Cerca:across boundaries

Large Music is proud to announce the highly anticipated re-release of Jazz Ascension from the legendary artist duo 95 North. Originally released in 1997, Jazz Ascension has long been celebrated as one of the defining tracks in the label’s illustrious catalog. Now, over two decades later, this jazz-infused spoken word house masterpiece returns, remastered and reissued for a new generation of listeners, while retaining all of its original soul and energy.

With its stunning blend of deep, soulful house rhythms and sophisticated jazz elements, Jazz Ascension quickly became a fan favorite upon its first release in clubs across the globe, further cementing 95 North’s place in the pantheon of house music innovators. Its intricate production, smooth piano lines, and poetic spoken vocal from Baba Lukas swells continue to captivate dancers, DJs, and jazz lovers alike.

The re-release on Large Music marks the continuation of the label’s commitment to preserving and expanding its rich musical legacy. As with many of the label’s timeless offerings, Jazz Ascension is a track that transcends time and genre boundaries, a perfect example of Large Music’s dedication to crafting sounds that stand the test of time.

"Dylan Hayes' album debut LP, We Don't Own, We Create, released on Futurepast, is a sonic trip balancing club functionality with experimentation. The two-discs project is a bold statement of artistic intent-where minimalism, industrial textures, and introspective loopy moods collide.

As the result of 8 years of research and experimentation, We Don't Own, We Create is an electronic sci-fi odyssey, unfolding across eight tracks balancing structure with unpredictability. Co-produced and mixed by Davy Vandegaer, this album is also the story of a friendship rooted in a shared vision-crafting a signature 'futurepast' sound where old-school techno aesthetics meet fresh, yet edgy, sonic treatments. The first disc unfolds like a waking dream. My Ikigai sets the tone with pulsating, introspective club energy, blending loopy synths and a growling bass. Plastic World plunges into eerie depths, weaving spectral vocals and fragmented rhythms. Silent Reverie in To Memory drifts through textured atmospheres and layered percussive echoes. Remind Me Ridley twists hypnotic techno into a dense, mantra-like piece-its reverbs and delays build an intensity conjuring into a foggy, shifting auditive illusion.

The second disc marks the awakening, shaking off the haze with Beautiful Struggle, where abrasive loops, industrial bass surges, and dissonant synth layers build tension. Echoes of Fate condenses the album's ethos, unleashing pulsating stabs and humming rhythms that slice through the mix with razor-sharp precision. The eponymous We Don't Own, We Create is an electronic ode to the creative process, where haunting vocal loops weave through deep, trippy synth lines, blurring the boundaries between organic and synthetic. Closing on Mizze, the journey dissolves into pure introspection, fading into the ether.

The record balances four club-driven tracks and four experimental pieces, crafting a distorted, explorative soundscape-an immersive journey where dance music meets dark, avant-garde sound design."

Sababa 5 collaborate with India born singer Sophia Solomon on their most exciting double A-side to date, merging Bollywood-style songs with their signature blend of Middle Eastern grooves.

Renowned for their instrumental releases that fuse traditional and contemporary Middle Eastern music with psychedelic rock, funk, and disco, Sababa 5 have also pushed boundaries in collaborations with vocalists such as Shiran Tzfira, Yurika Hanashima, and Inbal Nur Dekel. These efforts have won them support from the likes of Gilles Peterson, Cerys Matthews, and Jeremy Sole, on BBC Radio 6 Music and KCRW. Now, the band joins forces with Sophia Solomon for their latest musical exploration.

Born in Bengaluru, South India, and trained in Hindustani classical music in Mumbai, Sophia Solomon is a versatile, multilingual singer, recording artist, and live performer, drawing inspiration from Bollywood legend Asha Bhosle. A standout moment early in her career - a global tribute to Mahatma Gandhi - ignited her passion for bridging musical traditions across cultures.

“Shehzadi” (“Princess”) is an Indo-disco delight. Solomon’s Hindi vocals soar effortlessly across Sababa 5’s finely balanced arrangement of hypnotic drums, pulsing electric bass, fanning electric guitar, and sparkling synths in a beguiling minor key. There’s a strong hint of 80s nostalgia with a contemporary shine, evoking a Stranger Things meets Bollywood charm.

“Ranjha” (“Lover”) takes on a more Middle Eastern feel, with synth notes that undulate with longing and emotion, reminiscent of traditional instruments like the saz or baglama. The upbeat groove pairs seamlessly with Solomon’s dynamic, hope-filled vocals. Well-timed pauses add dramatic flair, while Sophia’s performance allows space for an exuberant synth solo.

This exciting collaboration marks another bold turn for Sababa 5, infused with new life through Sophia Solomon's artistry. “Shehzadi” and “Ranjha” represent a fruitful exchange of cross-cultural musical exploration, destined to be played on repeat far and wide.

