Our favorite new releases from Lim Giong, Lucrecia Dalt, Adrian Sherwood, Pino Palladino, Blake Mills, and more!

New music continues to be a major focus for us here at In Sheep’s Clothing, and boy is there a lot of it… Each week the global listening community gets bombarded with new releases, reissues, and restocks. As music freaks who read these missives and are attuned to the bounty regularly arriving, we love sharing great sounds. Below are some particularly crucial new arrivals, a number of which are available for direct purchase and wholesale through In Sheep’s Clothing distribution.

Annahstasia – Tether

( Soul / Pop / Folk )

Annahstasia’s full-length debut, Tether — released on the consistently inspiring label drink sum wtr — carries a lived-in patience, a record made slowly, until every song felt true. The Los Angeles–based singer, songwriter, and guitarist recorded the album live at Valentine Studios, bringing together producers Jason Lader (Frank Ocean, ANOHNI, Lana Del Rey), Andrew Lappin (Cassandra Jenkins, L’Rain), and Aaron Liao (Liv.e, Raveena, Moses Sumney). The collective restraint allows the performances to breathe, bringing the artist’s voice to the center. “Slow,” her duet with London-based Nigerian artist Obongjayar, moves with easy intimacy, while poet aja monet joins on “All is. Will Be. As it Was.” “Villain” swells toward gospel catharsis; “Silk and Velvet” sharpens into punk minimalism. Through it all, Annahstasia’s voice stays at the center — warm, unhurried, luminous without gloss, with a quiver that recalls Nina Simone or early Joan Armatrading, carrying both ache and authority.

Jeremiah Chiu & Marta Sofia Honer – Different Rooms

( Ambient / Jazz / Improvisation)

Recorded between late 2024 and early 2025 in their adjoining Los Angeles studios, Different Rooms deepens the dialogue between Marta Sofia Honer and Jeremiah Chiu. Where Recordings from the Åland Islands drifted through open air, this one feels domestic, tuned to the vibrations between two rooms. Built from improvisations, field recordings, and experiments in granular synthesis and tape manipulation, it folds structure and accident into a calm, fluid whole. “Side by Side,” featuring Jeff Parker and his unmistakable guitar phrasing, eases into “One in Eight,” where a faint vinyl pop and a murmuring choir create an early pulse that barely stirs, before expanding into a glorious whole. On the title track, Josh Johnson’s tenor sax threads through layers of voice and synth, both soothing and propulsive. Across eight pieces, Honer and Chiu blur the line between performance and environment, crafting a record that seems to breathe on its own.

Adrian Sherwood – The Collapse of Everything

( Dub / Psychedelic / World )

Adrian Sherwood, the post-punk dub pioneer who produced African Head Charge, New Age Steppers, and Creation Rebel through his On-U Sound imprint and has worked with major acts from Lee “Scratch” Perry to Sinead O’Connor to Nine Inch Nails, delivers his first solo album in 13-years. While Sherwood’s works in the ‘80s soundtracked the cultural fusion of punk’s rebellious DIY ethos with the bass-heavy sounds of dub reggae, The Collapse Of Everything is a commentary on a much deeper subject: the global “worst timeline” and the twisted systems in place that have led us to this point. Featuring Brian Eno, Doug Wimbish, Keith Le Blanc, Cyrus Richards, and more, the album tracks a dubwise path through jazz, cinematic rock, desert blues, and various mystical forms that at times feels like being pulled into a psychedelic wormhole of alchemic sound.

Takao – The End of the Brim

( Modern Classical / Ambient )

In the ‘80s during the era of Kankyō Ongaku environmental music, Japanese composers like Yasuaki Shimizu, Ken Muramatsu, and Toshifumi Hinata were increasingly called upon to produce commercial music that would be heard by the general public. These compositions, while still retaining the brilliant inventiveness of these legendary composers, adhered to a more “universal listenability” and lended the sounds a certain timelessness that remains appealing even today. Tokyo-based composer Takao’s latest album The End of the Brim draws from this lineage of “production music.” While in many cases this kind of “easier listening” approach might lead to a lack of depth in the music, for Takao, this actually meant diving deeper into his studies with legendary keyboardist Ichiko Hashimoto, and bringing on collaborators including vocalists Yumea Horiike, Cristel Bere, Atsuo Fujimoto of Colored Music, along with veteran engineer Hiroshi Haraguchi, who is known for his work with Haruomi Hosono. The resulting album, filled with minimalist melodies, nylon-string guitars, and vintage synthesizer sounds, is beautifully reminiscent of the ‘80s era works that inspired it, while also presenting an entire sound world of its own.

