Strut Records proudly presents the first definitive expanded reissue of Somewhere Over The Rainbow, Sun Ra’s 1977 session recorded at the Bluebird in Bloomington, Indiana, presented across three Vinyl LPs or as a two-CD set. Please note the differing tracklist between the CD & LP.

Tracklist:

CD1
Shadows Of Infinity
Pleiades
Discipline 27
Equation Of The Myth
Keep Your Sunny Side Up
Saturn Speaks
Neptune / The Voice Of Ebah
Yesterdays
Yeah Man!
King Porter Stomp
Lightnin’
St. Louis Blues
The Mystery Of Two

CD2
Bluebird Set #2 Piano Solo
We Live To Be
Bye Bye Blackbird
Gone With The Wind
Amen Meni Many Amens
Take The ‘A’ Train
Images In A Mirror
Outer Reach Intensity Energy /Cosmos Rendezvous
Bluebird Shuffle
Next Stop Mars
Over The Rainbow
I’ll Wait For You
Make Another Mistake



Listen CD: listen.k7.com/b01ccfd6-efdd-4956-94ac-49afda30a934

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Strut Records proudly presents the first definitive expanded reissue of Somewhere Over The Rainbow, Sun Ra’s 1977 session recorded at the Bluebird in Bloomington, Indiana, presented across three Vinyl LPs or as a two-CD set. Please note the differing tracklist between the CD & LP.

Tracklist:

CD1
Shadows Of Infinity
Pleiades
Discipline 27
Equation Of The Myth
Keep Your Sunny Side Up
Saturn Speaks
Neptune / The Voice Of Ebah
Yesterdays
Yeah Man!
King Porter Stomp
Lightnin’
St. Louis Blues
The Mystery Of Two

CD2
Bluebird Set #2 Piano Solo
We Live To Be
Bye Bye Blackbird
Gone With The Wind
Amen Meni Many Amens
Take The ‘A’ Train
Images In A Mirror
Outer Reach Intensity Energy /Cosmos Rendezvous
Bluebird Shuffle
Next Stop Mars
Over The Rainbow
I’ll Wait For You
Make Another Mistake



Listen CD: listen.k7.com/b01ccfd6-efdd-4956-94ac-49afda30a934

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Germany
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Strut Records proudly presents a new reissue of the original Afrobeat classic Low Profile (Not For The Blacks), recorded and composed by Afrika 70 saxophonist and bandleader Lekan Animashaun and produced by Fela Kut

Listen: listen.k7.com/32398358-5ea9-49db-9ba3-cc2b59487d4e



Tracklist
A Side:
1. Low Profile

B Side:
1. Se Rere

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Tracklisting
A1 Frenk Dublin - Echo From a Galaxy far, Far Away
A2 Frenk Dublin - Useless
B1 Frenk Dublin feat. Tenor Love - I Love Music
B2 Frenk Dublin feat. Tenor Love - I Love Music (SND & RTN remix)

Sales Note
16th installment. We keep diggin deeper. Featuring Tenor Love on Vocals and SND & RTN on remix duties. Mastered on a reel to reel tape machine, cut on 180g marbled turqoise vinyl.


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Magazine

Short info:

Efficient Space publication ENTHUSIASMS returns from a reluctant gap year with Issue #04. 96 pages of full-colour, hardcopy-only content. Featuring documentation of Keanu Nelson Tjakamarra's 2025 Pass~Port Gallery exhibition, the future-past minimalism of South Korean composer Park Jiha, and a direct exchange with Bruce Gilbert (Wire, Dome). Drew McDowall traces a path from Paisley punk to Coil's ritual electronics, alongside three decades of The Garbage & the Flowers, a conversation with Melbourne art icon Maria Kozic, and the monolithic archive of Australian art-jazz duo Tolley & Dara. Elsewhere, Time Is Away's Searchlight Moonbeam universe takes in Penny Davenport's anthropomorphic creatures and the King of Luxembourg himself, Simon Fisher Turner. Interspersed with imagined playlists from Mad Professor, Flo Dill, Asa Tone, Chee Shimizu and Mil Townley. Perfect bound and designed by Steele Bonus.