Anneleen Boehme is a prominent figure in the Belgian jazz scene, known for her work as a double bassist across various projects.
Her virtuosity on the double bass was already evident in LABtrio, and her skill as both a composer and bandleader was showcased in Grand Picture Palace. Now, in her solo work, we experience Anneleen's genuine vulnerability, as she explores the deep connection with her ever-present companion: the double bass. Her music is a balm for the soul, and her playing is deeply moving, leaving no listener unaffected.

In this solo project, Anneleen Boehme pushes the boundaries of the double bass, striving to transcend them in all their forms. She places particular emphasis on the instrument's acoustic sound, subtly highlighting its rich, resonant voice. The music that warms her heart is at the core of this exploration: both her original compositions written specifically for the double bass, as well as solo arrangements of existing works and improvisations. Her passion for both jazz and classical music is beautifully expressed throughout. This is an embrace of the double bass, its deep tones, and pure musicality.

Eunoia is Anneleen Boehme's debut solo album, set for release on April 18th, 2025, and it is a dedication to herself.
"I wrote a story about who I am, about the path I've walked so far. About how the mind can drive you mad and how, amidst it all, you can find peace. I hope it will offer you the same. Sadness, joy, and comfort for your soul."

The double bass has the unique ability to convey our most melancholic emotions, and this album is no exception. Yet, its warm tones also offer a sense of healing and comfort. In most tracks, the double bass stands alone in its simple elegance, but in Fuga Ante Proelium, Anneleen's voice joins her instrument, adding a new layer to the musical experience.

Synth-pop duo Marina Zispin return with their highly anticipated album Now You See Me (Now You Don’t), set for release on March 7 via Scenic Route.

Now You See Me, Now You Don't is the continuing journey through the ever evolving sound of Marina Zispin AKA Bianca Scout and Martyn Reid. As with their previous EP - the recurring themes of Life and Death loom heavily over the 10 album tracks. With support from 6 Music, Resident Advisor, Pitchfork, METAL, Dummy, The Line of Best Fit, Boomkat, and more for their recent singles. With Now You See Me (Now You Don’t), Marina Zispin further reinforces their reputation for crafting lush, melancholic soundscapes paired with surreal storytelling and ice-cold synth pop.

Since their formation in 2018, bridging Newcastle and London, Marina Zispin have quickly captivated audiences with their ethereal blend of dreamlike melodies and avant-garde textures. Their 2023 debut 12” on Night School paved the way for a successful UK tour, a BBC 6 Music session, and a memorable performance at Bucharest’s Collisions festival.

Bianca Scout, acclaimed for her solo album Pattern Damage (with praise from The Quietus, DJ Mag, Resident Advisor, Pitchfork, Stereogum, Bandcamp, The Wire, and more) continues to push sonic boundaries with her unique fusion of sound collage, post-punk, and poetic lyricism. Recent shows across Europe, including at Poland’s Unsound Festival, underscore the duo’s expanding influence.

With Now You See Me (Now You Don’t), Marina Zispin invite listeners on a captivating journey through a signature blend of fantasy and reality. The album is now available for vinyl pre-order.

Refracted's "In Veil" materialises as the third emission in the Titrate series. A gradual unfolding across six passages, each step a study in the dissolution of boundaries.

Here, time becomes elastic - synthetic textures breathe alongside captured moments of reality, neither demanding prominence nor seeking refuge in the background. Percussion appears as memory rather than rhythm, while drones hover like fog over unknown lands.

Cut to 180g vinyl and embraced by 350gsm reverse board, "In Veil" doesn't announce its presence but rather seeps into awareness.

You Are The Morning was formed amid personal upheaval in 2021. "I came out as trans to my nearest and dearest," she says, "Some did not accept me, but some did." Jasmine got divorced, and a difficult home life meant she was writing while experiencing homelessness and precarious housing, sleeping on friend's couches and relying on community support. Despite the pain of some of its background, the record is an uplifting look at t4t love. Jasmine describes her first trans romance as the first time she experienced joy in a deep sense, because of her experience of living as a woman. First single `Skin on Skin' explores the new joy of physical touch. Usually a quick writer, it's a rare song that grew over time, during which a close connection with a friend began to form. "Sticking to the physical boundaries we wanted to have with each other became increasingly difficult. We were spending lots of time together, then falling in love. This song became a celebration of healing and physical catharsis found through unrepressed queer love." The first UK signee on Saddest Factory Records, the album was produced by Julien Baker, Phoebe Bridgers and Lucy Dacus. Jasmine and her band travelled to L.A. to record at Sound City Studios. It was made across 12 days in a highly collaborative and emotional process, and because Jasmine sees her songs as fluid and ever-changing, the recordings carry that free and spontaneous spirit. jasmine.4.t is supported by an all-trans band, Phoenix Rousiamanis contributes piano and strings, with Eden O'Brien on drums and Emily Abbott on bass. With Jasmine's voice and songwriting at the centre, the record incorporates a wider cast of voices. `Best Friend's House' features a chorus including her bandmates, Julien Baker, Phoebe Bridgers and Lucy Dacus ("the girls and the boys"), Saddest Factory Records label-mate Claud, Becca Mancari and E.R. Fightmaster. The song carries the communal spirit of the record's creation. On the closing track, `Woman', she is backed by the Trans Chorus of Los Angeles, a cross-generational group of trans singers who, like Jasmine, use their voice as a source of communal power. The song blossoms from solo performance to wider group catharsis. All the while, Jasmine sings unwaveringly about the power of knowing yourself at a core level: "I am, in my soul, a woman". The writing of You Are The Morning pulled from dark moments to tell its story. Surrounded by friends, the recording process was full of light. Through her performances, activism and artistry, jasmine.4.t is ushering in a new dawn.