Available Now: https://insheepsclothinghifi.com/product/takao-the-end-of-the-brim-lp/

The Necks – Disquiet

( Jazz / Improvisation / Drone )

“Attention, taken to its highest degree, is the same thing as prayer,” wrote Simone Weil. Disquiet, the twentieth studio album by the Necks, released by Northern Spy, dwells in that state — music as sustained awareness, sound stretched until it dissolves into texture. For nearly forty years, pianist Chris Abrahams, bassist Lloyd Swanton, and drummer Tony Buck have refined a process that begins without plan or score, guided only by intuition and ensemble chemistry. “It’s an organism,” Abrahams once said. “We aim to be in the moment, and if there’s no reason to be in a different moment, sustain that moment.” Recorded at Sydney’s Rancom St Studios, Disquiet spans three unnumbered discs and roughly three and a half hours of gradual revelation. “Rapid Eye Movement” opens with scattered piano, organ hum, and cymbal breath, its pulse emerging almost imperceptibly after twenty minutes. “Ghost Net,” the seventy-four-minute centerpiece, staggers yet never collapses, its balance maintained through collective awareness. Each piece evolves rather than repeats, time stretching until texture becomes structure.
The album invites listeners to start anywhere, or nowhere, and remain as long as attention allows. In an age that treats focus as currency, Disquiet rewards presence — the patience to listen until sound and time become one.

Bitchin Bajas – Inland See

( Electronic / Jazz )

Few artists embody Faulkner’s idea that “the past is never dead—it’s not even past” quite like Cooper Crain, the mind behind Bitchin Bajas. Over the years, he’s built a bridge between Chicago’s jazz avant-garde and its electronic underground by mining decades of sound, tape and tone, circuit and breath, and finding warmth in the machinery. His Switched On Ra translated Sun Ra’s cosmic language into shimmering analog loops, while collaborations with Joshua Abrams’ Natural Information Society intertwined improvisation and repetition, freedom and process. Inland See features four pieces, the highlight an extended B-side journey called “Graut.” Its hypnotic flow recalls Kraftwerk’s early incarnations — Tone Float, Kraftwerk, Kraftwerk 2 — when rhythm and repetition were still ideas in motion. Like those proto-electronic meditations, “Graut” moves with calm inevitability, dissolving until pulse becomes atmosphere and the past hums quietly inside the present.

Coco Maria – Club Coco: New Dimensions In Latin Music

( Latin / Cumbia / Afro-Latin Funk )

Latin music has been a recent obsession for us here at In Sheep’s Clothing. Salsa, cumbia, merengue, bolero, latin jazz, and various electronic renditions of those classic forms have filled our sound systems with moving percussion, groove, and rhythm. One of our favorite selectors of Latin music is Coco Maria, a Mexico-born DJ who hosts an internationally acclaimed morning show on NTS Radio and tours the world shining a light on contemporary, pan-Latin roots music. Maria’s latest project, Club Coco: New Dimensions In Latin Music, compiles contemporary Latin sounds from around the globe: digital cumbias, afro-latin funk, dreamy psychedelic folk, and various modern Latin fusions. A must-listen for anyone interested in the global past, present, and future of Latin music.

Son of Chi – We Carry Eden (Feat. Omar Ka)

( Fourth World / Jazz / Dub )

Recording as Son of Chi, Rotterdam composer Hanyo van Oosterom weaves long, slow structures from voice, drone, synth, acoustic guitar and field recordings (crickets, children’s voices, splashing water), then lets them blur into rhythm — dub, jazz, and fourth-world textures rising and receding like tides. The bass acts as a minimal rudder, grounding the sound without commandeering it. We Carry Eden is cast in two parts and features Fulani storyteller Omar Ka throughout, his voice threading spoken word through the textures and anchoring the compositional arc. The album’s layering of found sound, steady pulse and narrative evokes the collagist spirit of William Burroughs and Bill Laswell’s Seven Souls, though van Oosterom’s palette remains distinct. Issued May 16, 2025, on Music From Memory — a label that has also released works by Gigi Masin, Jonny Nash and Gaussian Curve — We Carry Eden situates itself among the label’s ongoing conversation in ambient, experimental, and deep-listening terrain.

