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A collection of stunning Persian-tuned piano pieces cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965...

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjoubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjoubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.

Anthology 4 - Triple LP. The new volume from The Beatles Anthology Collection.

Anthology 4, is newly curated by Giles Martin, including 13 previously unreleased demos, plus fascinating session and other rare recordings dating from 1963 to 1969. It also includes the band’s final single, ‘Now And Then’, released in 2023, and new mixes of The Beatles’ Anthology-associated hit singles: the GRAMMY-winning ‘Free As A Bird’ and ‘Real Love’, given new life by their original producer, Jeff Lynne, using de-mixed John Lennon vocals. Furthermore, Anthology 4 presents 26 tracks that have never previously been released on vinyl.

The track notes are written by Kevin Howlett with an introduction compiled from 1996 interviews recorded with The Beatles’ close friend and adviser Derek Taylor.

Pressed on 180g black vinyl, the triple LP is housed within poly-lined inner bags and a triple gatefold sleeve.

Skepticism's celebrated debut album's 30th anniversary edition with bonus material out in November Stormcrowfleet, Skepticism's monumental 1995 debut, remains a landmark of funeral doom — an album that defined both a sound and a legacy. This 30th anniversary edition of the classic was newly mixed from the original tape reels by Anssi Kippo in 2018 at Astia Studio under supervision of the band and is now freshly cut for vinyl. "Stormcrowfleet was originally released on CD. Instead of taking the easiest route we wanted to make the vinyl version the best it can be. We bought the multi-track tapes at the end of the recording sessions back in the day and have stored them for possible later use. This use became the Stromcrowfleet reissue - not just a vinyl edition but a complete remix of the album from the original recordings." "In the remix sessions nothing was added or changed in the original recordings. The mix was done at Astia-studio with high quality analog equipment. In fact most of the equipment used did exist in 1995. What did not exist back in then was more than two decades of audio engineering tradition dedicated to processing extreme metal. In this process that tradition manifested in the form of Anssi Kippo - multiple award winning producer who handled the mixing in co-operation with the band members. In short the target was not to do a different mix but one with the original vision for the album with better equipment and engineering." comments the band. The 30th anniversary edition of Stormcrowfleet features two bonus tracks from the 1994 demo cassette AEOTHE KAEAR cut directly from the original studio master tape, released on vinyl now for the first time ever. Also including a special anniversary edition booklet illustrating the making of the album. A milestone of doom metal history, expanded and reintroduced for a new generation.

Skepticism's celebrated debut album's 30th anniversary edition with bonus material out in November Stormcrowfleet, Skepticism's monumental 1995 debut, remains a landmark of funeral doom — an album that defined both a sound and a legacy. This 30th anniversary edition of the classic was newly mixed from the original tape reels by Anssi Kippo in 2018 at Astia Studio under supervision of the band and is now freshly cut for vinyl. "Stormcrowfleet was originally released on CD. Instead of taking the easiest route we wanted to make the vinyl version the best it can be. We bought the multi-track tapes at the end of the recording sessions back in the day and have stored them for possible later use. This use became the Stromcrowfleet reissue - not just a vinyl edition but a complete remix of the album from the original recordings." "In the remix sessions nothing was added or changed in the original recordings. The mix was done at Astia-studio with high quality analog equipment. In fact most of the equipment used did exist in 1995. What did not exist back in then was more than two decades of audio engineering tradition dedicated to processing extreme metal. In this process that tradition manifested in the form of Anssi Kippo - multiple award winning producer who handled the mixing in co-operation with the band members. In short the target was not to do a different mix but one with the original vision for the album with better equipment and engineering." comments the band. The 30th anniversary edition of Stormcrowfleet features two bonus tracks from the 1994 demo cassette AEOTHE KAEAR cut directly from the original studio master tape, released on vinyl now for the first time ever. Also including a special anniversary edition booklet illustrating the making of the album. A milestone of doom metal history, expanded and reintroduced for a new generation.

Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.

The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.

Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.

For his last solo record ‘Through a Room’, Bill Nace shifted his usual saturated guitar sound and added tapes, hurdy gurdy, doughnut pipe, bird calls and the mysterious Japanese taishōgoto. Setting up for the final night of his three day residency at OTO with only the taishōgoto soundchecked, Nace hoped that Parker would arrive with his small soprano as its opposite. “I’ve been interested in state change, you know, playing until there’s a shift in time.” Known for his development of multiphonics to produce a constantly shifting pattern, Evan Parker has evolved an instantly recognizable sound - his work the soprano most distinct. Happily, it was the soprano Evan brought with him and as soon as the two start to play they entwine - taking off in a double helix of keys and reed primed for endless reconfiguration. Space warps under the velocity of playing, the pitch rising unrelentingly. It felt like unending lift off in the room, sheer energy until the last note makes remember your feet have been on the floor the whole time. Total time bending shredding.

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"They had never played together before. They had never even met each other before this springtime 2024 concert at London’s Café Oto.

Evan Parker, circular breathing maestro of the saxophone, a legend in the universe that is Free Improvisation since the late 1960s and Bill Nace, one of the most intriguing experimental “noise” guitarists of the 1990s/2000s underground scene.

For those of us who have been enamored by the live and documented work of both these gents, this Café Oto duo was a must-hear event. It could have gone anywhere musically and that would have been totally fine. Particularly with Evan having a history of being thrown into a variety of challenging collaborations throughout his career, employing the learned elegance of trust in his own sensitivity to listening, responding, leading, following, sparring, intertwining, dialoguing, creating in the instant and, essentially, dignifying the non-hierarchical grace of chance.

The aesthetics of socialist consideration in Evan Parker’s playing, in his community of expanded and personal technique, for a younger player such as Bill Nace, strikes an exemplary model. This notion of respect would be entirely the reason Nace, when offered a residency at the most critical “new music” room in England, would request to play in duo with Parker.

Bill Nace came to prominence mostly during the apex of experimental music activity in and around Western Massachusetts in the early days of the aughts, with a focus on visual art and free improvisation guitar action. He could be found in the daytime hours, his head hanging down over a notepad, penning fine-tuned illustrations and abstract line drawings, while in the evenings he’d be attending any number of basement noise gigs, many of which he’d be participating in. His guitar style came across as being informed as much as by the physicality of his writing utensils in friction to the page as it was to his hearing and redefining of radical recordings ranging anywhere from the Black Unity Group to Black Flag.

Utilizing various metal files and other small cylindrical objects Bill would allow his guitar and amplifier to be in tandem with the improvisatory movements of his body as the instrument balanced, intentionally and, at times, precariously, upon his lap. The performances came across thrilling and daring and they would be mostly in the context of venues nothing more than a low-ceilinged damp and dank New England basement, a clutch of people hanging onto rusty pipes or sitting up on dilapidated washer/dryer machines, the shards of Bill’s “file guitar” sounds ringing out like the most alive music on Earth.