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

German DJ Anna Reusch debuts on Electric Ballroom with “Raya and “Salme," two Peaktime Techno tracks that have been stirring up a frenzy. Leading a new generation of artists pushing modern Techno's boundaries, Anna expertly blends Techno with Psy and World Music elements to create her unique sound. Known for her deep connection with fans, Anna’s music channels the essence of her powerful, superbly crafted DJ sets. It’s her innovative sound that's reshaping the genre and excites Techno lover across the globe.

fabric Records to announce the highly anticipated release of *fabric presents Confidence Man*, set to drop on 23rd August 2024. The mix features Confidence Man’s innovative sound and includes two exclusive tracks from the band, alongside new music from renowned artists Joe Goddard, Joshua James, and Mona Yim.

Confidence Man, celebrated for their infectious energy and distinctive style, bring their unique flair to this mix, offering a tantalizing glimpse into the future of dance music. The exclusive tracks, “BREAK IT DOWN (ON THE BASSLINE)” and “Let Them Bells Ring,” showcase the band's signature blend of high energy and catchy grooves, promising to be instant dancefloor favorites.

Complementing Confidence Man’s contributions are cutting-edge tracks from Hot Chip’s Joe Goddard, whose production mastery continues to redefine electronic music. Joshua James, known for his deep house and techno expertise, delivers a track that captures his club-ready sound. Mona Yim adds her ethereal touch with a fresh composition that embodies her innovative approach to electronic music.

fabric presents Confidence Man* stands as a testament to fabric Records’ commitment to curating pioneering music that pushes the boundaries of the genre. This release not only highlights the versatile talent of Confidence Man but also features some of the most exciting contemporary artists in the electronic scene.

The album will be available for digital download and streaming across all major platforms on 23d August 2024.

White Vinyl Repress!

Techno pioneer Thomas Schumacher celebrates 25 years of his groundbreaking track "When I Rock” with a stunning remix by trailblazing DJ and producer talent. A.D.H.S.In 1997 Thomas Schumacher broke new ground with the release of "When I Rock," a track that defied genre boundaries and captivated listeners across the globe.

With its unprecedented blend of raw Hip Hop energy, infectious Rap vocals and relentlessly driving Techno rhythms, "When I Rock" marked a watershed moment in electronic music history. By infusing the track with his signature touch, A.D.H.S. maintains the essence of the original while seamlessly integrating contemporary sounds and production techniques. The result is a remix that captures the essence of the past while propelling it into the present.

To top it off Thomas’ adds a fresh remix of the Uber-Classic that is “House Of House” by Cherrymoon Trax. Essential.

DSSC001 VA is made of 5 tracks across the wide electronic music scene, involving the listener in a trippy safari through the mind, with quirky musical accents. As humans have an infinity of nuances, vibrations and perceptions, eclectism is the main point of this first opus. A spicy cocktail between retro vibes, nostalgic synths, sweet trancey touches and wild electro-house.



With no boundaries, D.ssoci8 has his heart set on feeding the prism of freedom, which fluctuates in the direction of the creative genius. It’s all about the third eye, diving into an ocean of levels of consciousness and identity processes, inviting everyone to connect with the true Self, the others and the universe.