Pino Palladino & Blake Mills – That Wasn’t A Dream

( Jazz / World / Fusion )

Pino Palladino and Blake Mills are back with their second collaborative album on Impulse! While 2021’s Notes with Attachments set the stage for the duo’s hypnotic, world-infused jazz, That Wasn’t A Dream presents another step forward in the duo’s the ever-evolving musical chemistry. Recorded over a two-month period in the legendary Studio A at Sound City Studios, That Wasn’t A Dream sees Palladino and Mills dive deeper into space and texture with both instrumentalists introducing fresh elements to the mix: Palladino has further developed his layered compositional approach with multiple fretted & fretless basses often going at once, sometimes panned to each side, and at other times combined for a texturally rich, full-ranged sound; Mills has introduced a new instrument that features prominently throughout the album, the fretless baritone sustainer guitar, which sounds completely otherworldly. Once again, contemporary saxophone innovator Sam Gendel puts his singular touch on nearly all the tracks.

Lim Going + Guests – Sounds of Taiwan

( Ambient / Field Recording )

Taiwanese artist Lim Giong is perhaps most well-known internationally for his iconic electronic soundtrack for Hou Hsiao-Hsien’s cult classic y2k-era film Millennium Mambo. However, Giong’s work extends well beyond film: he was the first pop star to sing in the Taiwanese dialect; he is considered the godfather of Taiwan’s electronic and DJ culture; he also collected field recordings and produced delicate ambient music. Sounds of Taiwan is a new compilation bridging the past and present utilizing Giong’s personal field recordings. Featuring Giong’s “Family Time” alongside new works by artists like No Translation, Point Hsu, and CFCF, the collection serves as ode to one of Taiwan’s most influential cultural figures as well as the country’s people, landscapes, and spirituality.

Available for Pre-Order: https://insheepsclothinghifi.com/product/lim-giong-sounds-of-taiwan-lp/

Jeremy Hyman – Low Air

( Electronic / Downtempo / Chillout )

Jeremy Hyman’s resume runs quite deep, having been a founding member of the band Ponytail, a mainstay contributor to Lifted, and also providing drum services to touring artists such as Boredoms, Animal Collective, and Dan Deacon. In terms of Solo releases, Hyman has released three dance 12” over the last decade. On “Low Air”, Hyman’s first full-length, he seemingly marries the spatial finesse mastered by Lifted with his love of rhythm and dance music. “Dada Kit” kicks off the record with a suspended filtered synth pad that drifts into a skipping percussion pattern. Soon after, elements of the rhythm melt away, as breezy melodic elements waft in, the track seemingly mimicking the slight turbulence of an airplane taking off and the gradual settling once on course. Tracks like “Outlines” and “Rainy Midi” are a bit more stripped back and stoic, while “Lifetime” and “Clear Chords” conjure a unique euphoria. As a whole, the album possesses a cleansing-like quality, the sonic equivalent of spending the day at a spa. Fans of Terekke, Mr. YT, and Purelink will surely find something to enjoy on this one.

Piotr Kurek – Songs and Bodies

( Experimental / Post-Rock )

The germination of what would become “Songs and Bodies” began when Kurek reacquainted himself with the jazz-tinged post-rock that inhabited a specific corner of independent music in the late 90s and early 2000s. After revisiting, he became curious about what this music might sound like or mean in our current cultural context. A mix of guitar and keyboard experiments at home led to Kurek enlisting a bassist and drummer to further flesh out ideas. The end result is a sinuous collection of deconstructed “band” music that floats, sways, and sputters into alien songcraft. The sliced vocoder samples, dizzy midi string arrangements, and curious instrumental melodies uniquely color the familiar foundation of guitar, bass, and drums. Delicate and cryptic, “Songs and Bodies,” like much of Pitor Kurek’s previous work, is a beguiling listen.