By the time Bill reached Café Oto in early 2024 he had relocated to Philadelphia all the while releasing a succession of collaborative LPs on his Open Mouth label to present his developing progression of solo and collaborative work. He also would find himself considerably engaged with playing the electric taishōgoto, a keyboard-activated string instrument from Japan which can exist as a one, two, four, five, or six string oblong sound object. Bill’s approach to the taishōgoto would not be too unlike his approach to the traditional electric guitar, though no outboard implements such as files, sticks, and rocks are utilized. The similarity would lie wholly with Bill’s full immersion of high velocity action-playing where, with the taishōgoto, an electric drone beauty occurs. The flurry of sonics and resultant harmonics emanating from the amplifier (which Bill opts to dial into with borderline loud-as fuck volume settings) furthers the meta-mantra properties of the instrument in an astounding display of drone dynamism.

This sound world of Bill’s two-stringed taishōgoto on this Café Oto night worked beautifully with Evan Parker’s improvisatory saxophone conceptions. The duology achieved instant lift off at ground zero only to find it’s eventual finale as if it were organically ordained. Time seemingly morphed from its ancient human construct of control, rendered inconsequential to the torrential transcendence of the room wildly activated by the magic resonance of the multi-directional pan-spatial sonance of the music as if it were some beatific blessing. It was one of those nights where art as a liberating force of spirit gifted the listeners with an offering of exaltation and joy. It was entirely mystical and mind blowing. A night of Total Music."

Thurston Moore, London, 2025

One Instrument welcomes Morning Seance, composer and sound artist, originally from Italy and based in Vienna. On this debut LP, Morning Seance traces a drifting narrative composed of unstable harmonies, fluid structures, and ghostlike forms. The album unfolds like a dream told in fragments, oscillating between fluctuating pulses and decaying transmissions, from nocturnal stillness to acoustic mirages. The first half of the record moves through zones of suspended tension and evanescent contours, where tracks like “Be faster than your own depression” and “The tenderness of our own autobiography” sketch fragile architectures of affect. The second half enters a more spectral terrain — “Breakfast in a night club,” “A visit to the Brion-Vega tomb” — not places, but agglomerates of sonic sensation, detached from any personal frame.

With each piece, the music dissolves and reconstitutes itself, resisting finality or form, and doing so with an indestructible joy that hums beneath the wreckage. This is degenerate ambient music: anti-geometric and subject to emotional weather — not a refuge, but a slow collapse of structure and purity, where atmosphere gives way to excess and disobedience.

The album is crafted entirely from a single source: the Roland Alpha Juno-1. Despite this constraint, it achieves a vast sound spectrum, transforming one synthesizer’s voice into a layered landscape of textures and moods.

The electronic music of Morning Seance is built on constant variation and intricate, looping patterns with no clear beginning or end. This variation is not simply applied to an audio element, but enacted as a compositional logic — avoiding mechanical combinations and obvious rhythms. The result is a mutable mass of audio matter and tonal debris, guiding the listener through richly divergent environments.

On Beacon Hill: at twilight we find Anthony Moore, roots winding backwards to the halcyon days of Slapp Happy and the "70s progressive art rock scene, at guitar and piano. With the atmospheres and accompaniments of AKA & Friends, he breathes infernal new life into songs from his six decades of multivarious music making. This new delivery system is unto a séance, a communal incantation, twining Anthony"s avant and pop traditions together in a darkly radiant coil of folky chamber music; a rope to lower the listener through cobwebs and murk, unveiling new life beneath Anthony"s mad old lines. AKA are Anthony Moore, Keith Rodway and Amanda Thompson. A pagan family of sound worshipers hailing from that unholiest of all places: Hastings UK, home of Crowley and Turing. Like their sinister forbears in that infamous tradition, this latest trinity shares a passion for subverting pattern and number, factoring unlikely permutations arising from sea and horizon, greensward, the southerly aspect, and the planisphere as half-world. Their equatorial shore speaks of a planet of water and earth, fire and air. AKA"s humble tools of choice for this endeavor are guitar, piano, organ, synthesizer and vocals. The Friends of AKA are Tullis Rennie, trombone and electronics; Olie Brice, double bass; Richard Moore, violin; and Haydn Ackerley, guitar. They too navigate the shoreline of the south coast, haunt the same taverns and regularly play together in whatever combinations fit the bill. Leaving the drums (and their drummer) at home to realize anew these dreamladen songs, AKA & Friends ensure that the notes fall around the beat and not on it, so as to define the pulse with absence. As such, time is liberated, prised free from the merciless clock; a rhythm of waves, passing through a steady-state universe of no beginnings and no endings. Discontinuities are dissolved, all is transition.

Brand new music from the space cavern for 2025. "Intersatelital" is the new exploration in sound from Vinnum Sabbathi, encompassing the relationship between us humans and the machines we have created to aid in our quest towards the expansion and conquest of space beyond our home planet, taking special focus on a pivotal point in time for Mexico. Back in 1985, two satellites (Morelos I & II) were put in orbit under the NASA missions STS-51-G and STS-61-B. These satellites became crucial for advancing communications in Mexican territory and were controlled and monitored by Mexican engineers in the heart of Mexico City. Mission STS-61-B also featured the first-ever Mexican astronaut, Dr Rodolfo Neri, who set several experiments in orbit as well as taking photo documentation of the country from space, and, with all of this, Mexico entered a new era of technology and communications. A sonic testament of the intricate human-machine comradeship from the last century.

Slip is Paul Abbott’s response to his 3 day residency at OTO in 2023. It’s a continued exploration of the acoustic-digital hybrid drum setup Abbott has been developing for some time, which involves drum kit and synthetic sounds combined closely—through an entanglement of limbs and cables—in an intimate but strange relationship with each other.

Paul Abbott hasn’t had any formal musical training, but has a long history of making music, having collaborated for years with Seymour Wright, Pat Thomas, Michael Speers, Cara Tolmie, Anne Gillis and many others. Eventually, led by a profound suspicion of what is fixed or limited, Abbott began finding other ways to organise sound - or what he calls ‘material’:

“I wanted a way to 'persuade' or guide the possibility of something happening - my activity or the events of an algorithmic composition - for example, but without certainty or formalism. It felt to me, during playing, that certain ideas had a particular sort of shape, but more than the form of a line. I began to write alongside (before/after) playing the drums, and ‘characters’ began to enter the scene as a more wobbly, and therefore appropriate option to notation. Working with these characters allowed me to simultaneously approach body, imagination, language and music: without dividing things up or separating these aspects from each other. It allowed me to leave things messy and entangled, whilst trying to deal with form and specificity: wanting to have some things feel or respond differently to other things at other times.”

In approaching his residency, Abbott developed a fixed cast of characters - crystal, lleaf, reiy.F, reiy.C, strike, nee, qosel, sphu and aahn. They each communicate using different kinds of movement and drum kit/s, and Abbott choreographed them as ‘dances’ based on different feelings, or outlines of behaviours suggestive of ways of moving (body, drums, sounds). He then arranged these characters into ‘compositions’: one for each performance day, with each composition featuring multi-layered activity - options for behaviours, ways to move around the rooms, play drums, develop synthetic sounds, change the lights or re-distribute the sound in the space.

After the performances, Abbott took home 9 hours of recordings split into up to 28 multitrack channels for each day, and re-organised his cast once more into a performance for 2LP, CD and digital. It’s an enormous amount of work - but Abbott is activated by the process. For him, the pleasure of unstable edges, possibilities, slippages, is the vital attraction. Like all living organisms, Abbott’s characters have malleability and responsivity. They stimulate a bundle of possible behaviours, a tendency to act a certain way, a temperament, a boundary of respective limits or affordances.