Pitch Dark is a new VA series brought to you by Berlins Pure Hate Trax. For this the 1st in the series they invite 3 new Artists to the label but by no means new to the scene in Codex Empire, Maedon & 7CIRCLE. Also making a welcome return after his debut on VHXX1 is STRISC. Codex Empire – Since 2014, British born, Vienna based Codex Empire has built an international reputation for dark and intense techno productions and live shows. Combining this background in dark electronic music with heavy rhythmic elements makes Codex Empire an intense and simultaneously danceable experience both live and on record. Codex Empire has performed over 100 live shows across Europe, Japan, Korea and Canada, as well as numerous appearances in Berlin at Berghain, Tresor, Arena Club, Suicide Circus and BoilerRoom. Maedon – A native of notoriously grimy Baltimore who spent some seasons in filthy Philadelphia learning the craft, her arrival in New York City circa 2018 signalled a shift in development, one confirmed by the emergence of her Maedon moniker and her partnership with Brooklyn/Berlin techno powerhouse Sonic Groove and its head Adam X. Fast forward three years to Berlin, two albums, a residency at Tresor and an entire world later, Maedon forges ahead to the next phase of a rapidly building career. Assuring her future as the world falls apart, Maedon’s bracing sound and undeniable skills are a story now unfolding, with its beginnings already written in grit.
7CIRCLE – At the helm of Destroy to Rebuild, 7CIRCLE is a musical project without boundaries. Drawing from post punk and metal roots, 7CIRCLE navigates across all genres including Techno and Industrial without compromise or frills. The journey through the discography of 7CIRCLE is a fascinating path filled with darkness and aggressive sounds which are sometimes embellished with a melancholy touch to satisfy lovers of strong emotions. STRISC. – Hailing from the East Midlands, UK and residing in Berlin for the last 8 years, STRISC. is an Artist, DJ & Label Owner who has been making waves due to a relentless output of no-compromise productions that have garnered him the respect and attention of Techno aficionados and peers alike.

The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.

On Volumes Two and Three of the series - the first installment hit stores in 2017 - the Mental Groove and Musique Pour La Danse label founder takes us back to the turn of the '90s, a time he spent promoting parties in fields, squats, forests, warehouses and former factories in and around Geneva and behind the counter of a record shopof the same name. While others in Switzerland's emerging dance music scene gravitated towards US house and garage, Olivier and his crew opted for a bass, breaks and techno-focused sound inspired by regular trips to clubs, raves and record shops in the UK.

Drawing directly from his own record box and a memory bank full of snapshots of euphoric dancefloor moments, Mental Groove Classics volumes Two and Three sees Olivier reaching for cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant tracks that have left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, historical archive and personal musical statement all rolled into one, inspired by a moment in time where musical boundaries were being redrawn in a wave of carefree optimism and freedom inspired new rave scenes across Europe and far beyond.



Matt Anniss

Original artwork by Soho's Brain Club co-owner and artist of early British club culture Mark Wigan.

File under house, breakbeat, techno and warehouse rave music

The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.

On Volumes Two and Three of the series - the first installment hit stores in 2017 - the Mental Groove and Musique Pour La Danse label founder takes us back to the turn of the '90s, a time he spent promoting parties in fields, squats, forests, warehouses and former factories in and around Geneva and behind the counter of a record shop of the same name. While others in Switzerland's emerging dance music scene gravitated towards US house and garage, Olivier and his crew opted for a bass, breaks and techno-focused sound inspired by regular trips to clubs, raves and record shops in the UK.

Drawing directly from his own record box and a memory bank full of snapshots of euphoric dancefloor moments, Mental Groove Classics volumes Two and Three sees Olivier reaching for cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant tracks that have left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, historical archive and personal musical statement all rolled into one, inspired by a moment in time where musical boundaries were being redrawn in a wave of carefree optimism and freedom inspired new rave scenes across Europe and far beyond.



Matt Anniss

Original artwork by Soho's Brain Club co-owner and artist of early British club culture Mark Wigan.

File under house, breakbeat, techno and warehouse rave music

Damian Lazarus’ Crosstown Rebels imprint announces, ‘Portrait of the Obscure’, the stunning new album from Oceanvs Orientalis.

Following three superb singles on the label across the past four months, the nine-track LP offers a comprehensive exploration of the Instanbul-based talent’s rich, globally-infused and captivating sound, with the project set for release on 26th April 2024.

Safak Oz Kutle, known as Oceanvs Orientalis, is a producer and live performer based in Istanbul. His musical style intricately weaves together diverse sonic tapestries of wide-spanning genres and cultures, and through his creative fusion of these influences, he crafts an immersive world that takes you far away from the usual club music references. His music serves as a celebration of his musical heritage, and this has never been truer than on his superb new album ‘Portrait of the Obscure’, which again pushes traditional boundaries within the electronic sphere. Set for release on 26th April via Damian Lazarus’ renowned and celebrated Crosstown Rebels imprint, the nine-track LP project features a showcase of solo and collaborative material alongside close friends such as Tooker, Idil Mese and Tilahun Gessesse, delivering a journey into the creative mind of one of
the scene’s most intriguing talents.