The Ullulators – Simply Conscious Dub b/w Eternal Now

( Dub / Electronic / Kosmische )

Toronto-based imprint Spiritual World continue their roll of fantastic outer edge dubwise music with their first reissue, a pair of experimental dubs from The Ullulators, a UK ensemble connected to the mid-80s free festival movement. The music lands somewhere between Adrian Sherwood’s post-punk dub, Bill Laswell’s world-infused collaborations in the late ‘90s, and post-acid house era rave music with the A-side featuring a heavy-weight dub that incorporates a Middle Eastern vocal sample, and the B-side drawing from the same minimal structures as Manuel Göttsching’s E2-E4. Perfect music for your next chill-out session!

Available Now: https://insheepsclothinghifi.com/product/the-ullulators-simply-conscious-dub-b-w-eternal-now-12/

Anastasia Coope – DOT

( Indie Folk / Avant-Garde / Choral )

Through the use of Anastasia’s uniquely wistful voice and homey, psych-tinged production style, a curiously cozy sonic world is established on this brief but poignant release. Similar to their debut “Darning Woman,” The vocals are what construct the walls for the songs. Panning harmonies, nursery rhyme-like melodies, and loopy vocal textures act as the anchor while the percussive elements and faint instrumentation gently nudge “DOT” into new terrain. Even though the record feels slightly indebted to the freakier folk sounds of the early aughts, Anastasia’s peculiar approach to outsider songcraft feels distinct, exciting, and true.

Barney Keen – Harbinger

( Indie / Folk / Soul )

Raised in rural Dorset in southwest England, Barney Keen grew up recording songs to cassette with his brother, learning how to turn quiet moments into melody. Years later, after living in northwest Brazil — where he learned Portuguese and immersed himself in Música Popular Brasileira — his writing carries the fingerprints of both places: the calm of open fields and the rhythmic sway of Bahia. Released in May on Touching Bass, Harbinger gathers ten songs that blend British folk’s introspection in the tradition of Nick Drake with MPB’s warmth, harmonic color, and supple rhythm. Keen, who’s collaborated with James Blake, Lianne La Havas, Ego Ella May, and Milton Nascimento, records with a subtle touch that rewards closeness. Harbinger moves patiently, its textures reflective and quietly radiant.

Sam Wilkes – Public Records Performance

( Jazz / Pop / Folk )

Bassist / composer Sam Wilkes continues to be at the forefront of a contemporary jazz scene that blends a myriad of influences that you might call “fusion,” but actually draws from quite different sounds (pop music, singer-songwriter folk, classic rock, golden-era soul) than the synth-heavy, world-infused fusion jazz of previous decades. As its title suggests, Public Records Performance was recorded live at the Brooklyn sonic social space complete with ecstatic crowd reactions, and features compositions from Wilkes’ ever-expanding songbook. Across seven tracks, Wilkes and crew explore a rare and delicate sweet spot between shimmering ambience, melodic intimacy, and crowd erupting virtuosity.

Lucrecia Dalt – A Danger to Ourselves

(Pop, Experimental)

We know firsthand how precisely rendered Lucrecia Dalt’s new album is — its details revealed themselves slowly during a shared listening over the summer, the kind of session where silence feels like participation. A Danger to Ourselves, released on RVNG Intl., finds the Colombian composer and former civil engineer turning from conceptual abstraction toward something more immediate and embodied. The music feels velvet-hammered and delicately shaped: tonally varied rhythms softened by piano, handclaps, and breath. Kindred spirits Juana Molina and Camille Mandoki join her here, along with David Sylvian, who co-produces and performs throughout. It’s a record that blossoms with volume, each layer revealing new fractures and harmonies until what first seems austere opens into something radiant.

Car Culture – Rest Here

( Dream Pop / Downtempo )

Prolific producer and DJ Daniel Fisher, better known as Physical Therapy, returns to his Car Culture alias for his second album outing. “Rest Here” blossoms outward with the stilted yet epic “Rockland County”. Chopped choral, vocal, and guitar samples are wrapped in lush synths while a monotone vocal recalls an old relationship from their youth. “Nothingburger” sways between a two-note bass line, a quivering drone, bittersweet guitar work, and the repeating line “I want to hold you in my arms.” By track three, the mission statement is clear, all of the heartstrings are to be tugged. Through the use of dream pop melodies, hazy downtempo beats, and sound design motifs, the album unfolds like a soundtrack to teenage love. The attention to sonic detail is what really makes this one pop, with features from electronic music luminaries Priori, J. Albert, and a co-production and writing credit to Patrick Holland.