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KASSEL JAEGER Sub Re LP/CD Shelter Press SP170 Release date: July 10, 2026 kasseljaeger.bandcamp.com/album/sub-re With this major new album, entitled Sub Re, Bonnet continues his long exploration of the musical possibilities of sound, extending the concrete approach developed at the Groupe de Recherches Musicales and revitalizing it through an exposition that focuses less on the clear manifestation of sound material than on its ambiguous evocation. Sub re, in Latin, can mean “under the thing, under the substance, under the matter.” It's precisely this direct approach to music, drawing on the extraction of raw sound material, that forms the basis of this album. Under the matter thus signals the concrete aspect of music, but not the concrete that is transfigured, becoming vapor and form, the substrate of an idea. Rather, it signals the concrete beneath the concrete, in the immanence of sounds, in their becoming, as a driving force, like a tide, like a vault of imperious and powerful matter. To achieve this, Bonnet draws on a multitude of sound sources (acoustic, electronic, natural or artificial, created on purpose or found by chance) and a plurality of contexts and occasions to give them form. The movement, a shell, a bell, a spell, for example, was heard for the first time during a concert organized in Venice in connection with Latifa Echakhch's contribution to the Swiss Pavilion at the 2022 Art Biennale, while the last movement on the record, signalmirror, concluded a piece presented at the first Sound Biennale in Sion (Switzerland) in 2023. These elements, formed and detached from their original context of appearance, of the places and people who made them possible and listened to them, contribute to a complex layering of climates and sonic worlds and help create a contrasting album, where density and tenuity coexist in a succession of moving waves, sometimes laden with memories, sometimes filled with regrets, always set in motion by their own morphology. Artwork by Ron Jude Design by Bartolomé Sanson Photo by Eléonore Huisse @shelter_press @kasseljaeger @ron_jude @bartolome_sanson @eleonore_huisse #shelterpress #kasseljaeger . .

tsx x sue tompkins - recur⁷ farmersmxnual presents - generate and test gt104 public street date June 3rd tsx1.bandcamp.com recur⁷ is the sixth mini album in the recur series. To recur is to come back to a similar, but never the same spot, exactly. While going around, old idiosyncracies are transmuted, new pockets charted, and sometimes everything jumps into an entirely new orbit. For recur⁷, tsx and Sue Tompkins teamed up again in an asynchronous dance spanning five years plus of IRL time. That is a long time for a compact little five track 15 minute package like this, and what is the deal? No single reason of course, most prominently maybe some self-imposed barrier to just letting it go, because it has grown dear to the heart. Multiplied by bad timing and unrelated personal crises that had to be overcome in succession. The basic tracks go back to 2019, added two rounds of iteration over the years, a single pre-release of the first track on soundcloud, all ending up in a private release in 2024, with only cosmetic changes since. The hi-hatesque chaos backdrop in „mute their knee“ and „the pleasure of completed action“, comes from the attempt to emulate the simple sonic experience of raindrops hitting a skylight. These takes are interspersed by some limit lifting with metric grids in a tool world dominated by the number four. Vocals were recorded by Sue in various casual settings into her phone. On „easily live for“, „dream city times half“, and „just so, so just“ the recordings are sliced into small chunks and sorted into heaps by their sonic similarity, as perceived by an audio similarity algorithm & model. The placement of the sliced and sorted vocal chunks is done with a small program that has beat perception, rearranging everything into a state of second order dissociation. Fragments of meaning disappear faster than it takes them to be vocalized. This is the „mixing enzyme“, a little machine that moshes the timing and volume of sounds. @farmersmanual @norbertniemand4893 @suebbbb2003 #generateandtest #oswaldberthold #suetompkins . .

