Cerca:mater

Released in 1973 on Motown’s label, Share My Love is a richly layered and deeply expressive record that captures Gloria Jones at a creative crossroads. After years working behind the scenes as a songwriter and session vocalist, penning material for The Tams, The Marvellettes, and others, Jones finally takes center stage with a collection that radiates confidence, vulnerability, and undeniable soul.
Known to many for her original 1964 version of “Tainted Love,” later immortalized by Soft Cell, Jones brought to Share My Love a seasoned understanding of both the heartbreak and hope that lie at the core of great soul music.
More than just a product of its time, Share My Love feels like a declaration, a turning point where one of soul’s great, often-overlooked voices stepped into her own light. It remains a moving document of artistic self-assurance and one of the most heartfelt releases to emerge from Motown’s early ’70s era.

Black Moon Mother blends light and heavy soundscapes that pull from elements of Psych-Rock, Pop, Doom Metal and Shoegaze. Formed out of a Nashville music collective in 2017, the band put together a demo EP that became their live set, kickstarting their musical journey. At the beginning of 2018, Black Moon Mother began writing new material and continued the show-a-month ritual, while adding a new song to the live set one by one. January 2020 brought Black Moon Mother to Dark Art Audio in Madison, TN where they worked with engineer and producer Mikey Allred. Their newest album Illusions Under the Sun showcases an expanded musical depth and songwriting maturity, while exploring themes of nature, purpose, and perspective.

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

Shall Not Fade welcomes Pugilist for SNF140 "Maternal".

If you don't already know (and love!) Pugilist's prolific output, you need to get to know! The Naarm/Melbourne based DJ, producer and Rinse resident has released on Martyn's 3024, Melbourne's killer Modern Hypnosis, Silent Era's Of Paradise, Samurai, Rupture, ZamZam, J:Kenzo's Artikal, Sub Basics' Temple of Sound, Whities/AD93, Al Wooton's Trule, Banoffee Pies, Best Intentions and now his own buy on sight Ruff Kutz imprint.

'Maternal' is four blissey dubwise house blurring cuts. Embracing, medicinal, lush & corrective. Vibrations for heads and feet.

'Title track 'Maternal' is deep grooving infectious and honeyed house. Hypnotic, pulsating with head-meltingly warm padwork. 'Bona Fide' sees Pugilist team up with UK duo Mystic State. Drums sidestep with jazz swing while graceful piano and an ensemble of pads are topped with an introspective vocal sample dialing for your subconscious. The B1 'Anomaly' is a stepper - FWD charging drums backed with sub low pulses all brought together by trumpet echoes and woozy melodics. Finally comes 'Marigold', a soulful jungle excursion > early hours business, caressed nostalgic percussion, brushed rhythms, fleeting guitar licks and undulating vibes.

Late Bush presents “Hoarses” on the label Vlek Records, an original repertoire in which he blends electronic music - power ambient, IDM, avant-pop - and early music, which share the same affective intensity, a taste for ornamentation and a form of sonic excess.

At the heart of this material, AI-cloned voices, both human and spectral, extend the idea that any baroque interpretation is a reconstruction of the unknown. They contrast with organic strings recorded with Echo Collective, in a temporal and radical hybridization, creating a fluid and unstable material, between memory and simulation.

One of the conceptual starting points is essential: we have no sonic trace of baroque music as it was played. Only scores remain, and sometimes contradictory indications, a sensitive archaeology, even an imaginary projection.

Everything that is played today is therefore, in fact, a reconstruction, an interpretation of a vanished material. According to this logic and to pursue this reflection, the cloned voices, transformed by AI, are not a rupture but propose a natural continuation of this chain of reinvention, of this relationship to the invisible, to the indefinite. They do not aim to replace a human voice, but rather to embody the fact that any baroque restitution is already a fiction.

The project does not seek to imitate the real, but to play with the thresholds of the plausible, of the spectral. The music then becomes a fluid material, manipulable, alterable, and the performers, musicians or machines, are its vehicles.

The strings, carried by the sensitive and expressive interpretation of Echo Collective, breathe into the project a vibrant authenticity. Their presence brings an organic and tactile dimension that contrasts with the fluid and intangible aspect of the voices and the electronics.

Just when you thought you had heard it all.... Evil Grave were an exceptionally unique underground rock band from Malta that shook the islands with uncompromising attitude and dark imagery. In the early 1970s they ruled the Maltese scene and were voted best band in national polls. Heavily influenced by Black Sabbath and early progressive rock with a traditional Maltese flavour, Evil Grave never released any material during their existence. Several low budget demos were recorded at the time but, over the following years, the name Evil Grave simply vanished into obscurity. Until now! During a recent vacation to the islands, label owner Lee Dorrian became aware of the band and has spent the past three years tracking down as much information about them as he possibly could. With the blessing of original guitarist/songwriter John E Zammit Pace, we are excited to release this ungodly artefact upon the work for the very first time. Death From Malta, gathers together all known existing material from the band, the sound quality of which is decidedly lo-fi but, if anything, this only adds to the mysterious vibe of this simply enigmatic band.

WRWTFWW Records is proud to present THE GENTLE PEOPLE - Soundtracks for Living (Expanded Edition), ?the ultimate Lounge/Chill Out classic from 1997, reborn! Available as a limited edition white vinyl 3LP in heavyweight 3-panel gatefold sleeve.

When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Soundtracks for Living was their defining statement: an album that "takes the lounge scene and runs away with it entirely… blissful and heavenly," as one contemporary review put it. Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's Soundtracks for Living: a record that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People - Dougee Dimensional, Laurie LeMans, Valentine Carnelian and Honeymink - began in early-90s Brixton, throwing dress-up theme parties before taking their audio-visual universe into the studio. For them, music was "a way of life": soothing to the ear, rich in pop hooks, and pitched somewhere between the playfully idiotic and the hyper-intelligent. Their debut on Rephlex was the single "Journey", later blessed with a shimmering Aphex Twin remix that pushed their sugar-coated sound even further into outer space.