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Panasonic 12-inch is the very first release by the seminal experimental techno act, originally issued in 1994. Later, the band was forced to change its name to Pan Sonic following a threat of legal action from the company. Panasonic 12" consists of two stripped-down techno tracks without any embellishment. The artwork also features the original 1994 rubber stamp design.

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340 page, beautifully written, designed and printed, hardback book
ISBN: 978-1-0687642-2-6

Keep the books coming, keep the music coming, keep the art coming. When you think
you know everything, you can miss out on a lot. When you realise you don’t [know
everything] the floodgates come down a bit and you start following literary links and
musical links that you might not have made before. It’s a whole new parallel universe.”

Andrew Weatherall, 2015

Today Disco Pogo is delighted to announce A Disco Pogo Tribute To Andrew Weatherall,
a 320-page hardback that gathers everything we love about the man and his music. It is
the fourth in our hardback Tribute series – following Daft Punk, Aphex Twin and LCD
Soundsystem – and the long-overdue successor to the sold-out and hard to find Jockey
Slut Tribute To Andrew Weatherall from 2020.

Inside you’ll find the best of that original Jockey Slut book, plus more than 200 pages of
brand new material – fresh essays, oral histories, interviews and photography from the
writers, photographers, musicians, producers, DJs, designers and friends who knew
Andrew best.
The book is being published with the full blessing, approval and cooperation of the
Weatherall estate, who will also receive a share of the profits from the book.
From the fanzine kid at Boy’s Own to the producer who rewired Primal Scream and
made ‘Screamadelica’ sound like the future; through The Sabres Of Paradise, Two Lone
Swordsmen, The Asphodells and the much-loved A Love From Outer Space night and
Convenanza festival, Weatherall left behind a body of work, a sensibility and a way of
carrying yourself that is still being unpacked six years on. This is the book that tries to do
all of it justice.
Highlights include: an interview with Bobby Gillespie that goes beyond ‘Screamadelica’,
essays on ‘Sabresonic’, ‘Haunted Dancehall’, the Two Lone Swordsmen and his solo
releases, plus a look into his many remixes. In addition: oral histories on his early years,
A Love From Outer Space and Convenanza, an interview with Timothy J. Fairplay on
The Asphodells and a celebration of his art work and his NTS radio shows. And then
there’s the Disco Pogo Tribute regulars: a timeline, family tree, a studio gear deep dive,
discography and more…
Featuring interviews with Sean Johnston, David Holmes, Jagz Kooner, Leftfield, Shaun
Ryder, Chemical Brothers, Terry Farley, Dot Allison, Beth Orton, Irvine Welsh, Daniel
Avery, HAAi, Tia Cousins, Steve Mason, Richard Fearless and many more.

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This is not a Ben Vida, Booker Stardrum, and Will Epstein record; it’s a Play Time record. That’s a subtle but important distinction, for a couple reasons. One, the sound of Magic Object—a polymetric blend of improv and pulse minimalism for saxophone, drums, and Moog—doesn’t really sound anything like any of their many other ensembles or respective solo projects. And two, it was only while making Magic Object, their debut album, that Play Time realized they were a band at all.

Let’s back up. The roots of the trio date to 2020-21, when Will and then Booker moved to the Hudson Valley, where Ben was already living. The three got into the habit of playing together at Ben’s house, and they soon realized that their hang sessions felt fundamentally different from making music in some falling-down studio in Bushwick. Where those experiences were rushed and cramped, a new sense of time and space now suggested itself. Where once they rat-raced the music, now they relaxed into it.

Early gigs yielded similar revelations. A booking at Tubby’s, the beloved Kingston venue, evolved into a kind of residency. Tubby’s is a small space, fitting around 100 people, with a bar in the front room and a stage in the back. Play Time decided that they didn’t want to play on the stage; they wanted to play in front, among the people in the bar. Rather than hogging the spotlight and overpowering the other voices in the room, they blended with the energy of their surroundings and emerged as a sort of minimalist-jazz-krautrock bar band.

