"Roman Hiele (1991) is a Brussels-based musician and composer whose work explores the boundaries between improvisation and electronic composition. His music unfolds as a living system of shifting harmonies, fractured rhythms, and unexpected turns.
At the core of Hiele’s practice lies a deep fascination for contrast, where his soundscapes act as both anchor and disruption, sharpening the emotional depth of images and spaces, a sensibility that extends into his collaborations with filmmakers, visual artists, and designers.

Emo Inhaler is an emulsifying force, blending these threads into a single, fluid whole. The record condenses compositions born from improvisatory explorations and electro-acoustic experimentation. Recorded and concluded across various studios and train coupés, Emo Inhaler is expansive, yet tightly woven, creating a singular sonic identity that explores Hiele’s own world of musical off-key vignettes, balancing between light and sinister. With Emo Inhaler, Hiele reaffirms his place as one of Belgium’s most adventurous and distinctive contemporary voices."

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"Deeply tied to the composer’s own life, the narrative of Lacrimosa invites reflection in the face of loss. This sonic work draws inspiration from Alice Coltrane’s spiritual Eternity (1976) as well as the traditional structure of the Requiem, a mass for the dead. One of its sections, the Dies Irae, evokes Judgment Day and concludes with the Lacrimosa (literally, “full of tears”), depicting the weeping of souls in search of salvation.

In Lacrimosa, Low Jack transforms autobiographical elements into a messianic, polyglot form, unfolding across eight movements that chart the storms and serenity of grief. The piece unfolds from dawn to dusk, as the eyes open and then close. An initiatory solar cycle, from which one returns like Dante in his Divine Comedy, transcendent yet grief-stricken by the loss of a guiding presence.

Low Jack crafts one of his most intimate compositions, weaving together musical archetypes and universal narrative structures, drawing from both classical lyrical music and pop standards."

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"Feeding from countless hours of historically informed digging, being able to convey this knowledge to all sorts of audiences and understanding the very direct effects of sound, OKO DJ delivers an album that gives off this ecstatic feeling of travelling through very specific moods and soundscapes with the use of a wide range of production techniques. The listener is constantly stimulated by the spoken word narrative, the play on the tape hiss and dynamics, the out of field elements emerging erratically yet brilliantly included in the mix. Going from primitive DIY tape montage to modern day home-studio tricks and everything in between, As Above, So Bellow doesn’t show us anachronic references to different inspirations, but actually tells a timeless and hard to pin down story from a truly unique point of view."

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"Felicity J Lord is a band, a word which usually means a group of musicians (which is also true) but here means a group of misfits, internet lurkers, poets, polka-dotted ballerinas, CEOs, time travellers, and forever-kids. Felicity J Lord is a company, a family, a video game, a never-ending play in two acts. You are in Act I, welcome."

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"A New Life is not an album. It does not belong to a ‘genre.’ Not aesthetic, not ironic, not for consumption. Not intellectual—it is felt. It speaks from coherence—structure beneath the noise. Grief, anger, stillness are not flaws here—they belong. Featuring harp and saxophone by Róisín and Cathal Berkeley. A return to truth. To be human without the mask. Integrated, not performed or bypassed."

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The occasion of possibility runs through Ben Bertrand's new album Relic Radiation. It is all backdrops and layers. Hints of the emotive and the distant. Confronting the classical with what is new, looking for an expressive space. Melancholy, not melancholy. Contemplation on a midnight blizzard. Dust motes in a sunbeam. Sand dunes and microwaves.

Ever since 2018 and the release of his first solo album, Ben Bertrand has been working up his own interpretation of the bass clarinet as an instrument of the avant-garde. Touching upon ambient and cosmic as well as earthy sceneries, his is a gentle musical paradox come to life. Let go of explicit pleasantries, Relic Radiation is the polymathic interpretation of a frozen intercom, of a subdued intent of contact. The music is competent and familiar, distant without being distant. There is no predefined form or context here. It is a different kind of colour.