This Expanded Edition of Soundtracks for Living finally gives this glambient lounge-pop milestone the treatment it has always deserved. Spread lovingly across 3LP, it features new mastering from the original sources, allowing every harp glissando, string swell and analog squiggle to float in high-fidelity widescreen. The core album is complemented by a bonus 12" of unreleased and rare material, offering a deeper dive into the Gentle world: alternate takes, lost interludes, and secret soundtrack cues for lives not yet lived.

Crucially, "Journey" appears here in its original version, Gentle Instrumental and the cult Aphex Twin remix, reuniting band and labelmate in one place and underlining the quietly radical nature of the project: this was lounge music that could sit next to braindance, acid and IDM and still steal the scene.

Pressed on limited edition white vinyl, Soundtrack for Living (Expanded Edition) invites long-time fans and new listeners alike to step back into The Gentle People's universe - a place of fondue parties, bubble chairs, star-lit elevators and endlessly rewinding sunsets, where "the pathway to the stars" is never quite out of reach.

In an era that often reduces the 90s to big-room bangers and grunge guitars, Soundtracks for Living remains a quietly subversive reminder that the decade was also about imagination, camp, softness and utopian possibility. As later writers have noted, The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.
In conjunction with this release, WRWTFWW has also unearthed The Gentle People's Peel Sessions, a 4-track EP from their 1997 BBC on-air performance, available on vinyl for the first time ever !

Artist and multi-instrumentalist Flaer looks to the landscape to explore pastoral melancholy on debut release, Preludes. It is released in a second edition black vinyl, with an alternate cover artwork.

Ensconced in his family home in rural Leicestershire in the early months of 2020, painter and musician Realf Heygate (b. 1994) picked up his childhood cello for the first time in several years and began to play. Setting himself parameters to only record onto 4-track tape with acoustic instruments – cello, piano and acoustic guitar – he assembled a suite of instrumental compositions that form the basis of Preludes, his debut album as Flaer and the inaugural release on Odda Recordings.

Channelling the tension and unease between the pastoral idyll of the English countryside and the darkness which lurks beneath the surface, the mini-album draws inspiration from the analogue aesthetic of 1970s folk horror films, weaving field recordings of birdsong, church bells and the natural environment into chimerical melodies that reflect on Heygate’s childhood experiences of rural England.

“It was really important not to isolate the sound from its environment,” he explains, describing the compositional and recording process as “site-specific”. Developed over a series of intuitive musical enquiries, the mini-album’s uncanny quality emerges from combining raw demo takes with overdubs of almost orchestral grandeur.

Heygate points to the final track as indicative of the work as a whole: “‘Follow’ really is the mantra for the release and embodies the practical approach I was taking to music making: not to force the music but see where it takes you.”

As a painter, Heygate’s practice takes artefacts through sequences of reproduction that embrace the fluctuating materiality of the copy. Since obtaining a degree in Fine Art from Central Saint Martins in 2017, he has exhibited solo at Peter von Kant and Springseason galleries in London, and has participated in group shows at Saatchi Gallery, Cob Gallery and Senesi Contemporanea.

Describing his artistic practice as one of self-erasure, music instead provides Heygate with a more personal and autobiographical outlet. Where the two worlds combine is on Preludes’ striking artwork, which features paintings of 13th century stone carvings from the font of the church in the town where he grew up.

Speaking to a time where people were connected to the land in a more profound way, each symbol is assigned to a track on the album, which Heygate likens to giving them a title.

“To add that one juxtaposition might open a whole new interpretation or language that might be hard to find otherwise,” he explains.“Over time it might reveal itself to you, which is why I'm excited about it being released. To throw them out there and see what comes of it.”

XKatedral Anthology Series II (An Anthology Of Slowly Evolving Timbral Music), featuring exclusive music from Kali Malone, Jessica Ekomane, Mats Erlandsson, Theodor Kentros, Wilma Hultén, and Maria W Horn.

"XKatedral Anthology II is the second instalment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2018 - 2020. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments.

The first piece on side A is Kali Malone’s Music for Low Quartet. This piece is an adaptation of the composition “Rose Wreath Crown” originally released on The Sacrificial Code in 2019. In this iteration, the music is scored for two double basses played by Vilhelm Bromander and Zach Rowden, and sine tone electronics performed by Malone herself. The recording of this piece was made at EMS in 2019.

Closing side A is Jessica Ekomane’s ‘First Light’. This computer music piece focuses exclusively on digital sound, layering razor sharp synthetic textures into an otherworldly dynamic weave. The music heard here is a reworked version of a piece originally commissioned by Semibreve in 2020.

Side B contains the work ‘Hands Melt In The Sun’ by Mats Erlandsson. This composition is built from electronically processed tuned zithers and synthetically generated tones arranged in a series of chordal inversions over a sustained fundamental tone. This music, written as a love-letter to the localized drone tradition of Stockholm in the years 2008-2012, was composed and recorded in seven days while in residence at Ställbergs Gruva in Bergslagen, in the summer of 2018.

Opening the second half of the collection is Rough Draft v.7 by Theodor Kentros. Kentros’ compositional practice usually combines acoustic and electronic source material and in this piece he molds the sound of the Buchla 200 and a collection of recorded wind instruments into a molten mass of sound. In its original form, this music was presented as a multichannel immersive work and even in the current stereo configuration it retains some of that enveloping sense of depth.

The second piece on side B, Inertia, is by Wilma Hultén, who makes her debut on record here. An exclusively synthetic piece, Inertia utilizes internal digital feedback in a sealed synthetic system to manifest a harmonic field that swells and abates throughout the length of the piece, interspersed by small gestural elements.

