if Coltrane’s quest had been reimagined on tabla, sarangi and MPC‑haunted drums.
Dybbuk Tse!
On Dybbuk Tse!, Yoni Mayraz turns Jewish possession lore into a groove‑driven exorcism: live‑wire jazz, 90s NYC hip‑hop grit and Middle Eastern modes colliding in a story where a wandering spirit is forced out beat by beat.
Grzyby
On Grzyby, Błoto complete their mycelium cycle with a compact blast of medicinal‑and‑toxic club jazz: five mushroom‑named cuts of broken beats, sub‑heavy low end and live improvisation that argue for dialogue and interdependence in a world addicted to walls.
Grzybnia
On Grzybnia, Błoto return from a three‑year silence with their most concept‑driven set yet: a darkly glowing, mycelium‑inspired tangle of jazz, house and techno pulses, where four players improvise like a single underground network branching in all directions.
Solo I / Solo IV
2026 repress. In the quiet extremities of contemporary composition, few have ventured as far into the territory of disappearance as Jakob Ullmann. This release documents the simultaneous realization of two works from his remarkable series of Solo pieces - compositions that exist somewhere between notation and performance, between instruction and interpretation, hovering at the very threshold of audibility. Begun in the late 1980s as Ullmann sought to depart from strict Western notational convent…
Anthem for Peace
On Anthem for Peace, Alan Braufman leads a razor‑sharp quartet through compact, hook‑rich tunes that braid spiritual jazz, buoyant post‑bop and modal, Eastern‑tinged themes into a forward‑moving set that feels both steeped in history and fully present tense.
In Filth Your Mystery Is Kingdom / Far Smile Peasant in Yellow Music
On In Filth Your Mystery Is Kingdom / Far Smile Peasant in Yellow Music, Dagmar Zuniga threads five years of Tascam‑4‑track recordings into a porous, tape‑hazed songbook: fragile transmissions where harmony, hiss and fingertip detail make lo‑fi feel widescreen.
Scenery
On Scenery, Ryo Fukui turns a late‑start passion into a quietly astonishing debut: airy, confident trio swing and luminous ballads that distil a distinctly Hokkaido sense of space, light and seasonal melancholy into six perfectly breathing performances.
Mellow Dream
On Mellow Dream, Ryo Fukui deepens the lyrical sparkle of Scenery into something more sculpted and powerful: bittersweet themes, surging originals and a clearer, three‑dimensional swing that many hear as the true apex of his studio work.
Ryo Fukui Trio at the Slowboat 2004
On Ryo Fukui Trio At The Slowboat 2004, Ryo Fukui turns the ninth anniversary of his Sapporo club into a late‑career summit: Phineas‑ and Flanagan‑inspired fire, Shorter‑charged intensity and Slowboat’s living‑room warmth fused into powerful, precise, deeply fulfilled playing.
Live At Vidro '77
On Live At Vidro ’77, Ryo Fukui Trio explode the cool perfection of Scenery and Mellow Dream into raw stage heat: a newly unearthed club tape where “Mellow Dream” stretches past 16 minutes and standards ignite into hard‑swinging, edge‑of‑the‑seat catharsis.
A Letter From Slowboat
On A Letter From Slowboat, Ryo Fukui makes a late‑career return to the studio that feels like a love note to his Sapporo club: standards and originals rendered with stronger touch, deeper emotion and an almost glowing lyricism shaped by a lifetime at the piano.
My Favorite Tune
On My Favorite Tune, Ryo Fukui steps out alone at the piano for the only time on record, revisiting “Scenery” and “Mellow Dream” while unveiling northern‑lit originals that fuse bebop depth with a distinctly Hokkaido sense of stillness and space.
In New York
On In New York, Ryo Fukui steps into a Manhattan studio with Barry Harris’s rhythm team and delivers a straight‑ahead bebop session: standards and a newly ignited “Mellow Dream” played with weighty touch, elastic swing and an unmistakable sense of intent.
Spacing Out
On Spacing Out, Shigeharu Mukai fuses spiritual jazz drive with vivid 70s fusion colours: bossa sway, tropical grooves, rock backbeats and fat funk lines orbiting his trombone in a confident, wide‑angle crossover set.