LAWRENCE ENGLISH The Rest Is My Ghost LP Room40 RM4250 Release date: August 7, 2026 lawrenceenglish.bandcamp.com/album/the-rest-is-my-ghost “Ruins are the style of our future cities, future cities are themselves ruins.” - Izosaki Arata A Note From Lawrence English Nostalgia is not an ideology, though in this moment, we could be mistaken for thinking it might be just that. Over the past years, the idea of nostalgia has been filtered through various political and technological lenses and has become a tool used for forgetting, rather than remembering. Instead of embracing histories’ complexities and inconsistencies, this version of nostalgia seeks only singular recollection. This contemporary phenomenon of nostalgia has become a methodology at best, and a weapon at worst, used to erode the past and project forward a collapsed and unimaginably sanitised version of things, places, and ways of being from former times. It’s this projection that sees it playing a mounting role in a social pathology associated with reducing the imagined possibilities of future. The Rest Is My Ghost is a record that interrogates the manifestations of this reductive futuring and celebrates those that have tried (and failed), and those who continue to push back against decayed and revisionist positions. It’s a record that considers the weaponisation of nostalgia for the purposes of cloaking possible futures. In recent times, I’ve proposed a term for this weaponised use of nostalgia, something I have called Acid Nostalgia. I offer it as a shorthand to describe the de-contouring of the future through a corrosive fixation on a flatten rendering of the preceding times. It is, in part, a certain type of lazy cultural scripting where tropes of the past are presented in the absolute, as empty pictorials; photocopies without any original from which to draw actual meaning, or useful detail. Design and photo by Traianos Pakioufakis Contributions from Chris Abrahams Tony Buck @madeleine.cocolas @matsgustafssonsax Thor Harris Lena Ito @chuckjohnsonmusic Peter Knight Sean Mackenzie @brodiemcallister @heinzriegler @normanjwestberg Rully Shabara et al. @room40shoots @traianos #room40 . .

NEA ENSEMBLE Orizzontale DL+QR code on wooden Stamp NEA Editions NEA001 Release date: June 26, 2026 neaeditions.bandcamp.com Francesco Altieri — analog synthesizers, sampler Daniele Antezza — musical direction, live electronics Pino Basile — frame drums, percussion Pietro De Ruggieri — analog synthesizers, tape decks Tommaso Di Marzio — drums & percussion Angelo Manicone — tenor sax, prepared brass instruments Eufemia Mascolo — double bass, esraj Giuseppe Nicoletti — electric bass guitar, electronics Federico Nitti — artistic direction, visuals Luigi Scaramuzzo — analog synthesizers Andrea Taeggi — digital synthesizers Giusi Zaccagnini — vocals Inspired by the core principles of the group’s manifesto, the work explores the meaning of horizontality — intended as the absence of hierarchies and authoritarian structures. A value system that not only guided the artistic process but also shaped the interaction of the ensemble during the artist residency and the concert from which the entire work emerged. The work bears witness to and encapsulates the diverse personalities involved — often very different from one another — creating connections between worlds that do not necessarily converge: the spectrum ranges from free improv to heavy electronics, from jazz to echoes of traditional Mediterranean music, all the way to dub, noise, and elements of experimental theater. The result is an eclectic, unexpected, and evocative mix, free from boundaries and stylistic definitions: the fruit of an encounter as surprising as it is genuinely collaborative. Cover art by Tiziana Salvati Photo by AVIE Studio @luigi_scaramuzzo @andrea_taeggi #neaensemble . .

FEDERICO DURAND La Manzana Mágica LP 12k 2063 Release date: May 22, 2026 federicodurand.bandcamp.com/album/la-manzana-m-gica One of 12k’s most endearing artists is back with a new album. From Argentina, Federico Durand presents La Manzana Mágica, an album in signature Federico style inspired by his collection of Cinderlla stamps, in a way only Federico could do. Named after the folk-tale heroine, Cinderellas, ade throughout the last century, were considered inferior to official postage stamps, but became a sought-after collector’s item. There are some pieces whose origin, circulation context or illustrator’s name are unknown. Many Cinderellas have designs that seem taken from oral tradition and are often beautifully crafted; even those that were made to promote products, like books. They are echoes of a world gone by. Probably one of his most gentle, open and fragile albums to date, a Manzana Mágica is for sure an exercise in restraint, in letting the listener’s imagination wander around the space in between his sounds. His pure synthesizer tones and tape machine maniuplations take on an ethereal, almost haunting quality, perhaps feeling a bit darker than some of his other work. The inspiration and relation to the often-mysterious nature of the Cinderlla stamps is apt. @12k_label @flor_imaginaria #12klabel #federicodurand #cinderellastamp #cinderellastamps . .