Closing Anthology II is Maria W Horn's work ‘Dies Irae’ for female vocal quartet, pitched glass and synthesis. ‘Dies Irae’ uses a modified form of traditional tonal harmonic language to invoke an uncanny and restless middle ground between the classical western polyphonic vocal tradition and contemporary electronic music. The version heard here is a live recording from Eric Ericssonhallen in Stockholm on May 30th 2020. Performing the piece here are the vocalists Katarina Henryson, Lisa Holmgren, Vilma Ogenblad and Paula Wegmann, as well as Maria herself on glass and electronics."

King Street Remixed – Dam Swindle revisits classic material from the legendary King Street Sounds catalogue, with Dutch duo Dam Swindle delivering three fresh interpretations of timeless house cuts.

Featuring vocals and productions from house mainstays Arnold Jarvis, DJ Pierre and 95 North, the EP blends classic King Street with Dam Swindle’s signature deep house sound.

Warm basslines, musical chords and groove-driven drums give these remixes strong crossover appeal between soulful house fans and modern deep house DJs, with all three cuts built for dancefloor play.

Importantly, this marks the first time these Dam Swindle remixes have been available on vinyl, making the release appealing for both DJs and collectors of the King Street catalogue.

UGHH – Underground Hyper Hero is the moniker of Vítězslav Špalek — composer, multi-instrumentalist, and singular sonic architect hailing from Karviná, a gritty coal-mining town in industrial Silesia, now living out his days under the sundrenched skies of southern Corfu. He improvises across synthesizer, trumpet, and voice, weaving musical collages from poetic texts spanning genres and movements. His collages carry an unsettling depth and pull you somewhere you didn't plan to go. They are distant lands beyond the water — where the trumpet cuts through space and time lurches forward in a sudden rush, only to nearly freeze and turn inward, listening to the echo of a far-off voice calling out from nowhere. A flock of birds drifts over a vast landscape while a powerful, repetitive beat pulses through all matter — living and dead alike. EP 49.923827, 14.221380 takes its name from the coordinates of its creation, and marks the first released material from the artist's yet-to-be-unveiled catalog. Three original tracks are joined by an eclectic postpunk remix from Berlin-based Menqui, an ethereal minimalist take from fellow Berliner Nadia D'Aló aka DALO, and local scene staple Mike.H — a devoted digger of obscure trance.

Superonda’s debut release, Aurora Spectralis, introduces the latest project from Mahatmos, a duo emerging from long-established practices in electronic music, sound design and composition for moving images. Released on 12” vinyl and digitally, the EP unfolds across four tracks of electronic ambient music shaped by atmosphere, con1nuity and restrained propulsion. Ambient textures open a broad emotional and spa1al field, while slow, insistent rhythms provide steady forward motion.
Superonda has created a space for Mahatmos to sharpen their focus on sound as material. Modular synthesis, analogue instruments and live processes techniques are balanced with precision and restraint, resulting in music that moves between progressive and hypnotic forms, informed as much by underground club culture as by cinematic composition.
Mahatmos is a Rome-based duo with complementary and deep-rooted practices. Gianluca Meloni brings a long-standing presence in techno and experimental music scene, with international releases and performances (as Laertes and as part of Modern Heads). Maurizio Loffredo contributes an extensive background in composition, production and sound engineering across popular music and film, with a refined sensitivity to timbre, structure and sonic narrative.
Superonda is a Rome-based label founded by artists engaged in deep sonic research and advanced technical exploration. Operating as an open platform, it connects collaborators working across recording, synthesis and composition, approaching music as a process-driven practice rather than a fixed genre. Each release stands as a distinct exploration, linked by shared sensibilities rather than formal constraints.
The physical edition of Aurora Spectralis is conceived as an extension of the work itself. Alongside a standard black vinyl pressing, a limited run of color and marbled copies has been produced, each one unique. Variability and tactility are embraced as part of the object’s identity, reinforcing the record as something to be experienced gradually, over time.

Demon Records are proud to present Osmium Deluxe - the first recordings credited to the funk-rock ensemble Parliament-Funkadelic.

Since its re-release in 1990, Osmium has been distributed numerous times by various labels in America, Europe and Japan under alternate titles – including Rhenium and First Thangs. A number of these reissues have featured material that was not included on the original album, such as unreleased tracks and singles that were taken from the same time.

This in-demand, black-vinyl version of the Record Store Day 2024 sell-out compiles together everything from that period 2 LPs and includes; the full Osmium album, the single sides that never made the album, unreleased tracks, demos and jams – all of which made their debut vinyl appearance as one package in 2024.

Many of these recordings are still as far-out as they sounded when first released. However, the tracks here represent the genesis of what would become P-Funk and the entity that would give the world ground-breaking albums Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978). An essential addition to anyone’s collection.

DJ Tennis expands the universe of his recent single ‘Playa Paradiso’ featuring vocals by multifaceted British artist Eliza with a deep-diving Club Mix, retooling “Playa Paradiso” into a darker, longer-burning version aimed squarely at the dance floor.
Stripping back the sun-kissed gloss of the original, the Club Mix leans into his precision production instincts; elongating the groove, tightening the rhythm, and letting the low-end shine. With the vocal weaving in and out like a guiding light through the haze, it’s a hypnotic take that trades coastal charm for heady club
elevation. A masterclass in tension and release, the Club Mix underscores DJ Tennis’s ability to balance emotional depth with dance floor functionality. The remix is a reframing of “Playa Paradiso” for the night shift: smoke-filled rooms, peak-time crescendos, and sunrise afterglows. Both versions capture different corners of the
same world, one that basks in the Balearic sun, and the other pulsing in the strobe.
Together, they mark a full-circle return for DJ Tennis’s first solo material in three years as an artist whose sonic world has always defied simple categorization.

