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Independent music specialist
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Recent posts
@j_a_b_u_j_a_b_u’s ‘Severn Flood Plain / Where You Run To’ EP is OUT TODAY, feat. @will_memotone (clarinet / cello), @horsleyjosh (cello) + dubs by Birthmark.
“Jabu are the true torch carriers of a classic, downbeat type of Brizzle melancholy that’s resonated from the city since the ‘90s - Massive Attack, Tricky, Flying Saucer Attack, Portishead and so many others - and now found recombined with aspects of chamber music and post-punk in a hauntingly beautiful sort of slowcore succour… A sureshot for diehard romantics” (@boomkatonline )
Released in a 140gsm black bio-vinyl edition of 500 copies, with a Boomkat edition on bright white 140gsm bio-vinyl limited to 100 copies.
Read more / listen / purchase via link in bio.
Distributed by @cargoindependentdistribution
Mastered by @amir_shoat
Artwork by @skkinz
Vinyl pressed at @seabassvinyl
06 Nov 2026
A stunning new one from U.e. aka Ulla lands outta nowhere; recorded on the fly with rudimentary gear and dubbed using a cheap stereo recorder - honestly maybe their best work, just gorgeous, lowercase chamber music 10/10 ✨
‘Carrots’ is part dream diary, part travelog, pieced together while Ulla was on an extended trip away from home. Without any gear or instruments to hand, they bought a cheap used recorder and made the most of any makeshift instruments they could find, documenting the experience as it unfolded. And it’s the most unfussy, quietly affecting set we’ve come across in ages, following a lowercase aesthetic to its terminus, stripping away any of the extraneous fluff that blights so much affectedly experimental gear.
U.e. (Ulla) - Carrots, limited edition 10” now shipping at boomkat.com
@ull___________________________
@28912_________________________
05 Nov 2026
With a killer new Supersilent album on the horizon, Smalltown Supersound give life to a years-in-the-making collection which looks at Norway’s foundational experimental scene 1991-2001, featuring rarely heard music from Supersilent, Deathprod, Lasse Marhaug and many more. Trust, it’s a lot.
Pooled from private press editions, short-run LPs, demo tapes and long OOP CDrs, ‘Towards a Cosmic Music’ celebrates the genesis of Norway’s Smalltown Superound label by finally providing a successor to 1999’s seminal ‘Le Jazz Non’ compilation with a selection of isolationist sounds that exist in the space between ambient, noise and minimalism.
Established in 1993 in the tiny town of Flekkefjord in Norway when Joakim Haugland was still at high school, Smalltown Supersound quickly established itself as a beacon for avant sounds from across the spectrum, championing material from local eccentrics like Kim Hiorthøy and Lasse Marhaug while reaching out to other fertile DIY scenes in New Zealand and Japan. The label’s first compilation, ‘Le Jazz Non’, still stands as one of the era’s defining sets, making a case for Norway’s place on the global noise pantheon.
But as Haugland has matured, his understanding of the scene has deepened significantly. “It was not just noise as I claimed in 1999,” he admits now. “I found it to be a lot more.” So ‘Towards a Cosmic Music’ is a rare revisionist account that feels vitally necessary. It examines the years leading up to its predecessor, in fact, rebranding the scene as “noise minimalism”, which would sound like a contradiction if you weren’t already familiar with the players and material involved. It’s a sound that was inspired by noise, DIY music, post-punk and heavy drone rock, but didn’t look to replicate its dynamics.
‘Towards a Cosmic Music’ is a truly stunning document of a scene that has evaded proper categorisation for decades at this point - and quite likely the best compilation we’ve copped this year.
Towards a Cosmic Music - Noise Minimalism, Norway, 1991-2001 - deluxe LP now shipping at boomkat.com
@smalltownsupersound
05 Nov 2026
Dawuna’s fourth “proper” album is his most polished to date, a bumper volume of brittle love songs that’s as charmingly weathered and ornately lettered as his flawless debut, tipped FFO D’Angelo, Prince, Kate Bush, Jai Paul...You already know.
‘Love’s Arp’ is an uplifting “comeback album” that massages a different part of Ian Mugerwa’s psyche, focusing on “pure romance.”, that smouldering essence that pervades even his darkest music - there’s a good reason why he’s customarily compared with D’Angelo and Prince - but he’s never quite been so upfront with the themes as he is here.