It’s an affective way of working, inclusive of Roscoe Mitchell, Sun Ra, Nathaniel Mackey and Milford Graves. In ‘Pulseology’(2022), Milford Graves reminds us, ‘Breath varies, so cardiac rhythm never has that (metronomic) tempo. It’s always changing. All the alignments of the heart are determined based on the needs of the cells, specifically tissues and organs. The heart knows if it needs to speed up.’ In Slip, to slip, in a heartbeat, is to descend not into the grid of the even metre accorded to the heartbeat, but into a play of mutability and modality. To change is the condition of the heart.

2025 Repress

DJ Koze doesn't aim for technical perfection for its own sake, but rather to serve the purpose of giving birth to great music. On his debut 'Rue Burnout EP' from his own Pampa label, he plays with finesse and sophistication, and implicitly understands the importance of subtlety, leading from dreamy and restrained parts to a noisy frenzy at the end. 'Blume der Nacht' starts with a looped piano solo from Arabian dodecaphony, interwoven with bangs of violine bows, piercing high-pitched strings, almost shrieking glissandi, deep angel chants and obsessive sharp rhythms. The 37 year old constantly horny wunderkind producer has made a habit of creatively foiling expectations, and works also under the pseudonyms Adolf Noise, Swahimi and recently Madima Lokkah to redefine the boundaries of electronic music. This daring concept works perfectly in the title track 'Rue Burnout' - it is very rare that you find house music this excitingly light-fooded and precisely transparent. The musician cuts the pigtail off the term 'Kackmusik' for good, and demonstrates how sounds are capable of creating the most delicate musical interplay.
Amen.
DJ Koze, Germany, April 2010.

We are heading for a night to Itaewon from where French artist Booh has drawn his inspiration from this release. On the remix duties we have his friend Krijka who is currently resides in Seoul and who has done a stellar job while keeping the essence of the original. The name of the tracks on this 12” are named after the iconic clubs of Korean’s capital where the artist managed to spend good quality time and draw his inspiration from, a major city with its vibrant nightlife that is very close to the soul of the artist. Booh is on the roll recently with a string of releases on very well-known and respected labels of the underground with many more planned, so it's an honour to finally welcome him on Exarde. Enjoy this record and transport into the mind of this proficient artist that has opened a window into his world for us.

God Given Ass is a five piece punk rock band from Helsinki, Finland, formed in 2008. The band members’ former outfits include 90’s Finnish rock band Tehosekoitin (a.k.a. The Screamin’ Stukas), legendary drunk punks Maho Neitsyt and horror-garage-punksters The Patsy Walkers. As connoisseurs will have noticed, the band name derives from a line in a certain David Bowie song, and true to that, their influences range wide – from classic punk rock sneer to 60’s-influenced melodies to glitter stomp and back. Despite God Given Ass having been around for some time, this eponymous record is their debut album. Having released four 7-inchers early in their career (and two cassettes to boot), they went on a hiatus a couple of years back, only returning to the touring cycle in 2024. Despite the near glacial release pace, the album itself is not slow: it’s a 28 minute and 12 track ride through the at times fun & at others dreary landscapes of eastern downtown Helsinki by night.

Seminal sounds from the golden age of Ghanaian music. Highlife, rock, and soul collide and merge with tradition and culture. New styles meet old styles. A new generation renews old musical customs. New fashions meet old fashions, creating new fusions. Features rare tracks from Hedzoleh Soundz, Ogyatanaa Show Band, Honny & the Bees and early Ebo Taylor (Asaasa Sa). These tracks were originally available on vanishingly rare 70s pressings, then a highly collectible 5LP box set released in 2009. This special vinyl edition is produced in conjunction with the James Barnor archive, featuring a previously unpublished 1976 photo from the archive of Ghana’s most famous photographer. Comes with Obi-strip.

Hailing from Aachen, the Brandwerk resident Danieli is less a producer and more a sound archaeologist. An artist who uncovers the hidden rhythms of nature and translates them into deep, textured techno. His debut EP on a.r.t.less, "Shifting Clouds," is the consistent continuation of this path. The title is not just a name, but a mission statement and a metaphor for his entire approach: music that is organic, fleeting, and full of emotional depth. The four tracks are a journey through soundscapes distilled from field recordings, synths, percussion with analog warmth and dub ethos. From the atmospheric melodic expanses of the title track, "Shifting Clouds," and the almost microscopic detail of "Minutiae," to the hypnotic evolving pull of "Between Layers" and "Reduce", this EP is a masterclass in subtle dynamics. For Mojuba sublabel a.r.t.less, this release is a more than welcome extension of its own sonic cosmos as well as its artist roster.

“In a concert, I show something with a beginning, a middle and an end. But, there is no end. Of course, there is no end. Because I am the music, and I am still here.” - Sophie Agnel

‘Learning’ - Sophie Agnel’s first solo LP, feels like the dark, physical inversion of her excellent ‘Song’ which came out on Relative Pitch earlier this year. Sinking her unique sound into vinyl for the first time, the LP arrives as Agnel recovers from a brain tumour - a shocking discovery that will require Agnel to start again with the piano. It’s a terrifying prospect, but Agnel has been here before, having reorientated herself almost entirely away from her early classical training over the last 4 decades of her work.

‘When I was young I had very good ears, oriole absolute. Then later I began to make strange sounds with my piano, to do different kinds of music. I was more interested in the sounds than the melody, for example. I remember once I sat down in a shop to try to read the scores of Schubert and there was a light emitting a very strong bzzzzzzz. And I couldn't listen to my oriole internal - I couldn't read the score. I was entirely subjugated by the sound of the light. And I understood that something had changed. Ten years before I could read and not hear the light. Now I understood that my ears were completely different. I was more open to the sounds of life.”

Born in Paris in the 60’s and playing her parents piano as soon as she could stand up, Agnel quickly grew tired of the classical world. What frustrated her was the strange disconnect between the frame of the piano and its keyboard - a weird boundary that seemed to form some hushed code of etiquette. “The first thing I put inside the piano was a plastic goblet. I’d seen a few pianists do it: Fred Van Hove, for example, put rubber balls inside his. But what didn’t appeal to me was that there seemed to be no link between the pianos outside and inside.”If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks - not that you’d recognize their sounds. Having absorbed the language of the European avant-garde, Agnel is known for pulling the piano’s interior outside of itself by tipping her handbag into it. But these ‘strange sounds’ don’t just come from Cage - they also share the poetic force of Cecil Taylor and ‘Learning’ demonstrates that Agnel’s work on the piano's keyboard is just as important as what she’s littered on its strings. The record lets loose her ability to unleash a formidable sound mass and then rope it back to one single, clarifying note. With one hand, Agnel plays 88 tuned drums and on the other an enormous guitar - with the LP rotating through oncoming trains, and blues harmonica and feedback. It’s single minded stuff, borne out of a dedication to a wholly personal language of gesture, accumulation and deft reduction. “Maybe when I’m 80 I will not need anything,” Agnel says in a recent film made at her home. “I will do the same but with one note, and one finger. Maybe it's enough.”