InDepth Imprint launches its debut release with a forward-thinking V.A. bringing together UFO95, Hadone, Raar, Initial Code and Clara D. The label focuses on bridging avant-garde sound exploration with club-driven functionality. This first release is built on audio material recorded during a collaborative residency at Willem Twee Studios, using its unique collection of mid-20th-century scientific instruments repurposed for music. Each artist was invited to explore their own creative path, resulting in a highly distinctive record where experimental textures meet precision-engineered techno. The outcome is a coherent yet diverse sonic statement that sets the artistic direction for InDepth Imprint: immersive, concept-driven and deeply connected to contemporary club culture.

Mysticisms’ returns to the music of the Conscious Sounds label and their short-lived but highly prized Dub meets Funk project, Dub Specialists. Created by label head Dougie Waldrop and Chris Petter (Love Grocer) to explore their interest in samplers and a love of Funk and Jazz.

A hugely respected “Digital” and “Roots Reggae” label, Conscious Sounds has been a mainstay of the East London digidub sound for over 30 years. Dub Specialists released 3 albums on the Crispy Music sub label, they have recently gained considerable interest in digger circles, with rising prices to match.

As with their first Dubplate outing, the release features extended re-edits by the label and friends, this time featuring versions by Lexx, Miles J Paralysis, Chuggy and Vanity Project. Working with the simplicity and skill of his studio craft, Dougie utilised the Atari 1040, Cubase and Soundcraft mixer to effect. Petters’ chords sit atop reggae basslines, funk samples, loops and this time, a heavy dose of cut up vocals in to the mix.

While the first EP came from their debut album, Breat To Break, here the source material for the re-edits comes, in the main, from their second outing “Dub To Dub Beat To Beat”. A more expansive album that also dipped in to 4/4 rhythms and touches of House / Techno.

Opening track Dynamic Duo is a 4/4 stepper bomb – with samples from Adam West’s iconic interpretation of Batman – expertly extended by long-standing DJ, producer and edit master, Zurich’s own Alex Storrer aka Lexx, who dials things to max for a club stop. A new name on many lips, Miles J Paralysis takes it all back down with a beautifully drawn out, acid-tinged tripper. Bumpin’, the mid-tempo groove sucks you in, psychedelic and mind expanding.

The flip returns to the more traditional Dub Specialist vibes of Breaks’n’Funk’ cut ups, first with (co-)label head Chuggy’s faithful extension of Heavy Dub. Featuring the classic Ijahman Levi’s vocal, the breaks flow and piano / horns stab, a dance floor shaker for the discerning. To close, secret studio fixer to many, Matt Bruce again dons his Vanity Project moniker to perfectly tease and live dub (out) the half-stepper, Reality Dub and close this latest in the Dubplate series.

Beat The Mystery.

Yeong Die would typically be described as DJ, musician, or “experimental” composer, but in reality she is a sculptor. Between the rapidly disintegrating boundaries of composition and sound design, her work employs a hunting and gathering of intangible material—bursts of memory, fragments of liminal space, interstitial banalities—materializing as boundless expressions that evade genre constructs. As an integral presence among Seoul’s most forward thinking sound artists, Yeong is in a constant uphill battle rejecting the reverence that so quickly creeps in and infects contemporary craft, that relegates even the most audacious attempts of her peers to pigeon-hole pastiche. Given this style-agnostic starting line, her ESP Institute debut 'Uncapturable' exudes non-urgency, an unfettered pace that allows breathing room, affording the listener freedom to mentally isolate and explore elements without fear of missing a “bigger picture.” There is a warm and welcoming feeling that invites repetitive, even studied listening. While half the work is somewhat singular in presentation—'1km', 'Like Your Flaw', or 'Burnt'—there are moments of meticulous complexity—'Morning Rum Punch' (featuring vocals by Cifika) and 'Did' (featuring a smattering of spoken words by icecream drum), both underground Korean peer artists. These moments feel more of like an acute focus on execution that compliments the overall shape of the album, rather than a dynamic contrast. Cifika’s vocals, in particular, command the listener’s periphery in a playful and refreshing way, exaggerating negative space and in-between moments that not only the paint an arresting stereo field but a remarkable sense of depth, not easily achieved without production sorcery. It is, without a doubt, these beautiful fleeting moments that we describe as 'Uncapturable'.

Celebrating his Bleep Album of the Year ‘The Eternal Present’, Mark Van Hoen rounds out a prolific 2025 with further goodies as he joins forces with Clark for a club focussed 7” split release of vinyl only material.
‘Needles’ is an assuredly buzzing, thumping, murky dancefloor cut, with turbulent scribbling frequency shifts adding extra heft to the bristling bass thuds. Following his own triumphant return to rave modes with his latest album Steep Stims, Clark delivers the frenetic ‘Poland RYTM (Live Take 2023 Mix)’, constantly morphing with sharp, snapping sounds, and a curious blend between acid squelch and chiptune beep melodies.
“From gently weaving melody to gale force rips and tears, The Eternal Present shows Mark Van Hoen at all angles of his sonic practice”.
White label with a postcard

Water can retain or wash away memory; flowing or freezing. It gives life and shapes earth, while frozen imprints of an ancient past are waiting to melt – back into sound or fluid motion, or simply to dissipate and disappear. For their split release, Yoichi Kamimura and Olli Aarni offer two distinct reinterpretations of a performance recorded live at the Temppeliaukio Kirkko – a church in Helsinki built directly into solid rock and bathed in natural light – meditating on glacial landscapes and water cycles, using shared field recordings that bifurcate into two sonic visions of “ice journey”.