As musical moments and modi become enormous, things break down into exploration. On the crystal shores of perception, Relic Radiation leaves a lot of space for interpretation. It is never loud, although it works loud. An at times almost sequenced feel to treated and overdubbed bass clarinet and clarinet notes adds to a feeling of paradox. Every voice, every gesture indicates a way in. The electron is now an immeasurable wave."

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"I imagine that one of the first things I heard in the world was theexplosion of a Russian ammunitions factory on the outskirts of myhometown. It blew up the night I was born a new GDR-citizen. I´m notsure I heard a noise when the Wall came down, but it still echoes in mybody. The echo contains many frequencies. Some of them sound like Gabberplaying in my childhood room over the speakers my grandfather once stolefrom a Leipzig radio station. Some of them sound like me and my friendsrunning through the streets. They sound like my mother laughing andconsoling women in the women´s shelter where she worked in 1992. Theysound like birds: my father swears after the Reunification the greatcrested grebes on the town lakes lost all fear of humans. Some of themsound like these recordings."

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"Farming, often associated with toil and drudgery, can also be a surprisingly sensual and playful activity. The rhythm of the seasons, the tactile experience of working the land, and the shared sense of accomplishment can all contribute to a heightened sense of intimacy and pleasure. Consider the act of planting seeds. The gentle touch of fingers on delicate seedlings, the anticipation of growth, and the nurturing care required can create a deeply satisfying and sensual experience.

Harvesting, too, can be a sensual affair, as one plucks ripe fruits and vegetables from the earth, feeling their warmth and succulence. Beyond the physical aspects, farming can also foster emotional intimacy. Couples can work together in the garden, sharing laughter, sweat, and a sense of shared purpose. The feeling of accomplishment that comes from growing one's own food can also strengthen bonds and create a sense of shared pride."

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Repress!

Juris Boiko (1954-2002) and Hardijs Ledi ¡ (1955-2004) were the core members of the NSRD, which is best known as Latvian avant-garde, postmodern, experimental and underground music group active in 1980s. BIG TIP! STROOM BRINGING IT...! comes with download code.


Their activities were widely multidisciplinary and they can not be considered as purely musicians since none of them had a professional musical education. Their creativity was manifested through variety of media – music, performance and action art, visual arts, poetry, samizdat, the introduction video art in Latvia etc. NSRD also made a significant contribution to the explanation of the theoretical aspects of art in the interpretation of the postmodernist movement, and developed the independent concept of “Approximate Art”. At the end of the 80s, NSRD got connected and performed with several artists and musicians living in West Germany, including Indulis BilzÄ“ns, Micky Remann and Maximilian Lenz aka Westbam and others.

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Merope's most experimental and open-minded full length to date, Vejula is a celebration of collaboration and playfulness, and features appearances from Shahzad Ismaily, Laraaji and Bill Frisell. Like its predecessors, the duo's fifth album still roots itself in Lithuanian folk forms, but sprouts out spiritedly from that point into unfamiliar landscapes, muddling ancient themes with contemporary philosophies, concepts and technology. Delicate instrumental sequences and ethereal vocals are woven into a rich tapestry of subtle synth work and evocative field recordings. On 'Kouma lil', Indre Jurgeleviciute and Bert Cools experiment with digital images of the kankles (a traditional Lithuanian chordophone), and Jurgeleviciute's voice, blurring the boundary between the organic and the artificial, while on 'Suiakmo, French percussionist Toma Gouband adds percussion from his custom-made sounding stones to Jurgeleviciute's gentle words and Cools' surreal, sensuous electronics. 'Vejula' is an album that reaches into the unknown without loosing its tight grip on the past. Merope are in a new creative phase of their career, and they've never sounded quite so universal, or so vital.

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180g vinyl + Silver Pantone print (Featuring a fragment from 'The Myth' (1896), a painting by Jos Dirks)

"agony, anguish, bitterness, despair, grief, heartache, pain,
remorse, sorrow, suffering, torment, woe. Another heartbreak album that is totally worth all of it."

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Teratai Åkande' explores electronic techniques transforming sounds, melodies, and rhythms from balinese gamelan. It's an interaction and synthesis of acoustic and electronic expressions, exploring an imagined territory between two otherwise separate cultural worlds.