‘Learning’ arrives in a reverse board sleeve designed by Jereon Wille. Recorded live at Cafe OTO by Billy Steiger on 6th June 2023 and 4th June 2024. Mixed by James Dunn and Benjamin Pagier. Side B edited by Benjamin Pagier. Mastered and cut by Loop-O. Front photograph by Aimé Agnel. Typography and layout by Jeroen Wille.

Or Kantor returns with his sophomore album Snake Island, a vivid and cinematic journey through imagined landscapes and lost love, for fans of Eden Ahbez and other seekers of sound and spirit.

Following the critical success of his 2024 debut Sarda Sarda, praised by BBC Radio 6 Music, FIP Radio, RRR Australia, WYEP, KCRW, and Songlines Magazine, Kantor continues to refine his distinctive sonic identity, grounded in instrumental storytelling.

With Snake Island, Kantor ventures deeper into what he calls Subterranean Music, an atmospheric fusion of Mediterranean ballads, desert blues, spiritual jazz, and psychedelic textures. Drawing inspiration from artists such as Gábor Szabó, Omar Khorshid, The Budos Band, Dorothy Ashby, and Tommy Guerrero, he crafts instrumentals that feel both timeless and cinematic.

"Snake Island was written as a soundtrack to a fictional film that disappeared from the world, one that most likely no one has ever seen," says Kantor. "It began as a tragic love story, imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound."

A respected tattoo artist and founder of the Love Light Studio, Kantor's musical path began after a chance encounter with Johnny Sharoni (Garden City Movement, A&R at Anova Records). During a tattoo session, Sharoni heard Kantor's demos and was immediately struck by their raw beauty.

Kantor now steps confidently into the next chapter of his creative journey. Snake Island is more than an album. It is a mythic, imagined soundtrack to a film that only exists in memory, rendered in tones that shimmer like heat on stone.

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

Seven Blood make music that manages to move the listener despite its hard-hitting sounds. Metal meets Emo-Core. Their songs revive the seemingly lost connection between volume and emotionality. However, they refrain from imitating existing bands and create their own sound, which complements the music of their youth with the band's own character. It all started in spring 2023. Anfy, Azaria, and Oli were going through strong personal crises, had known each other for several years, and decided to do what helps most in such a situation: process the pain together through songwriting. Shortly after, Josi joined and completed the band. Their lyrics deal with personal struggles and observations of our society, whether it's the toxicity of individuals or the ignorant attitude of an entire species. Seven Blood embed these lyrics in a brutal wall of sound that gives their thoughtfulness a furious undertone. The combined force of drums, bass, and guitar rises behind the vocals and is complemented by the ethereal and sometimes biting sounds of fanfares and synths. All of this culminates in a musical high that gives the listener the feeling that everything, and simultaneously nothing, is okay.

From the humdrum to the huge; Tiia explores heartbreak, disappointment, climate change, and dying house plants. The record plays with contrasts, light and shadow, fizz and gloom. Keys melt into darker textures before guitars and drums lift them back into sparkle. It's heaviest moment is the title track, written in an airport bathroom after Tiia's father passed, yet even here, hope breaks through in irresistible vocal harmonies and inventive melodies. "To me, 'Kind Eyes' is a feelings record," Tiia says. "The grief for my dad passing sits at the centre and expands towards the edges, but there's a range of other feelings too. Sometimes they're hard to pin down and navigate but the songs are my map, trying to chart where you are and where you're going. And listeners should remember that sometimes X does mark the spot."

Lead single 'Healing' hits like a mascara- smeared midnight drive through Lynch's America. First sketched with Prince in mind, it finally found its teeth on a long, lonely walk in north-east London: a rock song hiding in plain sight. Tiia says "As soon as I had a rough idea for the driving beat, I knew I had to get Sean Berry (fellow bandmate from the once mighty Comet Sands) involved on the guitar, and the hooks all fell into place". Dusted with plush keys, on 'Numbers Game', Tiia leans into classic rock drama - warmth turning suddenly cold, the floor falling away from underneath you. "The lesson here is don't spy on your exes, but when you do, be prepared to write a song about it. It was the first track I asked Paul Rains (of Allo Darlin' fame) to play guitar on and he instantly got where I was trying to go with it. Now he's my partner, I have no idea how he feels about the lyrics!" Tiia laughs. Having also worked with Tiia's previous cult all-girl indie band The Minor Characters, Seb Kellig lent his trademark dub- inspired production influences at the legendary sonic heaven of Sausage Studios, east London, which Tiia calls "My happy place".

Tiia will again be playing keys for Allo Darlin's four UK tour dates this October followed by tour dates as Count Jaakola. 'Kind Eyes' is set for release 21st November 2025 via Tip Top Recordings (Mandrake Handshake, Japanese Television, Pearl & The Oysters, Golden Toad).

Vinyl only release of dynamic chicago improvising quartet consisting of Marilyn Crispell - piano * Jason Stein - bass clarinet * Damon Smith - double bass * Adam Shead - drums. Recorded live on the 18th of June 2023 at The Hungry Brain, Chicago by Bill Harris. A cross-generational summit between the legendary pianist Marilyn Crispell (member of the Anthony Braxton Quartet and Reggie Workman Ensemble) and Midwest improvising trio of bass clarinetist Jason Stein, bassist Damon Smith, and drummer Adam Shead delivers all the range and expressivity one would expect from such seasoned players. The concert captured on Live at the Hungry Brain moves organically from searing free jazz to contemplative, lyrical balladry, all of conceived in the urgency of the moment and revealing a long-ranging, intricate approach to free improvisation.

With Processing Music, Dutch composer and electronic musician Casimir Geelhoed offers a compelling meditation on sound transformation as a metaphor for psychological and emotional processing. Operating at the intersection of overstimulation, introspection and fragility, the album unfolds as a deeply immersive and personal exploration — one that invites the listener to inhabit a space of their own projection, memory and reflection.

Rather than imposing a fixed compositional structure, Processing Music follows a bottom-up approach, allowing form to emerge organically from the interaction of sonic materials. Digital signal processing is not used here as a mere technical tool, but as a poetic device: transformation as narrative, delay as memory, distortion as tension. Through slowly eroding loops, gently collapsing textures and shifting layers of timbre and space, Geelhoed crafts a delicate sound world that is charged with friction.

What may at first seem abstract gradually reveals an emotional core. The album evokes the suspended time of a largo, the layering of memory like an excavation, the psychological tension of perceived spatial expansion. These are not literal themes, but associative keys to a music that operates in a distinctly human sonic language.

Emerging from a series of live performances, Processing Music retains a performative sensibility: the music breathes, transforms, and invites attention to nuance. It slowly unfolds a landscape shaped by the subtle interplay between structure and dissolution.

Casimir Geelhoed has presented performances and installations at festivals such as CTM, Sonic Acts, Rewire, Fiber, SPATIAL, and Aural Spaces. He studied computer science, composition, music technology, and sonology in Amsterdam, The Hague, and Utrecht.