ANTOINE FERRIS [KAAARST] CD Carton croixcroix42 Release date: May 8, 2026 cartonrecords.bandcamp.com/album/kaaarst [KAAARST] is the debut album of bassist Antoine Ferris. A solo record where raw, industrial sounds collide with pop and electronic influences. throughout the tracks, a dialogue emerges between the bass and the random rhythms generated by effects pedals, infused with a singular sense of melancholy. [KAAARST] brings together a range of playing techniques, such as feedback, percussive sounds created by striking the instrument with the hand or using a butter knife, as well as sampling techniques borrowed from electronic music. Alongside solo improvisational pieces, the album also features original collaborations such as “shame’s coming” with Natacha Kanga and “la nèu” with occitan singer Louie Z. Genres: Experimental music, noise, impro, hip hop, industrial, pop Photo: Lena Vissler @cartonrecords @antoineferris #cartonrecords #antoineferris . .

MICK HARRIS & MARTYN BATES Murder Ballads [Incest Songs] 2LP Sub Rosa SRV514 Release date: May 15, 2026 subrosalabel.bandcamp.com/album/murder-ballads-incest-songs "May she comes and May she goes…“ Incest Songs is the final chapter of the Murder Ballads trilogy, and its most fully realized expression. Where Drift and Passages explored the post-isolationist frame through voice and single instrument, this third volume dispenses with that approach entirely, opening instead onto a more labyrinthine sonic architecture - one built from overlapping, saturating, blurring voices, all of them Martyn Bates'. The decision feels both inevitable and quietly inspired. Bates' vocalizations unfold as layered calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resolving into a mesmeric conversation of musical inferences and correspondences. There is a mellifluous, dream-like quality to the whole - infused with that characteristic stillness that slow, hypnotic unfolding of gossamer subtlety - yet never quite losing a certain drugged, disquieting beauty beneath its surface. Incest Songs pushes the post-isolationist form further out than either of its predecessors, innovating and extemporising with a dazzling assurance. And yet, remarkably, this remains a territory still almost entirely unexplored by other artists - the sole province, it seems, of M.J. Harris and Martyn Bates. As Bates himself reflects: "I feel, in personal terms listening to it, I think it's easy to detect that the whole thing has been a truly exhilarating experience for the both of us, realising and developing this strange, sublime creature of ours and now I guess it's up to others to take up the challenge, to build on what we've done and I think that there are still SO MANY fantastic possibilities." @subrosalabel mickharris1884 #martynbates #subrosa #mickharris . .

IVO PERELMAN, MATTHEW SHIPP, WILLIAM PARKER, BOBBY KAPP Synesthesia CD defkaz records fk030 Release date: July 5, 2026 defkaz.com / defkaz.bandcamp.com/album/synesthesia Ivo Perelman - tenor sax Matthew Shipp - piano William Parker -bass Bobby Kapp - drums Following the acclaimed Ineffable Joy’ and Heptagon, the group continues to explore spontaneous composition, open form, and strong collective interplay. This time, the music leans further into a modern jazz language, with sharper focus, clearer shapes, and a refined sense of flow. Synesthesia presents a band that listens closely and reacts instantly. Perelman moves across the full range of the tenor saxophone, from soft, fragile lines to intense high-register cries. Shipp builds circular patterns and subtle melodic ideas that guide the music forward. Parker anchors the sound with deep, resonant bass lines while opening space for dialogue. Kapp adds color and motion with detailed cymbal work and flexible rhythms. The emotional range of the album is wide. There are moments of high energy and release, followed by quiet, introspective passages. Melancholy and joy exist side by side. The music expands, breaks apart, and reforms, keeping a constant sense of movement. As in their previous work, there are no fixed structures. Each piece develops naturally, shaped by the interaction of the four musicians. Elements of free-bop, blues feeling, and abstract sound textures come together in a fluid and organic way. Design by ajax19 Photo by Jim Clouse @defkaz_records @ivoperelman @m_shipp1969 @littlehueymusic @ajax19.gr #ivoperelman #matthewshipp #williamparker #bobbykapp . .