More than ever, there’s a surging undercurrent of classic romantic pop: the kind of spirited, gospel-rooted sounds that have provided the backbone for American popular music for longer than culture wants to remember. That’s never been more evident than it is on the lilting ‘Love Wants a Family’, where Mugerwa moans seductively over a swinging, syncopated beat that’s part jazzy lounge, part vintage Skam. Take the vocals away and you’d have a completely different mood; Mugerwa’s stacked chorals and pained expressions wind through so many different musical ideas simultaneously it’s hard to keep track. Even the slowdown in the final third sounds as if it’s locked into a kaleidoscopic concept of Black romance that’s only been magnified in the last few years, possibly a nod to Barry Jenkins’ touching ‘Moonlight’.
Elsewhere, Mugerwa uses the opportunity to embrace his storied love of Sly Stone and Prince’s classic songwriting and production. On ‘True’, he fashions his best tribute to ‘Sign O’ the Times’, curving his clipped syllables around an industrial-strength beat and drill-style bass tweaks. And on ‘Love for Sly and Brian’ his slippery bass and detuned synths are charged with just as much eroticised eccentricity as anything from Paisley Park.
Dawuna: Love’s Arp, out this week at boomkat.com
@dawuna.world
@truepanther
04 Nov 2026
After what feels like an extended absence, Teresa Winter returns with a new project and album recorded in collab with Tom James Scott, highly tipped FFO Elodie, Seefeel, Svitlana Nianio, Popol Vuh, Bohren Und Der Club of Gore...
Working together as Spiral, and issued on Tom James Scott’s Skire label, the duo emerge from a three year gestation with elusive tastes of neo-classical, ambient ambrosia, spinning inwards to reveal a vast, blissed space sensitively shaped from a palette of synths, violin, guitars, bells and percussion.
Sketched to tape in Leeds and Barrow-on-Furness, to a backdrop of terraces, mountains and radioactive waste, ‘Spiral’ edges the pair’s familiar, respective sounds with a depth perception as hazy as the fells at dawn or sunset. ‘Fruits of the Earth’ establishes their dream physics in suspended layers of powdery harmony nestling Winter’s coos, a constant spirit that scents the more maudlin drift of ‘Meadowfire’ and shapeshifts to its most illusive on two lip-bitingly beautiful centrepieces burnished with an air of midnight jazz, as in ‘Departed’ and the smouldering chords of ‘Flashing Yellow Diamonds’ recalling details of Bohren Un Der Club of Gore scapes.
Roles are more fixed in the arabesque ‘Already Dreamed’, where Tom James Scott’s classical guitar (as heard on his works with Svitlana Nanio and Andrew Chalk) entwines Winter’s mantric drone, like a spiritual palate cleanser for the closer, ‘Details of a Sunset’, fathoming 10 minutes of beatific Eno-esque chorales and still, aerial, sensations thanks to the pair’s dead canny sense of proprioception, enhanced by the exquisite touch of mastering engineer James Plotkin.
Spiral, now shipping at boomkat.com
03 Nov 2026
Landing in the long shadow of Drexciya, Jamal Moss & Actress, Niagara return with a v strong new LP for Príncipe, featuring sick hand-painted sleeves by the don Márcio Matos - both front and back painted this time - every copy a unique work of art.
Ever since providing one of Príncipe’s earliest cat #’s, Niagara’s trio of Alberto Arruda, António Arruda, and Sara Eckerson have become the label’s most reliable outliers of style and pattern, shapeshifting between poles of avant dance and experimental electronics. ‘Cathedral Gótica’, as the name suggests, depicts them fraught with a sort of macabre gloom on seven parts that spell out a narrative arc from the hammering techno kick of ‘Estação e Torres’, thru the gill-breathing, subaquatic scenario of ‘Rua do Século’ subtly betraying an implied reference point of their native Atlantic coast.
It’s a full spectrum display of what separates Niagara from the crowd; they instinctively trample down a crazed line of Jamal Moss-via-Downwards ChiBrum techno in ‘C. 00’, into a damp patch of what sounds like a particularly grainy, bittersweet Actress in the dream-textured architecture of ‘Springfield, Ma.’, while swimming similar currents as Spencer Clark’s saturated psychedelia on ‘Novo Século’. And it only gets better in the final part of the tale, where they swoon into vaporised early ‘90s electronica redolent of Detroit Escalator Company on ‘Lua’, and a superb piece of concrète avant-electro shaped from deliciously deliquescent tones and skeletal rhythmic friction on ‘Gaivotas’.