DJ Support from Alan Dixon, Danny Tenaglia, Made By Pete, Nick Warren, Hernan Cattaneo, Anthony Pappa

The Magic Black Plastic series reaches its 8th instalment for another carefully curated vinyl EP that features a quartet of bestselling tracks from Dave Seaman & Steve Parry’s Selador Recordings imprint.

Wending their way onto wax for this edition is Andrew Sant & Andre Espeut’s achingly beautiful vocal gem ‘The Call’, Dilby’s classy hypnotizing ‘Closer’, Levi David & Abigail Bailey’s anthemic ‘A Better Place’, and last but in no way least, Aubrey Fry & Nick Stoynoff’s heavy hitting rework of Danny Howells’ ‘Stereodrama.’

it’s another awesome foursome to satisfy your vinyl needs.

Das neue Live-Album von Def Leppard „Diamond Star Heroes Live From Sheffeld” jetzt auf Blu-ray+2CD,
4K UHD, 2CD und 2LP!
Das Konzert wurde 2023 während ihrer Tournee mit Mötley Crüe in ihrer Heimatstadt Sheffeld in der
Bramall Lane aufgenommen.
Die 4K-UHD-Version enthält auch „One Night Only Live At The Leadmill”, das bereits im letzten Jahr
veröffentlicht wurde. Jetzt das erste Mal im 4K-Format.
Die 2LP wird auf rotem, weißem und schwarzem Splatter-Vinyl gepresst – die Farben stehen für die
Heimtrikotfarben des Sheffeld United FC, der seine Heimspiele im Bramall Lane austrägt.

2025 Repress

DJ Koze exists both above and beyond club culture as we know it - his albums and remixes flying free from genre and trend - and symbiotically woven into its heart. Yes, he always abstracts and weirds out the principles of house, techno, hip hop, pop, psychedelia, exotica and so forth, but he does that because he understands them. And when it comes to club-demolishing tracks, he understands those principles as well as just about anybody on earth. Thus he could create an enduring club tune like 2015's 'XTC' that is strange, contemplative, even disturbing, bore little relation to anything around at the time, yet still got bodies moving and sweating better than way more obvious techno bangers. And thus the Knock Knock album, which melts a million genres and none into one another, can comfortably include 'Seeing Aliens". 'Seeing Aliens' unquestionably is a banger, its bass riff snaking around your body like a python, its high-drama strings, pianos and outbursts of noise designed for maximum crowd pressure release. But, again, it sounds like nothing else, and its dynamics and twists unfold over eight and a half minutes in ways that will mess with your head every time no matter how many times you hear it. The exclusive b-side track, 'Nein König Nein' ("No King No"!), meanwhile, is slightly gentler on the face of it: it's less about sonic pressure, more about hip-shaking syncopation. But it too tells strange fairytales in its peculiar and brain-tweaking accumulation of detail, and though you'll hear archetypal sounds from the heart of house and disco in it, every last one of them becomes new and otherworldly.

Originally released in 2005, Supernature was Goldfrapp’s era-defining masterpiece, a multi-layered sonic-pop thriller that shattered the electronic rulebook, replacing it with a radical, high-gloss vision of pop music at its most seductive and strange.

Supernature catapulted Goldfrapp into the pop stratosphere, spawning now-classic singles like “Ooh La La”, “Number 1”, and “Ride A White Horse”. The album topped charts worldwide, earned multi-platinum sales, garnered multiple BRIT and GRAMMY nominations.

Now reissued for its 20th anniversary, the deluxe edition offers fans the classic original album alongside B-sides, classic & brand new remixes, unreleased live radio session recordings and an Audio Blu-ray 5.1 surround mix. The release is presented across 3 CDs (2CD + Audio Blu-Ray) in deluxe packaging, alongside a stunning peacock-coloured double vinyl edition (the second disc being a remix 12” single EP), with everything cut at half speed for enhanced sound quality.

The new edition includes two brand new Goldfrapp remixes by Alison Goldfrapp & Will Gregory, with exclusive reinterpretations from Richard X, Sun’s Signature (Elizabeth Fraser (Cocteau Twins) & Damon Reece (Massive Attack, Spiritualized).

With the release of this deluxe edition, Goldfrapp don’t just revisit Supernature, they reaffirm its enduring influence in 2025’s musical landscape and beyond.

Cindy Lee, the performance and songwriting vehicle of Canadian artist Patrick Flegel (who fronted influential indie group Women earlier), previously stunned listeners with Act Of Tenderness, a heart-wrenching statement informed by the noirish core of celebrity, and has continued to enchant with every album, including the startling What's Tonight To Eternity released earlier this year.

Model Express originally appeared as a self-released edition of 100 gold cassettes. The arch, filmic drama of Cindy Lee's songwriting – realized with keyboards, guitars, aching voice and collaged, lo-fi production – traverses a wide range of emotional and sonic terrain. The red velvet psych-pop of "What Can I Do" gives way to the fluid "Diamond Ring" like radio bursts from space. Model Express finds Flegel at both their most experimental and immediately melodic, and this first-time vinyl release recognizes the collected tracks as a pillar in the Cindy Lee catalogue.

Cindy Lee (who uses the gender neutral pronoun they) is a drag persona drawing on suburban closet queens and mid-century divas. In keeping with Flegel's interest in the faultlines of identity, gender expression, performance and media, Model Express delivers an intense and diverse set of unforgettable songs.

A Principino whose body dissolves and recomposes perpetually, leads us inside an ancestral tunnel, layered like a bazaar, for just 21 minutes. At the stroke of the 18th minute the light goes off and comes on intermittently marked by the rhythm of Bingo Bongo. From the darkness crawls an ignoble spirit with stocky features with a guttural voice leads us astray to the gates of the gulf. The air suddenly becomes warm, the current dilates. The internal whistle of the bowels resounds from the deepest abysses The shadow of his pain vanishes in the wake of a final sound sedimentation.

Born from a profound devotion to the piano and a reverence for the organic flow of life, byt’ surprises listeners by presenting "paths of sand", a remarkable creation by Amsterdam-based composer xico, offering sound and soul to those willing to listen beyond the surface.

Through the magic of experimentation, xico captured the fleeting beauty of the muse of improvisation, as described by Nachmakovich, transforming the ephemeral into something lasting. Performances recorded on the same old piano during the 2023 Kaalstaart Festival in the Netherlands have since evolved into a fully realized work. A journey of nearly three years of dedicated silence that began with Telva’s intuitive recognition of xico’s voice, starting with an invitation to her radio show and blossoming into a captivating fascination with what unfolded. This process led to the art of shaping the selected live recordings into a collector’s item, now materialized as a limited edition of 200 pressed vinyl copies, forever remaining as an artistic memento.

Perfectly attuned to the energy of the autumn equinox, paths of sand unfolds as an intimate reflection of music’s ability to hold what cannot be held, to speak what cannot besaid, and to embody what can never be described.

xico is a sound artist and improviser from Ibiza whose work explores the merging point between disruptive and post-natural soundscapes, crafting immersive sonic environments through compositions that unfold like ecosystems.

Encouraged by an understanding of chance as nature’s and awareness' most accessible voice, he focuses on creating generative live-sets with varying degrees of unpredictability. For him, subordinating human intention to nature’s order is a conscious choice, and making art through this lens becomes a statement and a spiritual practice. With his distinctive touch, his compositions resonate with the world in unexpected and profound ways, offering experiences you may never have heard before.