TOM RAWORTH GIANCARLO NINO LOCATELLI A Decent Run 2LP/2CD WE INSIST! Records LPWEIN36 Release date: May 28, 2026 weinsist.bandcamp.com PIPELINE Tom Raworth - poems, recorded spoken voice Carla Kihlstedt - voice, violin, viola Giancarlo Nino Locatelli - clarinets, accordion, carillon Sebi Tramontana - trombone Alberto Braida - piano Luca Tilli - cello Andrea Grossi - double bass Cristiano Calcagnile - drums, percussion + Valeria Sturba - voice (04, 10) + CLANDESTINES John Corbett & Terry Kapsalis a music box by T. Raworth, Lou Mallozzi turntables and whistling, Steve Beresford piano and little objects, Valeria Sturba theremin, Paolo Gaiba Riva alto clarinet and electronic, Bruce Ackley soprano sax, Joelle Leandre double bass and voice, Charbel Haber electronic, Gabriele Mitelli piccolo trumpet and electronic, Gianmaria Aprile guitar and effects, Larry Ochs tenor sax, Mazen Kerbaj trumpet. “A Decent Run is the result of a journey that began in 2000 and was recorded in 2024, seven years after the death of Tom Raworth, whose poems I used as the basis for ten tracks—ten songs—to which I added two pieces by Steve Lacy. It is a journey through many different kinds of music, lyrics, images, and sounds, yet one shaped by a single principle: the idea of music and improvisation as a collective, choral process, in which space and prominence are given to individual voices, instruments, guests, and words. The choral dimension that characterised Ahead of July (We Insist! 035), a fully improvised concert, reappears here in our engagement with written material, in close dialogue with the spoken and sung voice.” — Giancarlo Nino Locatelli @weinsistrecords #tomraworth @giancarloninolocatelli_music @carla.kihlstedt @sebisebi @alberto_braida @andreagrossiofficial @wavelenght @sturbix #weinsistrecords . .

PHIL COY 60bpm 33rpm LP Flaming Pines FLP160 Release date: June 26, 2026 flamingpines.bandcamp.com/album/60bpm-33rpm The first side of 60bpm 33rpm is a stereo version of Phil Coy’s surround sound-installation titled sixty beats per minute, which took place at St George’s Church back in May/June 2025. An LED screen displayed a timecode synchronised to the speed of the church’s clock, while speakers amplified the sounds of the clock’s ticking and the ambient surroundings of Ramsgate. After six minutes, the timecode switched direction and the audio flipped into reverse, with so-called “real time” giving way to a backward playback of the six minutes just elapsed. In its stereo version, the installation’s visual element is transposed to the “sculptural object” of the vinyl record – the first time Coy's sound work has been issued in the recorded format – with the spinning grooves acting as a poetic allusion to the circular mechanisms of the clock. Given the installation's thematic reflection on rigorous imposition of clock time in the modern world, it’s perfect that the flipside of the record should be a live dub expansion of the piece led by chrono-manipulator Adrian Sherwood. Together they unravel the clock's steadfast metronomy, subdividing time through all manner of delay FX, swooping horn riffs and shuffling dub beats, before passing out into the infinite loop of the locked groove. We imagine a clockface complicated to the point of redundancy, sprouting several hands that whirl in disparate directions, cogs buckling under the multidirectional flow, inciting a blissful abandonment of mechanised timekeeping altogether. -- Jack Chuter Original concept and cover photography by Phil Coy All tracks produced and mixed by Adrian Sherwood at On-U sound studio Ramsgate, Kent Engineered and mastered by Mathew Smyth Tracks one, two, three, four feat. Mark Bandolla on Guitar and Keyboards, Duncan Mackay on Trumpet, Alex White on Saxophone and Flute and Ivan Hussey on Cello Tracks one and three feat. Spoken word by Andy Fairly Track two feat. Vocals by Sinead O’Conner @flamingpines @philcoy_ @onusherwood @jack.chuter #flamingpines #adriansherwood . .