Niagara: Catedral Gótica, vinyl now shipping at boomkat.com
03 Nov 2026
one of theeeeee wildest tapes you’ll cop this year now in stock and shipping, capturing Bengali soundsystems in all their screwed glory, usually played at ear-shattering volume on towering, homebuilt stacks
On the crazed heels of his mutant Makina sessions for Reel Torque, EVOL’s Roc tweaks 40 mins of psychotomimetic madness sourced from YouTube videos of Bengali sound system clashes, filmed between 2023-26, all dipped in Roc’s algorithmic sauce. West Bengal’s Dek Bass essentially distil sound system music to the barest, most potent fundamentals - sustained subs, siren wails, snippets of pop songs, and whatever the f they fancy - which become physically animated, psychedelically discordant with distortion via ruthless amplification.
Check the videos on youtube; you’ll see revellers in states of awe, and camera lenses literally shuddering from the pressurised environment. If you’ve ever felt a nostril flare from a good dub rig, imagine that doubled up with two stacks dangerously close to each other, and everything pushed into the red, and you can almost feel the effect. And it doesn’t take a great leap of imagination to join dots between that sound and Roc’s own, longheld focus on twisted, maximalist rave deconstruction, as vividly heard right here.
Bengali Mayhem Stereo, limited edition tape now shipping at boomkat.com
03 Nov 2026
Jabu assume their ultimate dreampop form on a killer new EP, inflected with the soft touches of Birthmark, Josh Horsley, and Memotone, and hailing a full album on the ’27 horizon, tipped FFO HTRK, Cranes, Mazzy Star, A.R. Kane, Maria Somerville, Hysterical Love Project.
It’s assurance, if it were needed, that Jabu are the true torch carriers of a classic, downbeat type of Brizzle melancholy that’s resonated from the city since the ‘90s - Massive Attack, Tricky, Flying Saucer Attack, Portishead and so many others - and now found recombined with aspects of chamber music and post-punk in a hauntingly beautiful sort of slowcore succour.
Each side plays to their growing strengths in songwriting and a taste for dub shaped by their city’s heritage. Up top, ’Severn Flood Plain’ sees Jasmine tell the tale of meeting a pal by the tidal estuary, set to a backdrop of vintage drum machine glinting like shore lights and tremolo’d guitar. The final coda of warbling synth is a real chef’s kiss, and the pleasures are only extended in the chamber dub graced by etheric cello from Josh Horsley ov Powders.
Down below, they dial up the heartache on ‘Where You Run To’, handing the mic to Alex Rendall lost in clouds of delay and suspended with Memotone’s clarinet over a reverberating, stygian rhythm harking back to Alex Zhang Hungtai’s early Dirty Beaches gems, before Birthmark’s ‘Hideaway’ dub floats off out the window on glistening pads and velvet bassline.
Jabu: Severn Flood - available on a boomkat exclusive white vinyl edition, now shipping for Friday release at boomkat.com
@j_a_b_u_j_a_b_u
@sixofswordslabel
02 Nov 2026
Tearing apart his process and starting again, Andy Stott nails sensual crepuscular pop on his first album in five years, stepping confidently away from the dancefloor and into that blessed interstitial zone between the basement and the bedroom - the same space inhabited by Throbbing Gristle, Antena, Prefab Sprout, AFX, Young Marble Giants, HTRK and Tricky’s short-lived Nearly God project.
The skills necessary for crafting music that hits on a stack of speakers and those required to arrange “proper songs” are markedly different - and very rarely shared. In Stott’s case, he’s at least got prior form. Since 2012’s ‘Luxury Problems’, he’s made his former piano teacher Alison Skidmore’s vocals one of the most recognisable elements of his sound. You couldn’t call it pop music, exactly, but there were more than faint traces of shoegaze, R&B and sophistipop as he sculpted tracks that dramatically redrew the blueprints inked by Seefeel, This Mortal Coil and Prefab Sprout. Even when the vocals stood out, they were usually used as texture: memory-triggering colours that buffed out his rhythms, grimey stabs and Ron Hardy-inspired basslines. And that’s why ‘Late Loop’ smacks like a boot to the jaw; on paper, it looks familiar enough with Skidmore appearing once again, this time alongside Stott’s Modern Love label-mate Elaine Howley, but sonically it’s a revelation, a suite of properly living, breathing songs that weave Stott’s screwed production into the voices, not the other way around.