Yoichi Kamimura’s extensive recordings formed the bedrock of the original performance, notably from time spent on Suomenlinna Island just outside Helsinki in 2021, aiming to capture the remnants of the glacial movements that formed the area’s geology. Elsewhere, the voices of ringed seals, underground waterways of Kyoto, and icy rivers in Lapland from Kamimura’s library float in as well. “The small, charming, and gentle islands floating in the Baltic Sea—some with little cottages and restaurants—reminded me of the drifting ice in the Sea of Okhotsk between Japan and Russia,” describes Kamimura. Fragments of a Christmas choir creep in too, recorded at the church on Suomenlinna Island. Titled Kōri no ryokō , Kaimimura’s reinterpretation of the performance emphasises a shared future across all icy sea regions of the world: thawing ancient memories and the threat of disappearing entirely.

On Jäämatkailu, Olli Aarni presents his own expansive reworking of the same source material, heavily processed alongside his own field recordings from Vantaanjoki river and Suontee lake in Finland. “I was thinking about the processes of erosion, water carving rock, the prehistoric glaciers over the landscape in my own environment,” explains Aarni. The soundscape hums with both intimate details and macrocosmic flow, and a submersible bass rumble hinting at an iceberg far below the tip, morphing at time scales beyond human comprehension.

Side A is composed by Yoichi Kamimura using field recordings of drift ice (Shiretoko, Hokkaido, 2019–2022), the Lake Biwa Canal (Kyoto, 2020), the Therme Vals baths (Vals, 2017), spring water (a fountain next to Saint Benedict Chapel, 2017), a Christmas choir (Suomenlinna Church, Helsinki, 2021), ice in the Juutuanjoki River (Inari, 2021), and recordings from Yoichi’s and Olli’s concert (Temppeliaukion kirkko, Helsinki, 2021), KORG iPolysix, and KORG minilogue xd.

Side B is composed by Olli Aarni using the aforementioned sounds + field recordings of the river Vantaanjoki and the lake Suontee, sampled sounds, and a computer.

There is a breaking point where the mind yields and the body takes command. This is precisely the territory of Frenetic Habits EP.

Asymetric80 lands at INDUSTRIAS MEKANIKAS with an unapologetic statement: a direct immersion into the aesthetics of collapse and extreme habits. The work places you in the center of a post-apocalyptic scenario, where survival no longer relies on calm, but on your ability to endure mechanical tension.

The sound is built upon solidity and saturation. You won’t find fragility here, but rather an architecture of EBM, New Beat, and Industrial Techno designed to dominate any sound system that dares to play it.

Side A establishes the hierarchy with Frenetic Habits. Far from linear, the track unfolds a broken, demolishing rhythm, generating a devastating sonic pressure that completely envelops you. It is a piece of constant drive, an armored machine advancing over the very ground you stand on. It is followed by Exile and Unmasked, which shifts the strategy towards depth: a hypnotic immersion where industrial textures densify, creating a dark atmosphere that traps you with no escape.

On Side B, Bleak materializes the heaviness of the environment. A slow-burning, corrosive track with deep bass, which you can feel advancing with the force of concrete. To close, Dementia releases the accumulated tension with overflowing kinetic energy; a final outburst of controlled aggression that closes the cycle with maximum intensity.

Frenetic Habits EP is a record of ironclad textures and terminal atmosphere. A work that documents not defeat, but the brute force needed to remain standing when everything around has come crashing down.

Call it soulful dream pop, proto-trip hop or downtempo jazz - "Tender Rain" is the follow-up LP to the successful "This Is" album and continues to deliver Ghia's unmistakable sonic magic. On this release, the band shares a selection of previously unreleased vocal songs alongside instrumental pieces, all carried by their trademark chilled and almost meditative atmosphere. Most of the recordings date from the early 1990s, while early demo versions of "New Love" and "Teardrops in Your Eyes" may reach back as far as the late 1980s.

The album opens with the title track "Tender Rain," where smooth vocal jazz harmonies merge effortlessly with soulful pop elements. The track originally appeared only on CD in 1993 on the small Mikado label run by renowned German guitarist Ulli Bögershausen. The band recalls that the piece was first pre-recorded using MIDI equipment and a Tascam 16-track recorder before being completed in the studio with drums by legendary drummer Mickie Stickdorn (Carsten Bohn's Bandstand, Cyklus, Elephant, Lake), percussion by Corinna Ludzuweit, and the final touch-Lisa Ohm's remarkable vocals.

At the time, Mikado was also looking for instrumental material for radio and synchronization use. They selected the track "Tropfstein" for a sampler CD and requested more pieces. In response, "und recken ihre schlanken Glieder" (roughly translated as "and stretching their slender limbs") was composed especially for the project, as Frank Simon remembers. Both tracks appeared on the now rare Mikado sampler CD under the alias z. Zt., short for "zur Zeit" ("at present" or "these days").

Several further pieces in a similar vein were created during this period, including the previously unissued "Auf unserm grünen Sofa," "Reise bei Nacht," and "Was ich Dir noch sagen wollte." These tracks are beautifully crafted downtempo pieces featuring smooth, jazzy piano lines combined with touches of ambient and New Age aesthetics. "Auf unserm grünen Sofa" stands out in particular and will likely resonate with all downtempo enthusiasts. Lutz Boberg recalls that many of these recordings were captured during a single afternoon in the studio, fueled by spontaneous ideas and creative momentum.

On tracks such as "Teardrops in Your Eyes," "New Love," and the haunting Dark Spirits Mix of Ghia's song "What's Your Voodoo?", singer Lisa Ohm delivers soulful pop performances with her clear and captivating voice. "Change Your Sex," the third track previously featured on the Mikado sampler, leans more toward late-1980s funk and was aimed at radio and DJs at the time. Its subject matter was relatively daring for the period, telling the story of someone contemplating a change of sex "to get rid of the troubles."