AKUSMI Terra Incognita LP/CD Tonal Union TU020 Release date: July 3, 2026 akusmi.bandcamp.com/album/terra-incognita Akusmi announces Terra Incognita out July 3 on Tonal Union, featuring Sarathy Korwar, Dudú Kouate, Marysia Osu and more 

Cartographers and US multinational technology corporations might think they’ve mapped out most of our big, beautiful blue planet, and yet there’s always more to discover if you know where to look. French-born, London-based composer and musician Pascal Bideau takes this as his central premise on a new album of intrepid sonic exploration that delights in the sensation of being somewhere you’ve never been before. Terra Incognita invites us to seven faraway sonic imaginariums fusing global and spiritual jazz with life affirming minimalism into a hypnotic, polyrhythmic odyssey. This time, the albums’ sound palette is more vibrant, earthy and abundant, drawing inspiration from the radiating optimism and high-energy sources heard in Afrobeat, Highlife and Electronic Afro-pop music, sounding looser, free and primarily interested in raw sensations. Antithetical to the precise ostinatos and gamelan patterns of the acclaimed debut Fleeting Future (2022) and Lines (2023). Terra Incognita, then, is a hybrid blend of traditional music and modern electronics, a trip into the unknown that ambulates freely, taking pleasure in its repetitions and never staying still. Bideau suggests this unmarked territory could be as much a fantasyland as it is a transportive journey into the inner self. Artwork by Jacob van Loon Photo by Dan Medhurst @tonalunion @akusmi @sarathykorwar @dudukouate @marysia_osu @danielbrandt_ @mattiasmimoun @jacobvanloon @danmedhurst #tonalunion #akusmi . .

LEO SVENSSON SANDER La belle année (Original Motion Picture Soundtrack) DL Thanatosis THTD7 Release date: May 8, 2026 thanatosis.bandcamp.com/album/la-belle-ann-e-original-motion-picture-soundtrack The EP “La belle année” brings together music from—and shaped in the process of making—the hybrid documentary of the same name, directed by Angelica Ruffier, and features performances by Leo Svensson Sander. pianist Alex Zethson and clarinettist Per “Texas” Johansson; all written by Leo Svensson Sander.
 The starting point for the music was a desire to work mainly with solo instruments—a sense of closeness to the musician, creating a tactile, physical connection to the screen. From there, the music unfolds along two paths that follow the film’s main themes.
 One moves through the daytime: everyday life, chores, emptying a house after your father’s death—mourning, coping, putting one foot in front of the other. The other belongs to the night: music of dreams, desires, memories, fantasies, dissolution. The pieces often spring from small motifs, which are then expanded in tonal range or number of voices, augmented or compressed in time. Or mirroring each other, reflecting another of the film’s themes: the teenage obsession of the protagonist’s history teacher—“I want to be like you. No, I want to be you.” Listen for instance on “Spegel” – whenever one voice goes up, the other goes down. On the EP, the pieces are in some cases arranged in groups centred around a theme or motif, forming a kind of suite of variations—sometimes clearly, sometimes more associatively. Artist photo by Peter Lloyd @thanatosis_records @leosvenssonsander @angelicaruffier @alexzethson @pertexasjohansson #thanatosis #thanatosisproduktion . .