On 'Teratai Åkande' the Copenhagen-based producer and electronic musician Anton Friisgaard travels new paths, as he explores gamelan music from his own artistic perspective in close collaboration with Balinese musicians, afliated with Ubud’s acclaimed Gamelan scene.
After experiencing a concert with the Gamelan ensemble 'Gamelan Salukat' at Roskilde Festival in 2018, Friisgaard became inspired to contact Dewa Alit from the ensemble. With the aim of bringing forth a unique expression through the meeting of two distinct musical traditions, Friisgaard traveled to Ubud, Bali to record, compose and improvise in close collaboration with artists from the esteemed Gamelan scene in Ubud. The result is 'Teratai Åkande', which features Pande Made Gangga Sentana, I Nyoman Suwida, Dewa Badukz, Suryana Putra and Pande Made Gangga of Gamelan Salukat.

Anton Friisgaard (fka Hviledag) is an electronic producer and musician based in Copenhagen. Known primarily for his experimental work with tape loops and ambient soundscapes, he’s become an established figure both in the Danish music scene as well as internationally.

Composed, edited and processed in Copenhagen, Denmark from 2018 - 2024.
Here, the recordings and compositions changed shape multiple times over the years, until finally reaching their current state.`

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*new material (2023) from the enigmatic, Pablo's Eye

A group of friends go sailing and one disappears. The others start
searching for her. But it gradually becomes apparent that she won’t
be found. So the friends return home one by one. Only the missing
girl’s lover and her best friend remain.They have begun an affair.
As the lovers come together the girl’s disappearance is all but
forgotten.

From Michelangelo Antonioni — “Auteur of eerie angst”
(L’Avventura) by Richard Skinner from Vade Mecum Essays,
Reviews & Interviews (Zero books, 2015).

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LTD to 400 copies

Sissi Rada's humble manifestations of the miracle of life, the troubles of love, the thoughts that span through a human mind while performing simple tasks, educated by her love and natural inclination to poetry, read like small vignettes, or marginalia notes on a diary that is of constant flux.

Recorded, mixed and produced by Sissi alone, in her Athens’ home, using a spartan but powerful instrumentation of harp, a Prophet synthesizer, and first and foremost her intimate and enchanting voice, ‘
Aporia’ stands out with its simplicity and familiarity, like a page out of a diary, shared with a blush and a witty smile."

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It's never too late to celebrate love.

"I could climb every mountain. Cross the mighty sea. Refuse water from the fountain. To have you here with me. And I know I'll endure it. I'll be waiting at your gate." A liminal love message between Ad & Frankie from W.A.T.. Both folk country'ish songs made in the mid 80's"

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Alex Deforce & Charlotte Jacobs are overtaking emptyness in shades of silence. Language has something to say here. Voices combined in poetic levels of belgitude. Poetry rewriting days and nights.

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"Two elevator bangers to get through the gloomy holiday season by Japanese artist, Sonoko, probably made somewhere in the 90's. Merry ye ye"

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"An exciting and vulnarable compilation of the world according to W.A.T., a dutch pop / wave band who was active in the early to mid 80's. For fans of VAZZ & Ruins."

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Ambient Classics From Japan on Mukatsuku features two lush filled classics from the label Form@ Record label from the land of the rising sun....First up, Shuichiro Nakazawa under the guise of Modern Living from 1998 - initially taken from the Art Form 2 compilation although it also popped up on Music From Memory's excellent Virtual Dreams collection - now gets a whole side loud playing time on vinyl to itself. On the flipside comes Virgo aka Yasutaka Sato with his gorgeous 'System For Zodiac piece, taken from the Landform Code CD, of which only 30 copies were ever made and is the first time ever on vinyl.

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Adeen Records is back with its The Bird series and this time Cad73 is the one at the buttons. First up he flips the age old classic 'Love and Happiness' into a smooth and seductive sound with lush chords and warming melodies. Flop it over and you will find a rework of 'How Can I Forget You' which becomes a Northern Soul great with big hooks and driving rhythms that will get big reactions in the club. Two different but equally effective and cultured cuts.