Together with "This Is" and "Curacao Blue", "Tender Rain" forms another essential chapter in the rediscovery of the band's work. More than thirty years after their creation, these recordings still sound strikingly fresh, reflecting a unique style that in many ways anticipated the rise of trip-hop in the early to mid-1990s.

Since establishing his Stereo:type imprint, former Papa Records contributor Risk Assessment (real name Glyne Braithwaite) has released a dizzying amount of material, both digitally and on vinyl. His latest wax outing boasts four superb, tried-and-tested cuts. He gets straight to the point on opener 'Get Up', a chunky, emotive and life-affirming affair that appears to make liberal use of orchestral and vocal samples from what sounds like a luscious, maximalist Philly Soul workout of the mid 1970s, before going percussion crazy on 'Circus' (which also boasts samples from a much-loved disco record). 'I Had Enuff' is a colourful and piano-rich classic house number boasting fine vocals from Kathy Brown, while 'Man Like Mike Delgrado' is a swirling, filter-heavy chunk of swirling disco-house hedonism.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

Wasteland is a record that is unafraid to plunge into the darkness of the modern world and embrace the weirder, edgier and more unnerving moments that come from doing so. It is an album that captures all the enormity of life from the micro to the macro, zooming in on the personal as well reflecting on broader societal issues.

“Wasteland is about the idea of a place once known or familiar that is now broken down and unrecognisable,” says Ghedi. “It’s about exploring the process of watching someone’s surroundings and environment collapse.” And within that you have a lot going on. “It also explores death, personal loss, grief, mental health and how the natural world provides solace and meaning for that loss and how these worlds blur into one another.”
Ghedi has always been an artist that in many ways perfectly encompasses folk music in its purest form but he is also someone that frequently pushes the boundaries of that label and no more so is that apparent than on this record. As like previous albums, such as 2018’s A Hymn for Ancient Land and 2021’s In the Furrows of Common Place, Ghedi uses traditional folk songs as a means to explore contemporary issues via modern and experimentally-leaning music. “With the traditional material on this album I wanted to find songs with content that resonated with me,” says Ghedi. “But also that were based roughly around the north of England.” This is a central underlying theme to the album for Ghedi. The feelings of loss, erosion, and degradation are often most pronounced in working class communities and this was something he wanted to weave in. “It was important to voice and choose material that represented or expressed issues that correlated with things going on around me.”

However, as remarkable as some of the traditional material is, some of the most arresting work on the album is Ghedi’s entirely original compositions. Lead single ‘Wasteland’ is a stunning piece of work that while rooted in an environment being corrupted and broken – “there’s violence on these hills” Ghedi sorrowfully sings, before claiming this is no longer somewhere that can be called home – it is also a stirringly beautiful composition that soars and glides as it opens up, as sweeping strings swoop and in and out of Ghedi’s twangy electric guitar.

The decision to incorporate more fuller sounds, such as electric guitar and huge drums, results in a notable shift and evolution in tone for Ghedi. “The lyrical content needed something more band-driven and loud to deliver them,” he explains. “Incorporating the electric guitar in my songwriting was also a big part of opening the sound up, using drop tunings pushed me to use my voice in a wider range, which forced me to use falsetto a lot which I haven’t previously done before. That then opened the sound up and gave me creative ideas for bigger arrangements and to sonically really push things.”

What Ghedi has done in creating his masterpiece is construct a remarkable space where deeply intimate and personal feelings coexist with reflections on environment, place and society, while also interweaving historical context via traditional songs. Wasteland is as much of a world to explore and exist in as much as it is an album, with Ghedi carving out his distinctly unique sonic language and voice to explore that singular environment.

Slow Leaves ist das Soloprojekt des in Winnipeg ansässigen Songwriters und Produzenten Grant Davidson, dessen Werke Folk und Psych-Rock mit einer zurückhaltenden emotionalen Präzision verbinden und ihm eine treue internationale Fangemeinde eingebracht haben. Mit Veröffentlichungen bei Birthday Cake Records hat Slow Leaves über 3,5 Millionen Streams gesammelt, wird regelmäßig im Radio in Kanada, Deutschland und den Niederlanden gespielt und tourt durch Kanada, Großbritannien und Europa. The Ruins of Things Unfinished ist Davidsons sechstes Album mit neuem Material und seine bisher unmittelbarste Aufnahme. Das Album wurde größtenteils live mit dem Produzenten Kris Ulrich aufgenommen und fängt die Intimität und emotionale Tiefe der Songs von Slow Leaves mit einem neuen Gefühl von Präsenz und Wärme ein. Das Album beschäftigt sich mit vererbten Traumata, Ambitionen, Elternschaft und der stillen Arbeit der Selbstreflexion und bezieht seinen Titel aus Fernando Pessoas Zeile ,Ich bestehe aus den Ruinen unvollendeter Dinge".

Nicolás Mirón presents Hi-Tech Thoughts, his debut release on Echo Alpha Recordings. A record that draws inspiration from Detroit Techno, as well as New York Hip-Hop and MPC culture, reflected in the way he works with samples and programs chops on his AKAI MPC 2500. His production focuses on beat-making, pursuing a raw, hardware-driven sound rather than an overproduced one.

Nico’s creative foundation is rooted in Black music in all its forms, from soul and jazz to electronic sounds, while also embracing the legacy of figures like Kraftwerk, and genres such as Italo Disco, and New Wave. His musical career began with his residency at Radio Relativa in 2022, with his program “Pa’ Riparla Benne”, a connection between skateboarding and music, as well as its evolution and close relationship with contemporary culture. In the show you can hear different styles of music that have appeared within this scene through legendary video parts from skateboarding history, along with stories and curiosities behind these pieces of art.

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound.

The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of ‘in-between music’.

Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yu’s prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell.

With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new.

Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light.

Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with ‘A Jewel’. The dusky, reverberant underwater minimalism of ‘Sunless’ follows, which features British composer Memotone, and was influenced by Chris Marker’s 1983 film Sans Soleil.