The bold and riveting project kicks off with the captivating synthscapes, fluttering strings and plucked bass of the gorgeous ‘Pulse Antique’, before ‘Ministry Of Midnight’ cuts loose on more jumbled rhythms and intricate organic lines warmed with wordless vocals. Next up are two of the lead
singles - the tense and intricate house sonics of ‘Neutrality’ and the haunting atmospheres and ethereal synth lines of ‘IL Lupo’ featuring Tooker, while ‘Conritmo’ continues to bring exotic new string sounds, leftfield melodies and warped bass to this most vibrant exploration of candle-lit house sounds. ‘Soul of Calypso’ blisses out on far-sighted cosmic chords with sonorous bells and late-night spoken word musings that add all-new character to the innovative grooves. Then comes the laid-back, jazz-infused house of ‘Heart Pieces’ feat. Idil Mese, a deep and jazzy jungle shuffler
in ‘Mercury’ and the playful horns and lumpy, dub-wise swagger of ‘Lanchi Biye’.

An album project encompassing its title perfectly, ‘Portrait of the Obscure’ is just that - a magnificent snapshot of the unique musical mind of Oceanvs Orientalis.

Monty Luke release ‘Nightdubbing’ LP on Rekids.The Black Catalogue bosses' second album explores dub-infused dance music and, following the recent two EP drops on Rekids, will be released on Radio Slave’s imprint on 29 March. Succeeding part two of Monty Luke’s ‘Nightdubbing’ series on Rekids, the US-via-Berlin artist unveils an album of the same name on Radio Slave’s lauded Rekids imprint. ‘Nightdubbing’ encompasses the first two instalments and adds five more tracks of intricate sonic material, completing this gorgeous work of art already supported by Fred P, nd_baumecker, Louise Chen, and Laurent Garnier. Luke’s ‘Nightdubbing’ album starts in the club, with the rave-primed ‘40 Acres And A Terabyte’ utilising the rich melodies of deep house alongside the crushing weight of subs. It is followed by the title track, with ‘Nightdubbing’ taking a more traditional house route, its soothing sounds enveloping the listener while honing in on that reverb sweet spot. Black Catalogue boss and former Planet-E label manager Monty Luke’s timeless ‘Nightdubbing’ effortlessly traverses deep house and techno rife with bass-rattling low-end and experimental rhythms. It is no surprise, then, that the album is heavily inspired by ‘70s and mid-80s dub reggae, seeing Luke incorporate and modernise the genre’s iconic rhythms, spoken word poetry, and spacious bursts of harmony across the LP. ‘Bob Molly’ picks up pace with nods to Caribbean dem bow-like rhythms of old, Monty Luke filling the space between its infectious beat with tumbling percussion and echoing plucks. Tracks like ‘Supernova’, ‘New World / Old Future’ and ‘Starstorms’ return to the modern-day traditions of club music while ‘Future Mystic’ and ‘Avant Garde Dance Hall ‘, again find room in between the dancefloor and sound system listening sessions. Monty Luke spent ten formative years in Detroit, where the city's unique musical spirit influenced him immensely. He has since distilled this experience into the music he has released on labels like Rekids, Planet-E, Hypercolour, and his own Black Catalogue. His raw, dub-infused sound comes with plenty of futuristic designs, and this final complete iteration of ‘Nightdubbing’ continues to push the boundaries of his music.

microCastle's final offering of 2023 welcomes Colossio and Luke Garcia to the label for their debut EP. Colossio has been a rising force across the Indie Dance spectrum for the better part of a decade. Based in Mexico and taking inspiration from krautrock, psychedelia and the golden age of Mexican cinema, the Monterrey resident has continued to open up endless creative avenues and furthered his boundless appeal with releases via Borders of Light, Calypso Records, Duro and Exit Strategy. Meanwhile, Spanish artist Luke Garcia has enjoyed similar success across his decade-long career. The Madrid resident has been praised for his borderless approach to production, in turn landing standout projects for Diynamic, Innervisions, Sum Over Histories and TAU. As occasional studio partners since the beginning of 2023, Colossio and Luke made their collaborative debut via Engrave Ltd with ‘Let Go’, a release which would precede a recent contribution to Innervisions ‘Secret Weapons’ Part 16. Now, continuing to build on their creative partnership, Colossio and Luke end the year with their microCastle debut ‘Amen / Ryen’.

Played by Ame during the summer season, EP opener 'Amen' finds Colossio operating in solo capacity and taking square aim at the dancefloor. Full of rejuvenating energies, the Monterrey resident cleverly blends robust kick drums and electric grooves with swerving chord stabs and chanting vocals. Colossio’s creative attitude reveals itself further across the main break; with a hyperventilating build dropping out into a rush of main room alchemy, all laid out over a bed of percolating acid. Selection two ‘Ryen’ finds Luke Garcia crafting a feel-good indie-dance excursion that’s nicely suited for those uplifting club moments. Booming yet dreamy, its colourfully cruising hypnotism instantly commands your attention, through snatches of vocal fragments and siren-like synth flares, eventually culminating in a finale of rave-inspired euphoria.

