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Emerging from the Ukrainian darkness in 2011, Kaosophia blend the raw energy of black metal with dissonant tones and emotionally resonant melodics. Their music is a sonic tapestry woven with intricate guitar riffs, powerful vocals, and haunting arrangements.
The band recorded their first demo “Towards The End” which was self-released by them in 2012 on a limited edition cassette.

2013 saw their first album “The Origins of Extinction” released on CD and cassette and the band followed up with many shows across Europe. 2017 saw Kaosophia expand and deepen their abyssal sounds even further with the monumental “Serpenti Vortex”, with lavish cover art produced by occult master artist Dávid Glomba, it rose Kaosophia to the upper echelons and forged their name as one the best and most formidable black metal acts in the scene at the time.

After a long period of silence, bloodletting and transformation, Kaosophia return with their darkest, most mature and powerful work to date. 2025 sees the return of Kaosophia with their new album “Beyond The Black Horizon”.
A dark and malevolent opus that explores themes of darkness, existentialism and the human condition. Delving deep into the complexities of the mind, the fragility of existence and Death itself.
Kaosophia preach orthodox ideas of Satanism in the most straightforward and ruthless form - total unconditional worship. Self-destruction as the overcoming of human essence and the cognition of pain to gain access to another level of reality's perception.
It is time to enter the end of days and venture beyond the Black Horizon…

For two decades, Hudd Traxx has stood as a pillar of underground house music – a label defined by longevity, taste, and its ability to bridge the old school with the new. To mark its twentieth anniversary, the revered UK imprint presents ‘20 Traxx From The Hudd’, a specially curated, all-new twenty-track compilation handpicked by label founder Eddie Leader.

The compilation brings together a global, star-studded lineup of artists who embody the Hudd Traxx ethos: soulful, inventive, and uncompromisingly underground. Contributions come from Groove Armada, Seven Davis Jr., Chez Damier, Cinthie, Jovonn, Oliver Dollar and others, offering a snapshot of the label’s wide-ranging influence. From the silky deep house depths of Black Loops’ opener ‘Soul to Soul Communication’, to the unmistakable analog warmth across Cinthie’s ‘Hudd House’, to the raw, stripped-back energy of Seven Davis Jr.’s ‘Infrasound’, the collection captures the many deeper shades of house Hudd Traxx has championed for twenty years.

Founded in 2005, Hudd Traxx has served as a trusted home for pioneering artists such as Nightmares On Wax and Matthew Herbert, guided by Eddie Leader’s consistent curatorial vision and unwavering commitment to craft. As a producer, his releases on Classic, Robsoul, and Balance Alliance have been supported by Laurent Garnier, Josh Wink, Disclosure, and many more. ‘20 Traxx From The Hudd’ isn’t just a celebration of the past; it’s a fervent reminder that Hudd Traxx remains as relevant and vital as ever.

Since the turn of this century, perhaps no other modern composition has had a more resonant healing effect than The Disintegration Loops. Composer William Basinski’s deteriorating analog tape loops evolved from melodic symphonies to melancholic silence over a span of time that uncannily turned passing minutes into pensive lifetimes. In her foreword for the new box set reissue of The Disintegration Loops, the pioneering multimedia storyteller Laurie Anderson describes the impact of this transformation in poetic detail: “These dissolving sounds, this emptying space, has gained my complete confidence. They are taking me somewhere. I am willingly following these sounds, becoming more and more transparent.”

The Disintegration Loops – Arcadia Archive Edition is an expansive new box set that includes the entire 5-hour suite of iconic work. Newly remastered from the original recordings by Josh Bonati, the hefty package includes eight vinyl records (or four CDs for the less analog-inclined) in sturdy full-color jackets featuring the restored original artwork, and a new 1000-word foreword by Laurie Anderson – all housed in a striking heavyweight, case-wrapped box. It is the ideal encapsulation of one of the 21st century’s most truly transcendent works. As Anderson concludes in her foreword, “this music has created another world, a world to be carried away in.”