Vanbur – artist duo consisting of composers Jessica Jones & Tim Morrish – are releasing their debut album release this autumn. The album scoops up Earthing and my dove, to sleep, made famous by the Netflix show ONE DAY, alongside previous material from their debut EP ‘Human’ including In Cold Light which had a huge TikTok moment around the show’s release. Written over several years, ‘Of Becoming’ reflects a maturing of Vanbur’s sound as they themselves have gone through major life changes and transitions, which are addressed both lyrically and sonically in this impressive body of work. There’s a dreamlike quality to the album, representing the sometimes disorientating dichotomy found in immense change of wistful nostalgia and strength found in adaptation. Recorded at Church Studios with a 12-piece ensemble, the album weaves between lush orchestral heights such as Of Becoming and Friends of Mine and edgier alt-pop bangers such as Strange Kind Of Creature. Jess’ vocals are at times ethereal and textured, and at times lean further into her song-writing sensibilities with their most personal lyrics yet. With the pair’s range and skillset across production and composition fully explored, the album is a triumph of song-writing. The band have worked with filmmaker and Creative Director Matt Houghton on a strong visual aesthetic, from key artwork to narrative promotional films shot on 35mm. With graphic design by Torsten Posselt, the vinyl will have a tactile and natural quality tying in with the analogue feel of the campaign. Vanbur’s debut EP, Human, was released in 2018 and received press coverage in Clash, Ear Milk, Higher Plain etc and was played across BBC 6Music shows. The had their debut performance at the 100 Club and plan to bring a scaled up version to stages in 2026. The follow up remix EP included remixes by Mogwai and Katie Gately, and their music has been placed in hit-shows including One Day (Netflix), The Rising (Sky), Hanna (Prime) and Queens (Nat Geo).

GATEFOLD DOUBLE VINYL WITH SPOT UV FRONT COVER

Following the skewed-unself-help-brilliance of ‘Sus Dog’ (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece ‘Cave Dog’, Chris Clark returns to the dancefloor’s simple, but no less affecting pleasures, with ‘Steep Stims’.
“I found it hard to pull away from listening to this record, hard to stop making it, I had to remove myself from the Stims and stop enjoying it at some point. The album feels like nature to me. I love it when electronic music feels more naturalistic than acoustic music, more potent, that’s the devil’s trick, the promise of electronic music.” comments Chris.
“I used an old synth - the Virus on all of the tracks. I used it at Mess in Melbourne - run by my friend Robin Fox - I loved it so much I had to buy one when I got back to the UK, it took a while to find. They’re a bit clunky to program but make some of my most favourite sounds.”
‘Steep Stims’ marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. “Most of the tracks on this album capture the spirit of making music on old samplers, which don’t have much memory time”, explains Clark. “It reminds me of making ‘Clarence Park’, my first album, where I would have to finish tunes in the session, as they would be saved on floppy disks and I couldn’t easily go between tracks. This new record is just a few synths and a few choice sounds; the writing is the important thing.”
Made quickly, ‘Steep Stims’ reflects the immediate rave energy of his live show, but that’s not to say it’s basic floor fodder, as it’s rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than laboured over, it’s still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor.
Soft, orange, scorched, brutal, the opening track ‘Gift and Wound’ captures the classic dance music dread / awe / euphoria combo perfectly, before ‘Infinite Roller’ merges sparkly-minimalism with snarling bass and soft sines, which turn more dense and metallic as it progresses.
The melancholic smoke belch of ‘No Pills U’ gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. “I love working quickly sometimes”, comments Clark. “Inspiration hits, rough and ready. It’s off the cuff but also screams ‘don’t gild the lily with nonsense, keep it simple keep it clean’”. Segueing into its elder brother, the piece becomes bigger and beatier on ‘Janus Modal’, where it permutates for over 7 minutes of fluttering, beatific club majesty.
At ‘18EDO Bailiff’ you inexplicably find yourself at a clearing, things have suddenly got much quieter. You enter a decrepit and eerie old house, and as you move through its unsettling interior, you arrive at ‘Globecore Flats’. A real piano tuned to 18 notes per octave gives the pair of tracks a haunted, olde worlde feel, which promptly gets eaten by a huge tech step tearout monster, birthing a strange but exotic beast.
The white hot ‘Blowtorch Thimble’ is all hooktasm-rave-hyper-amen-energy, whilst acidic flute leaps around like Ian Anderson on pingers throughout the catchily simple jump-up lurch of ‘Civilians’.
“‘In Patient’s Day Out’ is like some sort of Morricone-does-kraut-rock-with-drum-machines, but that’s probably just in my head” says Clark. “I made several versions of this then went with the early mix but cranked through some choice outboard because it just had something.”
Drumless, yet still full of exhilarating-big-trance-drama, ‘Who Booed The Goose’ flashes by in stroboscopic fast forward, then ‘5 Millionth Cave Painting’ gives a palate cleanser, letting “the virus with its delicious broken, luxurious reverb have a moment”, before ‘Negation Loop’ swoops down in all its glory, with Clark’s tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts.
An antidote to the bombast of its predecessor is ‘Micro Lyf’, which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings “that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone”, ends Chris.

Channeling inventive sound design into incisive, characterful techno variations, Jurango returns to Livity Sound with an eight-track double EP — his longest release to date. Taíno Gold captures a moment in time for Bristol-based Nate Reece's continually evolving sound as it draws on the full spectrum of UK club music.

Following a debut for Livity's reverse label in 2021 and last year's An Amorphous Mass EP, Reece is more assured than ever tackling a variety of club-focused cuts. The tracks on the release all came together before, during and after a two-month visit to Reece's grandparents' home — an idyllic tropical environment in a small community at the top of a hill in the northern part of Jamaica.

Taíno Gold refers to the island's indigenous Taíno community and the legend of a witch luring Spanish settlers into a trap on the Martha Brae river. There are no messages explicitly embedded in the music, but the release is both a personal reflection of Reece's own experiences and family heritage, plus a reminder about the enduring sceptre of colonialism and the continued need to fight against it. From absorbing Jamaica's fraught history through museum and plantation visits to the abundant nature in the garden surrounding his grandparent's house, the double EP marks a place in time for Reece, with eight advanced, ear-catching tracks as the end result.

From the cascading arps of 'Black Torches' to the tunnelling chords of 'Waiting For Trelawny', the melodic dimension of the Jurango sound is more confident than ever. 'Hibiscus' is a shimmering celebration of dub techno and crooked drum pressure and 'Chalk On Trees' basks in aqueous, fathoms-deep pads to close out the EP. Elsewhere, Reece brings new textural and tonal detail to his percussive workouts, splashing acidic noise around the angular experimentation of 'Maybe It's Broken' and firing off double-time rhythms to inject 'Double Sevens' with infectious urgency.

With the space afforded by a longer release, Reece widens out the scope of his artistic identity while absorbing the particular scene and setting that surrounded him while making the tracks. Taíno Gold is a vibrant next step for Jurango and a natural continuation of his work with Livity Sound.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Karen Willems is a Belgian drummer/percussionist active in various fields. Started as a drummer in rock and pop bands. With a number of musicians she built up a tradition within improvised music and sound art. Since 2020, with ‘TERRE SOL’ Willems is searching for personal modifications within her play of instruments and objects, with the focus on solo work and compositions.