The EP’s halfway point is marked by the behemoth sized vibes of ‘Situation’. Here, Luke and Colossio masterfully synthesize their talents while breaking down boundaries to serve up a melting pot of hard-edged dance. Its pneumatic energy turns over quickly, flowing through a brutalist maze of mutated vocal gates and fiery rhythmic fractures, before reaching a hyperspeed collision of sonics for the ultimate high-octane drop. Rounding out the release is ‘My Body’ which once again finds Colossio and Luke combining their extensive forces. The cross-continental duo drive each other forward beyond their individual comfort zones for a mature club-effective record; one where thunderous beats, weighted rhythms and looping vocals prelude a collection-closing melodic finale. Artwork: Mauricio Seidel.

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

Music From Memory is delighted to be turning 50 with a special release: MFM050 - V/A - Virtual Dreams: Ambient Explorations In The House & Techno Age, 1993-1997 (3xLP/2xCD). The first in a series of compilations, alongside more in depth artist-focused releases, Virtual Dreams will delve into music produced during the 1990’s that redefined the boundaries of ‘Ambient’. This was music that explored the possibilities of Ambient music within a new setting, created often by House & Techno music producers for a world beyond dance floors but made very much with the pre and post-clubbing listener in mind.

When House and Techno exploded out of America in the mid 1980s a whole generation was redefined not only musically but also culturally and chemically speaking. Peaking, quite literally, with a second ‘Summer of Love’ in 1988, millions of young people across the world would experience the life-changing ups of a brave new world but with it of course came the downs; enter the concept of a ‘Chill-out’ room. Whilst early Chill-out rooms lacked a specific sound and were often soundtracked by music such as reggae and soul, slowly young Techno and House producers themselves would become increasingly interested in developing a futuristic ‘Ambient’ soundtrack to a world beyond the thud of the main room.

‘Ambient’ in this new age now though had sharper teeth than in Brian Eno's key text for ‘Music for Airports’, instead here the sounds were the mode of transport rather than the backdrop. While the melodies were pretty, the soundscape steered away from the pastoral, dreaming of outer-space and technology as opening up exciting new dimensions. Much like in the first Summer Of Love; the musicians were again exploring psychedelic, mind-altering and transcendental possibilities of music. And also much as in the first Summer Of Love, a psychedelic visual language would accompany the music. Though now the tracks could be accompanied by music videos, utilising early CGI techniques, they would look almost entirely to the future: envisioning technology, nature and humanity intertwined in a new Utopian future. Virtual Dreams of a better world.

From Ambient and early Chill-out classics, to lesser known one-off projects, as well as Ambient deviations by some of House and Techno’s leading producers, Volume One of Virtual Dreams features tracks by Bedouin Ascent, LA Synthesis, LFO, Marc Hollander, Mark Pritchard & Kirsty Hawkshaw, Richard H. Kirk and more.

To celebrate our 50th release the first 1000 copies include a holographic 'Virtual Dreams' sticker plus a special insert poster with artwork by Victoria Pacheco and design by Steele Bonus.

Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.

Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.

Nonesuch Records releases Let X=X, by Laurie Anderson with Sexmob. This triple-LP/double-CD set was recorded live during a 2023 tour by Anderson and the jazz band Sexmob – Steven Bernstein and Briggan Krauss on brass, Kenny Wollesen on percussion, Douglas Wieselman on winds and guitar, and Tony Scherr on bass. Its cover and interior packaging feature paintings by Anderson. The album features 23 songs, including many favourites from throughout Anderson’s career, performed in new arrangements – plus one by Lou Reed and Metallica, ‘Junior Dad’. Anderson and Sexmob play more US and international dates this spring and summer (details below).

The New York Times said Anderson and Sexmob’s concert at the Brooklyn Academy of Music (BAM) ‘wasn’t a historical recreation of past recordings; Sexmob’s sound is a beefier one than on Anderson’s albums. With musicians who can double on electric guitar and bass clarinet, its members offered a rich range of textural variation throughout the evening.’

Laurie Anderson is one of America’s most renowned – and daring – creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 40 years. In a recent 60 Minutes profile, Anderson Cooper said she ‘is a pioneer of the avant-garde, but... that doesn’t begin to describe what she creates... It’s experienced by audiences who come to see her perform: singing, telling stories, and playing strange violins of her own invention... she blends the beautiful and the bizarre, challenging audiences with homilies and humor. She blurs boundaries across music, theater, dance, and film.’ The Washington Post has said she ‘doesn’t just tell stories; she draws out every word with a kind of physical pleasure, tasting its flavor as she probes the everyday mysteries of life.’

Anderson released her first album with Nonesuch Records, the critically lauded Life on a String, in 2001. Her subsequent releases on the label include Live in New York (2002); Homeland (2010); the soundtrack to her acclaimed film Heart of a Dog (2015); and her Grammy-winning collaboration with Kronos Quartet, Landfall (2018). Nonesuch released a re-mastered edition of Big Science in 2007 for its 25th anniversary, followed by a vinyl LP re-issue in 2021; the album includes Anderson’s beloved, surprise hit, song, ‘O Superman’, which also is featured on Let X=X. Her recent Nonesuch release was 2024’s Amelia, about renowned female aviator Amelia Earhart’s tragic last flight.