The dubby, sunkissed affirmation on ‘Cul De Sac’ leads to the thumping acid stomp of ‘Foundry’, and onto the hazy glow of ‘One Place After Another’, featuring lauded soundheads Seefeel, where Yu’s voice is joined by Sarah Peacock’s, alongside Mark Clifford’s seductively gauzy fuzz guitar.

Venturing into more ominous territory is the liminal ambient dub of ‘Wanli’, followed by the rich textured flutter of ‘Os Cionn’, which translates from Gaelic as ‘above’. The album ends with the reflective, processional pulse of ‘Ripe Fruits’, which was inspired by Frederic Leighton’s 1892 oil painting The Garden of the Hesperides.

The LP’s visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yu’s spatial sonics: “We both think in layers”, she comments. “Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.”

Mastered by Miles

Art by Lucas Dupuy & Brendan Ratzlaff

Decka's first release on Semantica is one of the strongest contributions to date from a new signing. Relentless and refined material which we understand as new techno standard moving in between classic and contemporary approach.

Belgian electronic body-music pioneers A Split-Second deliver an expanded reissue of their influential 1987 debut Ballistic Statues, a landmark of the New Beat and EBM movement. Blending dark electronics, cold-wave tension and precision-driven sequencing, the album helped define a pivotal moment in the late-80s European underground.

This new edition brings together all tracks from the original album and enhances them with essential recordings from the same era, including the band’s complete 1986 debut EP (A Split-Second), the cult Smell of Buddha, and additional period material.

Pressed in a limited run of 300 copies on black vinyl, the release comes in a gatefold sleeve and includes a reproduction of the original lyrics insert along an exclusive poster and one postcard.

Ballistic Statues remains a defining statement—raw, innovative and far ahead of its time. This reissue brings together the core foundations of A Split-Second in one essential collection making it ideal for both long-time followers and new listeners discovering the band.

Belgian electronic body-music pioneers A Split-Second deliver an expanded reissue of their influential 1987 debut Ballistic Statues, a landmark of the New Beat and EBM movement. Blending dark electronics, cold-wave tension and precision-driven sequencing, the album helped define a pivotal moment in the late-80s European underground.

This new edition brings together all tracks from the original album and enhances them with essential recordings from the same era, including the band’s complete 1986 debut EP (A Split-Second), the cult Smell of Buddha, and additional period material.

Pressed in a limited run of 500 copies (200 on clear blue and 300 on black vinyl) housed on a gatefold sleeve with a reproduction of the original lyrics insert, an exclusive poster and one postcard.

Ballistic Statues remains a defining statement—raw, innovative and far ahead of its time. This reissue brings together the core foundations of A Split-Second in one essential collection making it ideal for both long-time followers and new listeners discovering the band.

Collecting Orders For 2026 Repress

As Soul Capsule, Baby Ford and Thomas Melchior made some of minimal techno's most accomplished records. It has been many years since they stopped turning out new material - sadly - but their archive tracks are still in hot demand and undeniably relevant. While 1999's 'Lady Science' might be their most famous offering, this EP from 2001 on Aspect Music is no less vital and it will currently cost you well over L250 on second-hand markets. It is Ford's Trelik label who reissues it here in all its glory: the entirety of the a-side is taken up with 'Law Of Grace,' a delightfully deep and breezy minimal dub house roller with pensive chords draped over the frictionless drums. 'Meltdown' has a more experimental feel with brushed metal drums beneath a wordless vocal musing. The cult 'Lady Science' (Tek Mix) is also inched with the whole package being remastered by D&M to make this one utterly essential.

Combo Efectivo was formed in November 2024 in Bogota in a studio in the Teusaquillo district, at the invitation of Jazztropicante. It brings together an all-star cast from Bogota's neotropical movement and three iconic brass players from the current French jazz scene.
The chemistry was immediate and the energy palpable: a sound that was both playful and demanding, exuding groove, rich material rooted in contemporary jazz structures, and breathing the spirit of brass bands and the splendor of popular expression from the Colombian Caribbean.
A two-track EP was produced from this unique studio session, recorded and mixed at Mambo Negro Records, with the expertise of Daniel Michel. Mastered in Paris at Loom, this first 45 rpm single was released in February 2026 with The Pusher, officially marking the birth of the Casa Maguey Records label, which promotes the catalog resulting from Jazztropicante's encounters.
On the French side, three musicians who are making their mark on their generation: Stéphane Montigny on trombone, Antoine Berjeaut on trumpet, and saxophonist Léon Phal, the spearhead of a new generation of jazzmen. The Colombians are a cocktail of musicians from the most exciting groups on the current scene: Karen Nerak on vocals, rap, gaita, and percussion, Ruben Aragon on keyboards, Pelango on bass, and Kike Narvaez on drums.
Combo Efectivo magnifies the alchemy between the finesse of European jazz and the power of Colombian rhythms. A tropical trance fueled by improvisation, where the contemporary jazz scene and neo-tropicality meet in a spirit of openness and exploration.

Lovski, alias Igor Sekulović, is redefining the Balkan musical landscape. A master guitarist and erstwhile “Projekt Rakjia” band member, he forges an uncanny blend of traditional folk melodies with dance, electronic and rock energy.
His debut solo album, Discoteka Jugoslavija—produced in collaboration with Napoli’s producer Raffaele “Whodamanny” Arcella—ventures through Italo-disco pulses, reggae grooves and psychedelic swirls, all anchored by the call-and-response warmth of Balkan traditional instruments. Each track feels like a borderless road trip: hypnotic rhythm sections give way to soaring guitar solos that nod to ancestral folk tunes, while propulsive synth arpeggios push listeners into tomorrow’s club.
Lovski’s signature lies in his seamless genre alchemy. He honors regional roots without succumbing to nostalgia, instead reframing folk elements as raw material for global dancefloors. As a performer, his live shows pulse with communal ecstasy—drawing dancing crowds around campfires of light, smoke and bass.
In a scene ripe for innovation, Lovski stands out as both torchbearer and trailblazer—proof that the Balkans still have surprises to offer, and that the old and new can coexist in brilliant harmony.