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FJLP-05 continues with Forest Jams recent trend of Japanese re-issues from the 90’s. This one is E.S. Island’s “Southwind from Hachijo” a deep ambient exploration that is more tribal and spiritual than prior E.S. Island releases. This was recorded on Hachijo Island featuring several traditional instruments with the bulk of the music being played by Eisuke Takahashi (R.I.P.) and Nene Sanae. Limited copies.

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Repress!
Brazilian funk-soul at it’s finest. Both tracks taken from the increasing more expensive and sought after ‘Cartão Postal’ LP, originally released on Odeon Brazil from 1971.

Both tracks are heavy on the drums, bass and horns, with Evinha’s lead to top them off. ‘Esperar Pra Ver’ is a mid tempo funk soul jam, and ‘Que Bandeira’ moves between funk/soul and bossa/MPB grooves.

‘Que Bandeira’ was released on a 7” EP, featuring tracks from ’Cartão Postal’ LP, on Odeon under the artist name ‘Eva’, in 1972… Ridiculously expensive now, as you have no doubt come to expect – so, released here for your affordable pleasure!

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Phivo's music has been referred to as 'Other Worldly' and he has been referred to as the 'Prince Of Tech House'. Pure Science has been at the forefront of electronic music since 1990 and pushes a timeless sound which has stood the test of time.

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The object appears at close range, triggering neuro-pop circuits that activate deep within a network of dubwise rhythmic traces. their glow begins to pool between the gaps in the wires as we zoom, in four jumps, from a the span of a familiar room to the diameter of a paranoid microscopic twitch. Externalism all the way down. two longtime collaborators re-render: loveshadow’s anya prisk again lends her voice, wrapping a heavy halfstepping throb in her signature panorama of sheer and lace. sean conrad, west coast stargazer and steward of the inner islands label, paints wistful figures with his ewi. moving closer, the arrangements reappear as hollowed-out echoes, shedding their semantic forms as their edges leave view. closer still, the surface becomes a total matrix of vision comprised of countless flickering bits.

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REPRESS ALERT: Underground house from Olivier Portal (Playin' 4 The City). Track A2 & B1 were originally released on the Backshop EP on Tropism Records 2002, an EP thats very hard to find around on vinyl and the EP comes with a fresh new cut called, Minor Track which incorporates those classic P4TC vibes & deep rhythms.

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While continuing in the spirit of Dope Jams NYC Volume 1: 2005-2012, which compiled some of the shop’s most cherished tracks from its seven-year run in Brooklyn, here 10 years later we present the collection’s second addendum EP. It moves partially beyond the title’s timeframe – pulling together a couple of the store’s more recent favorites since its 2013 reopening upstate, along with two older gems from its Myrtle Ave days.



Kicking things off is a full-sided pressing of aptly titled techno stormer “Direct Contact.” Bursting forth with a no nonsense, party rockin’ swagger, Greek producer June’s blistering monster of a tune swiftly unleashes an arsenal of arpeggiated synths, jackin’ percussion and out-of-nowhere flourishes with the single-minded purpose of movin’ the crowd. Gracing the B-side are a trio of selections that occupy far moodier terrains. “Imprints,” the lead-off track from T.E.A.L.’s debut LP Cuttings, is a fine example of Dope Jams’ long-held but largely overlooked penchant for dark and dynamic ambient musics. Heavily textured with ripping distortion and space-enhancing tape delay, the piece offers up a brief yet haunting dispatch from a doomed and desolate mind-state. In a more upbeat vein, “Music on My Mind” looks back almost 25 years to the creative apex of Garden State garage royalty Smack. Operating under their Mental Instrum alias, the low-profile production unit crafts an elegant blend of feather-light chords and bumpin’ kicks to firmly underscore guest collaborator Storm’s sincere vocals. Fittingly capping the record is “Blast Knuckles,” the first completed – and hitherto unreleased – track by Dope Jams friends Beige. Rawly produced yet intricately layered, it sketches a fleeting picture of the unique style of lo-fi deep techno the duo developed over the course of their woefully brief partnership.

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Adam Feingold’s ‘nothing is a field’ EP subtly drifts between reductionist house and minimal tech geometry.

200 copies only.

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