Anderson’s virtual-reality film La Camera Insabbiata, with Hsin-Chien Huang, won the 2017 Venice Film Festival Award for Best VR Experience, and, in 2018, Skira Rizzoli published her book All the Things I Lost in the Flood: Essays on Pictures, Language and Code, the most comprehensive collection of her artwork to date. Recent exhibitions and installations of Anderson’s work include Habeas Corpus at New York’s Park Avenue Armory; her largest exhibition to date, The Weather, at Washington, DC’s Smithsonian’s Hirshhorn Museum of Modern Art; and Looking into a Mirror Sideways at Stockholm’s Moderna Museet, which was her largest European exhibition to date.

Laurie Anderson was awarded the 2024 Stephen Hawking Medal for Science Communication, along with Christopher Nolan and David Attenborough, and the International Astronomical Union named a minor planet in her honour: Asteroid 270588, Laurieanderson. That same year, she was awarded a Grammy Lifetime Achievement Award.

OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators" influence would be impossible to overstate. YoshimiO, OOIOO"s founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt"s Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. THE HORIZON SPIRALS / THE HORIZON VIRAL is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail.

OOIOO and Lightning Bolt are both bands whose music is wholly unique and whose creators" influence would be impossible to overstate. YoshimiO, OOIOO"s founder and bandleader, has been a guiding force in uncompromising art across the continuum of rock and improvised music for four decades, from her work in UFO or Die to The Boredoms to SAICOBAB and beyond. OOIOO serves as a core outlet for melding freeform experimentalism with hypnotic rock pulses, defying boundaries with her acrobatic voice, electronics, trumpet and gamelan. Lightning Bolt"s Brian Chippendale and Brian Gibson have remained unparalleled in their ability to transmute frenetic whirls of percussion, gargantuan fuzz and dizzying melody into monolithic vistas. THE HORIZON SPIRALS / THE HORIZON VIRAL is a split that captures the parallels in ethos between these two ensembles, their sense of gleeful abandon and freight train momentum, in inspiring detail.

Joe Fujinoki centered the compositions of his latest album Glass Torso round the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process.

Fujinoki recorded Glass Torso exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail.

Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On Glass Torso an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention.

Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On Glass Torso he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own Glass Torso.”

- Nick Klein, January 2026

2025 European press. Originally pressed in limited copies on a Thai LP (2023) - Comes with download code.

‘Araya Lam’ marks the third album from The Paradise Bangkok Molam International Band. Following their releases ‘21st Century Molam’ and ‘Planet Lam’, the band delves even deeper into the roots of Isan music, collaborating with traditional musicians on vocals as well as instruments like the Pong-Lang, Pi, and Sor. Each element adds a fresh dimension to the band’s distinctive reinterpretation of Molam.

The album also sees the band expanding their sonic horizons — nodding to New York post-punk on ‘Zud Rang Ma’, and drawing inspiration from the musical traditions across the Indian Ocean on ‘Psych Lam Kor’.

By looking back to their roots while continuing to push boundaries, ‘Araya Lam’ represents the next chapter in the ever-evolving journey of The Paradise Bangkok Molam International Band.

»Vents d’aether« is the first collaborative album by sound artist Jérôme Bouve and composer-performer Delphine Dora. The six pieces are based on live improvisations on organ and harmonium. They were recorded in different churches on the Cotentin peninsula in France’s Normandy region and later enriched with additional field recordings by SA~RA. This adds an extra layer to compositions which were created both in and out of the moment and which quite literally resonate with the histories of the instruments and the buildings that were so integral to their emergence. »Vents d’aether« is to be understood as a dialogue between sound and space that takes place across time and place.

Bouve carried the idea of working with the organs and harmoniums that can be found in the churches and chapels in the Val de Saire in the Northeast of Cotentin around with him for years. When he got to know Dora, he found the perfect musical partner with whom to finally make a record »about the wind, the wood, the stones of the Val de Saire.« In September 2024, the duo embarked on a short but fruitful journey during which they stopped by at several different churches. They recorded hours-long improvised sessions dedicated to »capturing the moment, letting space and time shape gestures and sound, seizing fleeting epiphanies in their greatest simplicity,« as Dora notes in the album’s linernotes.

She took the lead behind the instruments, however Bouve assisted her on drawbars for the last two pieces on »Vents d’aether,« thus adding an even more unusual touch to the recordings. They formed the basis for an album that Dora calls »the testimony of a sensory quest, a collection of memories suspended in time.« Indeed, starting with the epic 20-minute-long titular piece up until the ringing of church bells near the end of the closing piece »Montfarville V,« this overwhelming yet intimate record blurs the boundaries between different times and spaces altogether.