"When I make music, there’s no plan. I draw my inspiration from everyday life. Small encounters, people, and the greatest source, of course, is nature. There we find all the beauty, all the sounds we need. With my solo work I try to stay far away from my familiar drum set. Only then I can create a special universe. Eccentricity and playfulness go hand in hand with exercises in tension and release, and calls for connection in antisocial times. It's difficult in this world obsessed with productivity and results, and you really have to be crazy to release music these days. So ‘A Fool’s Guide to Reality’ is a fitting title." Karen Willems

All music performed by Karen Willems using citer, casio, fieldrecordings, tambourin, mikado, xylophon, pots, bells, kindergarten instruments, snare, noisebox, crispy shakers, synths, effects...

Berlin’s ZentaSkai returns to his Mask Records with the ‘Billie’ EP, collaborating with Palawan, Jeremy Reinhard, and Thomas Grün for release on vinyl only, 2nd November 2025. He kicks off with the solo cut 'A1', which is quick, sophisticated, raw House with a funky clip to the beats that diffuses heat in the grainy sustained pads. It brings serene emotional release through stylish hypnosis and gorgeous vocals that blend seamlessly into the mix. Next, ZentaSkai collaborates with the mysterious Palawan, as he did on one track of his 2023 album The Architecture Of The Mind, on 'A2.' This one suspends you in backlit synth glows while rounded drums and funky claps tap out the supple rhythm. Cautious hope comes from the quiet chord stabs and soft focus melodies in what is a masterclass in deep Techno minimalism. 'B1' reunites ZentaSkai with Cologne's Jeremy Reinhard following previous cuts on that same 2023 album. Reinhard has long been a pillar of his local Berlin scene as a resident DJ, but also the wider underground with his own label Lekker Record. Their track taps into dub depths but ups the pace and allows radiant synths to piece the surface next to muttered spoken word that keep it intimate and perfectly seductive for body and mind. Last of all is a collab with Austrian Thomas Grün, who has been shaping deep and Tech House with his immaculate grooves for decades. Their 'B2' brings US garage snares to buoyant drums and douses them in layers of fuzzy synth warmth. It's meditative yet direct with an ever-rising sense of hope that makes it all the more indelible. ZentaSkai (aka No Mad Ronin, Matt Nowak, and MASK) is a German DJ and producer active since 1997. Based out of his studio in Berlin, ZentaSkai runs the Zaijenroots label and, since 2017, the Mask sub-label, which houses his stunning 2023 ‘Architecture of the Mind’ LP as well as his Cuddling Monsters project with Laura Merino Allue, who has been significantly involved in the label's work since 2023. - with other credits including a release on Jerome Sydenham’s Ibadan Records and support from the likes of Richie Hawtin, Joseph Capriati, Marcel Dettmann, Luke Slater, Laurent Garnier, DVS1, Ben Sims, and Radio Slave.

»La Traversée« (»The Crossing«) is Matthias Puech’s second album for Hallow Ground and follows up on 2023’s »Mt. Hadamard National Park.« Profoundly inspired by re-reading »The Odyssey,« the French composer, instrument designer, and scholar used a Eurorack modular synthesizer to create four pieces that are by far the most intuitive and emotionally charged in his ever-expanding catalogue. Puech’s masterful command of sound comes to the forefront with even more urgency on this record. A wandering meditation on the human condition, »La Traversée« is an album that is constantly in motion—complex electronic music at its most gripping and evocative.

The foundation for »La Traversée« was laid when Puech prepared a live set for a tour organised in collaboration with Hallow Ground in support of »Mt. Hadamard National Park.« Before writing the first three pieces—»Ennosigaios,« »Polyphármakos,« »Nekuia«—the 18½-minute-long »Ithâké« was composed in near-total isolation in the South of France at the end of 2023. Puech performed the material live several times before taking a step black from it for a while. He revisited the pieces when preparingthem for a release. »I was struck by how the technical process and the intention behind the music had completely vanished from my memory,« he says.

What remained intact, however, was Puech’s association of the material with one of the most influential texts of Western literature. Reading a graphic novel adaptation of »The Odyssey« with his two four-year-olds, he noticed the effect that it had on them and himself. »Its themes of longing, fear of and attraction to the unknown, unresolved quests, and the struggle for control felt topical,« he says. »I was completely taken. Every story ever told seemed contained in this ancient tale; every story I have ever tried to tell as a composer seemed inscribed in this framework.« This also extended to formal motifs such as the repetition of incidents, narrative developments, or dramatic effects that also mark »La Traversée.«

Puech says that he perceived Homer’s writing as musical, »like an old Delta blues or a Renaissance counterpoint,« which inspired his writing process. »With a couple of knobs on my Eurorack system, I could control the unfolding of a story,« he notes. »This made me pass through different emotional statesand led to moments in which everything made sudden sense—when you as an artist get a glimpse atsomething essential, can touch upon something universal.« This shines through »La Traversée,« a wildly imaginative album that is deeply personal while also telling a story far more wide-reaching than that of its creator.

In March 2025, "On the Love Beach" held a highly successful solo concert in Shanghai and Beijing with Toushi Naoki.
2025 marks the 30th anniversary of their memorable debut album, "On the Love Beach," and the band's three first albums will be reissued on CD and vinyl!

All three albums are made using the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality
sound!

Shinji Shibayama, who played drums for IDIOT O'CLOCK, a stalwart band in the Kyoto underground scene in the early '80s, founded Orgu Records in 1986
and released "Eat Meat, Take a Vow" under the name "Hallelujahs," formed "On the Love Beach" in 1992. This 1995 debut album by "On the Love Beach"
deserves to be passed down to future generations.
"On the Love Beach," which took approximately three years to complete due to its 24-channel multi-track recording, truly marks the origin of "On the Beach"

It was during the production of this album that Shibayama met his partner, Masako Takeda. Starting with the classic song "Nagisa no Watashi," born from that inspiration,

this masterpiece, with its kaleidoscope-like polyhedral structure, is the result of a meticulous reconstruction of the musical essence of Shibayama's

personal history, including GS, Showa-era pop, progressive rock, contemporary music, and psychedelic influences. The album also features a superb cast of

guest appearances, including Naoki Toshi, Kenichi Takayama "IDIOT," Chie Mukai, and Fuyuri Kudo.

While the 1995 album LP was a low-sounding cut due to its 54-minute running time, this analog reissue features a 2LP cut for superior sound quality.
The D-side includes the obscure classic "Woman," which was only available on CD at the time, and the album has been reborn as a timeless, complete version
worthy of the 30th anniversary of its release! Of course, the CD released at the same time is also a high-quality version with the same remastering!