Named after the tendency to impose familiar likenesses, such as faces, on random - usually inanimate - objects, Pareidolia is Jake Muir's way of interpreting the consonances between so-called “ambient” music and extreme heavy metal. Extracting the headiest, most atmospheric sections from hundreds of death metal and black metal tracks, Muir plays the role of both DJ and electroacoustic composer, concocting a lysergic elixir of fractal distortions and prolonged, decelerated riffs that slowly evaporates into iridescent vapor. If there's any trace of the original sources left, Muir makes sure that residue is subtly bewildering, like clouds in the sky that form imposing, larger than life images, or trampled bracken that falls into the shape of “trve kvlt” insignia.

The idea for the album materialized when Muir was working on 2022's Talisman, his collaborative album with multi-instrumentalist Evan Caminiti. Processing guitar for the first time, Muir began to unpack his long relationship with rock music and its Escher-like maze of sub-genres, from the tech metal he obsessed over as a teenager to Loop and Main's drone-y, textured variants. Scraping the internet for unconventional contemporary metal albums, he stumbled across music that seemed to hover between different realms, merging its frenetic, noisy sections with psychedelic interludes that harmonize with classic industrial and avant-garde music, material like :zoviet*france:, Nocturnal Emissions and Z'EV.

Wood White Sessions, the new sub label of Berlin based Sushitech Records dedicated to laid back, atmospheric dub presents its second release.
Roots For Your Soul, the new 12” album from Bristol’s Tubby Isiah, marks their second full length outing.
Featuring right stunning tracks, the record blends fresh material with carefully unearthed, previously unreleased archive sessions.
Together, these pieces form a heartfelt dub journey, rich with warm textures and unmistakable sonic character that define the Tubby Isiah’s sound.
Mastered at Wood White Studios and beautiful finished with artwork by in-house designer Scott Cottrell.

Caterina Barbieri & Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound. It is at once intimate and cosmic, drawing on the challenges and possibilities of their artistic exchange, tearing down technique to access all the expansive possibilities of their sonic meeting point.



At Source is a document of the world of sound to be conjured when two artists strive for something together, discovering the expansions and limitations of performance by bodies and machines. It is not an exercise in assimilation, but in productive exchange and creative confrontation. It does not draw on outside energies or influences, but grapples with what there is to find in their respective playing. "It also reflects how natural the collaboration was," says Barbieri, "a meeting at the source which was spontaneous, graceful and natural".



Barbieri and Giske first met and were enthralled by one another's performances at Kunsthaus Glarus in 2019, a meeting that spurred conversations on the power of transitions as a compositional force. Giske later contributed a rework of Fantas for Fantas Variations (Editions Mego, 2021), an ambitious undertaking to rescore Barbieri’s work for his saxophone and voice, a challenge Giske had started undertaking two years prior as an ongoing practice of transcription. “The request came as a proof of aligned ideas”, says Giske.



Their new collaborative project then started during an artistic residency in Milan’s ICA in 2021, by invitation of swiss artist and curator Jan Vorisek, as the world was emerging from lockdown. This meeting, and the preceding closure of sites for cultural exchange, made their work together 'feel like springtime' says Barbieri. Giske, who was on the brink of releasing his sophomore album, Cracks, then joined Barbieri's light-years tour, which functioned as an inaugural incarnation of her newborn label and platform through a series of multi-artist curated shows with appearances of Lyra Pramuk, Nkisi, MFO, among other artists.



Through the tour, they continued to develop material live, and this release, laid down in the studio, is true to that ever-evolving process of creation, where live feedback stays essential to the vitality of this collaborative effort. The tracks are each named with two evocative words that contain the two poles of their sound. Theirs is both abstract and cosmic, in the synth as machine undermined by Barbieri's naturalistic playing, and in Giske's continuous exploration of the symbiosis between his instrument, voice, and body. These binaries, of body and machine, posed various challenges, notably in how the stepped patterns Barbieri uses were near-impossible to translate for Giske's body to perform, and other times where mathematical resolutions were needed to sync their playing. Explains Giske: "It forced me to go to the core of what I am and what I have to offer”. Barbieri says that it "explores the liminality between the machine and the human, and the vulnerability in this process".



At Source is testament to two divergent practices finding a whole cosmos in which to convene; music is crystalised and made utterly enveloping through the focused and critical work of two musicians working at their peak. The versions here are, temptingly, "just one of many versions" of this abundant source material Giske explains. Like the best collaborations, At Source is more than the sum of its parts – bringing more to the feast than the simple combination of two musicians, promising versions upon versions of the exquisite material captured here.

Persephonic Sirens 036
Written and produced by Cristian Hernández Suárez

Das Remix Paket für Charles Petersohn’s Children Of Zu Zu EP glänzt durch seine Vielfalt zwischen jazzy Broken Beats und Afro/Deep House, mit Re-Works von Mary Olivetti, Moodorama, als420, Viktor Marek, The Greater Manchester Housing Authority und Charles Petersohn selbst.

“Der gemeinsame Wunsch, dass die Tracks der EP an die Idee anknüpfen sollen, dass ein Remix ein eigenes Kunstwerk sein kann, ist voll aufgegangen. Alle Mixe haben eine persönliche Handschrift, nutzen die Originals als Material, mit dem nach Herzenslust gespielt wurde. Ich bin sehr glücklich!” Charles Petersohn

Format: Vinyl 12“ Full Cover mit schwarzer Innenhülle und rundem Sticker