Gradually, they discovered a newfound “elasticity”—Ben’s word—that reshaped the music from inside. “It’s this communal thing,” he says. “It’s vibes. And it’s embedded in the community up here, which feels really vital and nourishing.” They were jamming, but it wasn’t just a free-for-all; they found themselves listening to each other in new ways. “Ben and Booker joke that they’re always playing in different time signatures,” Will says. “We’re all going forward with our own ideas, but we’re open to each others’ as well, and they’re all sort of dancing together.”

“We all have our painterly solo projects,” Will says—where, Booker adds, “we do a lot of studio arranging and thinking and composition that takes shape over a period of time.” Play Time, on the other hand, is all about being in the moment. That spontaneity was key to the process of recording the album. They booked two days in their friend Joey’s studio, a converted wooden barn. “It’s just a live room,” Booker says. “There’s no separation or anything. So we’re all in the space together and it’s got this beautiful, woody sound, and that’s very much the sound of the record.” For two days, they just jammed, for seven or eight hours each day. When it was over, they went through, edited down the portions they liked, and added very judicious overdubs designed to enhance the original recordings without fundamentally altering them, staying true to the spirit of the sessions.

The result is something like a snapshot and a mission statement all rolled into one. “You’re hearing us discover the voice of the band in real time,” Ben says. “We finished those sessions and we were like, ‘Oh, that’s what our band sounds like now.’”

Now, with Magic Object, the rest of us get to find out too.

—

Balmat is a label with a cloudy outline. Jointly shepherded by Albert Salinas and Philip Sherburne, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show born almost ten years ago. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.

“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.

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Building on the momentum of their acclaimed debut, The Return Of - championed by FIP Radio, Craig Charles BBC Radio 6 and Reggae Vibes magazine - The Flying Hats return with a 7” featuring Traffic Light, the first taste of their upcoming LP Ups

Listen: https://listen.k7.com/dddd1830-9197-49e4-be3e-da33fd93915d

Tracklist
1. Traffic Light
2. Bust Up

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Revered selector Moodymann remixes ‘Take Me As I Am’ by Detroit artists Dames Brown, from their 2026 Defected LP of the same name. First distributed as a super-exclusive dubplate at Amsterdam Dance Event in late 2025, this avant-garde remix showcases a master at work, transforming the soulful feel. ‘Take Me As I Am’ into a provocative, groove-laden sonic experience for heads in the know. Kicking off 2026 with a bang, Dames Brown’s hotly anticipated full-length LP ‘Take Me As I Am’, presented by Amp Fiddler, paid homage to the late Detroitpioneer while re-introducing the vocal-house trio to the world. Across 14 tracks, the Dames weaved together their disco, R&B and house influences and c laborated with Eddie Fowlkes, Andrés, Waajeed and Amp Fiddler himself. The critically acclaimed LP was recognised by DJ Mag, Mixmag and Billboard, with the latter noting the project is “dripping with all the soul, style, funk and feeling that you might expect from the powerhouse Detroit trio.” Title track ‘Take Me As I Am’ represented the album’s elevated house sound in full, and now this fresh re-arrangement by fellow Detroiter Moodymann has arrived.

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Double LP + 4-page insert

Originally released by Time Capsule in 2021 and long out of print, Stories From Another Time 1982-1988 returns in an upgraded edition following years of demand and rising collector prices on the secondhand market. Widely regarded as a modern cult classic, Mário Rui Silva’s visionary recordings blend acoustic folk, cinematic soul, spiritual jazz and saudade-filled Lusophone rhythm into a deeply timeless and universal work that transcends genre and geography.

This new edition features half-speed mastering cut at Metropolis alongside an expanded 4-page insert with a tribute essay and unseen photographs following Silva’s passing in 2024.


The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva 1980s albums.

Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing.

Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation.

It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’.


Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell.

It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process.

What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves [which] gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism.

“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.”

A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism.

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