Do you believe in spring? Simon Wangen (cello) and Philipp Sutter (piano) pose this question as the title for their new project. Whereas Bill Evans made a demand in 1981, the two Cologne-based musicians believe that in times of uncertainty, crisis, and environmental destruction, it is ok to set a questin mark here. But politics and world events aside: Do you believe in spring? Of course! It's never too late to start something new, get creative, and test your own limits. Simon Wangen is a classically trained cellist, Philipp Sutter a trained jazz pianist. Their different musical roots merge on this instrumental album into a lively mix of neoclassical, new jazz, and Cinéma Nordique. Ten pieces come across as sometimes dark, sometimes wild, sometimes delicate, always focusing on the dialogue between the two instruments that harmonize so well. The subtle use of electronic effects constantly opens up new perspectives and builds a bridge to contemporary sound aesthetics. Cello and piano—this combination has been established for centuries, but can still add new facets today. Do you believe in spring? begins stormily and turbulently, oscillating between romantic, sad, and beautiful moments, and leads from a rather dark beginning to the final and eponymous piece in C major, which leaves the listener with a glimmer of hope. Do you believe in spring? From October 24, 2025!


Do you believe in spring? Simon Wangen (Cello) und Philipp Sutter (Klavier) werfen den Titel für ihr neues Projekt als Frage in den Raum. Wo Bill Evans 1981 eine Forderung formulierte, sind die beiden Kölner Musiker der Ansicht, in Zeiten der Unsicherheit, der Krisen und Umweltzerstörung durchaus ein Fragezeichen setzen zu können. Aber abgesehen von Politik und Weltgeschehen: Do you believe in spring? Natürlich! Es ist nie zu spät, etwas Neues zu beginnen, kreativ zu werden und die eigenen Grenzen zu testen. Simon Wangen ist klassisch ausgebildeter Cellist, Philipp Sutter studierter Jazzpianist. Die unterschiedlichen musikalischen Wurzeln verschmelzen auf diesem Instrumentalalbum zu einer lebendigen Mischung aus Neoklassik, New Jazz und Cinéma Nordique. Zehn Stücke kommen mal düster, mal wild, mal zart daher, stets die Zwiesprache der beiden so gut harmonierenden Instrumente im Fokus. Der dezente Einsatz elektronischer Effekte öffnet immer wieder neue Perspektiven und schlägt eine Brücke zur zeitgenössischen Klangästhetik. Cello und Klavier - diese Besetzung ist seit Jahrhunderten etabliert, aber kann auch aktuell immer wieder neue Facetten hinzubekommen. Do you believe in spring? beginnt stürmisch und aufgewühlt, changiert zwischen romantisch - traurig - schönen Momenten und führt von einem eher düsteren Beginn hin zum letzten und namensgebenden Stück in C-Dur, das die Zuhörenden mit einem Hoffnungsschimmer entlässt. Do you believe in spring? Ab 24.10.2025!

A year on from Aura Safari and Jimi Tenor's Sensory Blending and DJs and dancers are still lost in its summer charms, but there have also been a series of standout remixes taken from the originals, which now get assembled on one vital 12": Sensory ReBlending features Willie Graff, Reverso 68 Dub, Jazz N Palms and Luminodisco.

First up is Ibiza favourite Willie Graff, who tackles the spellbinding original 'Bewitched By The Sea'. He brings a signature Balearic beat perfect for cruising around the island as the sun blazes with its dubby, swaying drums and more prominent vocal, all brought to life with delicate percussion and gentle synth pulses. Label regular Federico Costantini aka Luminodisco also returns with a mature post-Balearic touch that douses the track in an ocean of dubby echo. Gorgeous Spanish guitars and jumbled percussion form a life raft which floats out to sea under the sultry wind motifs.

Reverso 68 is the studio-based project of Pete Herbert and Phil Mison, and over the last decade-plus, they have mastered the art of making music for swimming pools. Their version of 'Your Magic Touch' is low-slung and deep with a mid-tempo four-four groove sprinkled with tropical percussion. The muted chords are gloriously dreamy and the whole thing is perfect for early evening warm-ups.

Jazz N Palms is Hell Yeah family and is currently riding a wave of acclaim for his See Rodes (Revisades) album on his own Jazz N Palms Recordings. He flips 'Lunar Wind' into poolside perfection with heart-melting sax notes and rippling keys, soothing female tones and dubby breaks. It's a perfect soundtrack to heavenly ascent.

These remixes perfectly extend the soul-soothing pleasures of Sensory Blending with plenty of fresh but sympathetic perspective.

Recorded in concert at the University of Sheffield in March 2025, Reality Is Not A Theory is the first collaboration between Mark Fell and Pat Thomas. Major figures in British experimental music since the 1990s, Fell and Thomas have developed their rigorous practices from radically different backgrounds and perspectives: where Fell’s singular take on synthetic abstraction emerged from Sheffield’s electronic underground, Thomas is a virtuoso improvising pianist steeped in jazz and modernist art music who has simultaneously worked with sampler-based electronics for decades. As the record’s wonderfully academic subtitle explains, we are presented here with two sides of ‘algorithmic and improvised music for computer and piano’, exemplifying both players’ insatiable search for new (and sometimes uncomfortable) playing situations.

The performance begins with Fell’s electronics close to the timbres of acoustic percussion, attacks that suggest wood, metal or glass threaded along a rapid pulse while Thomas focuses on the lowest registers of the piano, deadening the strings. As Fell’s electronics start to ring out and occupy more harmonic space, Thomas turns to wide, repeated clusters, which slowly expand into patterns of chords. Like in his recent solo recordings and his trio work with Joel Grip and Anton Gerbal, Thomas’ playing combines extreme dissonance with a deep lyrical sense. Fell’s work gradually shifts its focus toward drum sounds, drawing on the microtemporal processes that have characterized his practice in recent decades. Heard together with Thomas’ probing piano, the computer sounds call up unexpected associations with the klangfarben antics of improv drummers like Paul Lovens or Tony Oxley. Throughout its second half, the music grows increasingly frenetic, as Thomas sounds out rapid, irregularly repeated figures and beautifully sour chords in the upper register, while Fell’s percussion develops into angular pan-pipe-like feedback and waves of glissandi.

With great confidence and patience, Fell and Thomas often let their individual contributions remain rhythmically distinct and unsynchronised, allowing unexpected correspondence and coincidence to guide the music’s development. Recorded in a hall named after Sheffield steel manufacturer and Master Cutler Mark Firth, the location might suggest a model for understanding how Fell and Thomas interact here: two workers in the same workshop, each immersed in their own part of the production process. Arriving in a striking sleeve designed by Mark Fell, with liner notes by Francis Plagne, Reality Is Not A Theory is an invigorating document of the meeting of two mavericks of contemporary music.

"As iconic as she was discreet, Françoise Hardy established herself in the '60s as a major artist in the genre of ""French chanson."" Her voice, songwriting, and ability to surround herself with talented collaborators helped her seduce the whole world and, over the decades, shape a discography of the highest caliber.
This brand-new Best Of compilation is the very first to cover Françoise Hardy’s entire career, spanning from her 1962 debut to her final recordings in 2018. Featuring a timeless 1960s-inspired cover, it brings together her most iconic songs, from early classics like ""Tous les garçons et les filles"" and ""Le temps de l’amour"" to signature hits such as ""Comment te dire adieu"" (a streaming and sync favorite), ""Message personnel,"" the viral sensation ""Voilà"" (#1 viral hit, with over 300k TikTok creations), and ""Le large."""