The collaged recollections of heartbreak, distance and love’s perpetual echo are for the first time placed front and centre and Stott has never sounded more candid. His transition from club producer to art-pop auteur is complete.
Andy Stott: Late Loop - available on exclusive colour vinyl (pressed on pearl or lime green vinyl, selected at random), as well as black vinyl and a deluxe 6-panel CD Digipak, now shipping at boomkat.com
@andystottmlove
@ourmodernlove
@elainethowley
29 Oct 2026
Dub Techno x Cloud Rap from Parisian DJ, producer and label boss Nathan Melja and New Jersey rapper Yungwebster, delivering a strong new LP for Sferic that somehow bridges the gap between Rhythm & Sound, Future and Drain Gang.
It’s impressive to hear how well Yungwebster’s voice meshes with Nathan Melja’s supple 120BPM grooves; even though his albums have grazed dub techno, they’ve never leaned quite so far into into that rhythm & sound aesthetic. Melja impacts his subs between Chain Reaction-strength cracks and hisses, building a gaseous texture from Webster’s slurred, post-Future flow without losing the momentum for a second.
Melja flexes his cloud rap muscle by assembling a wall of iridescent pads between Webster’s voice and the trilled ATL percussion on ‘HEY BAE’ and even when the 4/4 has been vaporised, the familiar booming syncopations are decorated with stepped, reverberating stabs that might have been lifted from an Echospace album. And he strikes gold on ‘Peace of Mind’, slowing things down and carving up ringtone melodies, washy euphoric pads and dusty trip-hop cracks with one of Webster’s most arresting vocal turns to date.
Nathan Melja x Yungwebster - Unbounded, now shipping at boomkat.com
@__sferic
@nathanmelja
@yungwebster_
29 Oct 2026
90 minute mixtape of exhaustively excavated solo drum tracks sourced, compiled and mixed by the don Al Wootton.
‘1000 Hands’ is a continuous mix of deep cuts that swerve expected staples, plucking out cuts hauled from endless hours trawling library comps, cheap bins, obscure relics. From the opening, he walks us from atmospheric sheet metal and into rhythmelodic mbira and drum battles, through an ornamented garden filled with virtuosic woodblock and bamboo whistles. Wootton makes the rhymes between various, ostensibly disparate traditions obvious and loud; syncopated Afro-Latin beats spliced with undulating East African recordings, Cuban conga cuts into salsa and high-minded free jazz improvisations. Things remain tight and vividly animated throughout, never remaining locked to a single groove, era or methodology for too long.
We’ll be locked for a while.
Al Wootton: 1000 Hands: A Percussion Mixtape, now shipping at boomkat.com
@al_wootton
28 Oct 2026
For a Fleetway Tapes special, Perila pulls a clutch of ethereal productions from her archive, mixing vocal demos, field recordings and “dreamed-up melodies” into a continuous hour of previously-unreleased gold.
One part mixtape, one part diary, ‘Attunement’ is a porthole into Perila’s creative process that elevates sound sketches into something as vaporous and haunted as any of her more official full-length releases. Before the first side properly gets going, her voice has already echoed through shimmering guitar notes, environmental recordings and distant bells, complemented by synth melodies that sound x§quite unreal.
She conjures a blurred and heat-hazed soundworld that’s so much more than the sum of its parts; the whole thing runs like a waking dream - out of sequence, muted colours, fuzzy logic, pure feeling. And she gains a little more body as the tape goes on; centring more palpable elements on ‘Blooming Rosemary’, playing piano and countering minimalist sequences with ASMR whispers and crumpled subs.
Obsessing over texture, recording her instruments so they topple off the timeline; Perila skews the pitch, sounding like mislaid sketches brought back to life, transformed into proper songs. Chiming pads, a lulling electric piano and echoing glitches absorb celestial choral chants before she leads us out with more Reich-ian piano repetitions and pastoral sounds. It’s an uncharacteristically upbeat end to an hour of blessed, intimate work that’s as evocative and blazed as they come.
Perila: Attunement, limited edition tape now shipping at boomkat.com
@_perila
@acolourfulstorm
27 Oct 2026
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