2026 black vinyl, 2022 Abbey Road remaster, original 2012 artwork! When the mysterious masked collective calling themselves Goat first emerged in 2012, armed with an incendiary debut album 'World Music' - there was, and there still isn't, anyone else on earth quite like them. With their enticing mythology, music full of sinuous grooves and manic explosions of fuzz, Goat were outliers from the very beginning. 'World Music', received an avalanche of acclaim with critics, psych heads, outernational crate diggers etc, all left enraptured by its thunderous intensity, conjured from a singular mix of sounds from across the globe. 'World Music' is brimming with tracks now seen as 'classic' Goat live favourites. Tracks that have been wowing audiences all over the world; the afrobeat stomp of 'Disco Fever', the fuzz abuse of 'Goathead', the post-punk groove of 'Let it Bleed', the sing-along repetitive pop of 'Run to your Mama'... From the first note to the last, 'World Music' oozes with a sonic confidence rarely seen on a debut album. What Goat have is unique - they've managed to create a sound unrestrained by genre or any other boundaries. So if you haven't done so already, then it is now time you joined the Goat commune.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

Black 180g vinyl, limited to 200 copies. A decade has passed since the debut album Finnmark left a solid northern Norwegian mark on the rock and hardcore scene, and eight years since Natur pushed both genre boundaries and the listener's limits. Now, the Kirkenes-based band Ondt Blod returns with their third full-length album, Bauta. Here, the band distills the blend of hard-hitting hardcore and strong melodies they've become known for. The opening track "AUX" kicks the door in with a desire to tear down the established order, while songs like "Kembo" and "Flamma" (featuring guest vocals from Ida Maria) reveal a more nostalgic and melodic side of the band. Throughout their career, Ondt Blod has held firmly onto their northern Norwegian identity and Sámi roots. This has taken them from Kirkenes to stages across Europe and Japan, earning them both Norwegian Grammy (Spellemann) nominations and a loyal fanbase. Bauta confirms that the band still has plenty to say.

“Tectonic” is a concise portrait of SIMON BERZ’s geological sound explorations across continents over the last 15 years: drums, electronics, and a set of electronically manipulated basalt stones from Iceland.

SIMON BERZ is a transdisciplinary drummer, sound artist, and music educator based in Switzerland and Berlin. Working at the intersection of improvised music, sound art, and performance, and deliberately crossing boundaries between disciplines, his aesthetics are shaped by a sustained engagement with natural materials, particularly stone, and their sonic transformation through electronic manipulation. Beyond his performance work, BERZ founded BADABUM as an art label and a music school.

For the last 30 years, BERZ has been performing in Japan, China, Russia, the USA, Cuba, Iceland, Turkey, and across Europe. He has collaborated with artists including BILL LASWELL,BABY SOMMER, DAMO SUZUKI (CAN), JAMES TURRELL, JIMI TENOR, JOHN SINGLAIR, JOJO MAYER (NERVE), KONDO TOSHINORI, KIDD JORDAN, LAUREN NEWTON, LEE “SCRATCH“ PERRY, MAURO PAWLOWSKI (dEUS), NILS PETTER MOLVÆR, NIKI GLASPIE, NORBERT MÖSLANG, PAUL LOWENS, PFADFINDEREI, ROB MAZUREK, SKÚLI SVERRISSON, and he was the live drummer for APPARAT. As BERZ understands artistic practice as energy emerging from nature and through dialogue with people, his recorded output is intentionally selective, with one highlight being “Beats versus Breath” with KONDO and LASWELL (2023). Alongside a regular drumkit and electronics, he has developed his own instruments such as the “Lithophon” in which resonating stones are turned into amplified sound through water drops, and “Tectonic”, a set of Icelandic basalt stones shaped through electronic manipulation. These self- built instruments form the material basis for his performances, installations, and sound recordings.

“Tectonic” is also the title of BERZ’s latest work: a summary of his geological sound explorations across continents. From Iceland to Indonesia and Bali, from New Orleans to China, in caves and at shores, BERZ carried his millions-of-years-old basalt stones as both instrument and collaborator. On Java, he met Baron, a builder of stone gamelan instruments. At the Pacitan Tabuhan Cave (Indonesia) he performed with MISBACH BILOK and WUKIR SURYADI (SENYAWA) who work with corals as instruments. BERZ brought these encounters and “field recordings” to the Stöðvarfjörður studio in Iceland, where he recorded with his “Tectonic” set-up, drums, and electronics. The music was later mixed in Berlin by DIRK DRESSELHAUS (SCHNEIDER TM). The resulting album moves from club-driven tracks to ambient passages, from gamelan-inspired textures to HipHop-like beat patterns. It resists easy categorization while staying direct and physical in its impact.