The twin trombone frontline is an esoteric but noble tradition in jazz, harking back to the famed 1950s recordings of Kai Windings and JJ Johnson. While respecting the tradition, the internationally renowned trombonists Paul Dunlea (from Cork) and Trevor Mires (from London) are not traditionalists, and their collaborative project Silfra showcases their thoroughly contemporary skills as composers and arrangers to create a fascinatingly diverse set of trombone led music.

Faellesskab reveals their most critical and emotionally charged work to date, a deeply personal voyage into the heart of Nordic black metal, where raw emotion and melodic depth keep reveling in sorrow and longing beauty. Translating to "Community", Faellesskab's six tracks weave a strong musical oeuvre within the Afsky canon; their walls of haunting melancholia, interwoven with vital intensity, have never been more powerful. Yet, this new work also sees the band at its sharpest in social criticism, as Ole Luk of Afsky notes: Faellesskab - Overture to the Downfall. Here, community is praised like herd animals fleeing responsibility.

A parade of moral superiority, where truth is trampled in the name of consensus. Where unity means silence, and doubt is a crime. Six songs of shame disguised as care, of freedom suffocated, and of the solitary few who still dare to question. A chorus of hollow words, where silence screams the loudest. Welcome to the celebration - the curtain hasn't just risen, it's been torn away! Afsky will mark the release with a special show in Copenhagen on October 17, graced by a full European album release tour kicking off the following week. Two singles are set to be unveiled in the lead-up to the release. While Afsky continues to refine their signature sound, this release is set to be another landmark in the band's uncompromising discography.

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

"‘Hydra’ is the sixth studio album by Dutch symphonic metal band Within Temptation. It was originally released on January 31, 2014 in Europe and on February 4, 2014 in North America. The album contains guest appearances by singer Howard Jones (ex-Killswitch Engage), rapper Xzibit, metal vocalist Tarja Turunen (ex-Nightwish) and alternative rock singer Dave Pirner (Soul Asylum). It was the first album by Within Temptation to be recorded with three guitarists, with Stefan Helleblad making his Within Temptation studio debut on ‘Hydra’ since his addition to the band shortly after the release of ‘The Unforgiving’ in 2011. ‘Hydra’ is also the first Within Temptation album to feature Robert Westerholt's growling techniques since the band's debut album, ‘Enter’ in 1997. The band wanted it to be a real Within Temptation record, but heavier, more musically challenging, pushing borders and frontiers with new elements and influences, and at the same time bring back more from their early metal roots “... A bit like the past and future at the same time"" – as stated by the band.

The album title refers to the great variation in musical genres, the band improves on with each new release. Guitarist Robert Westerholt adds: ""Hydra is a perfect title for our new album, because like the monster itself, the record represents the many different sides of our music"". According to the ancient Greek mythology, the Hydra was a giant multi-headed serpent that, for each severed head, sprang forth two more in their place. This new Expanded Edition comes with 8 bonus tracks, never released on vinyl before.

Best known for his film and TV scores ( Dirty Harry, Enter The Dragon , Mission Impossible , The Eagle Has Landed , to name just a few) Lalo Schifrin (1932-2025) began as a jazz pianist who worked with some of the most important musicians of his day. The Insensatez session was cut during Schifrin's involvement in Dizzy Gillespie's band, which explains the participation of musicians from that aggregation. First issued as Piano, Strings & Bossa Nova in 1962 (produced by Creed Taylor), this album was reissued with one less title, as Insensatez on Verve in 1969. Featuring 12 Brazilianized themes and four Lalo Schifrin originals - 'The Wave', 'Rio After Dark', and 'Silvia' from Schifrin's movie score El Jefe, and 'Lalo's Bossa Nova' written for Quincy Jones' 1962 album Big Band Bossa Nova. Insensatez offers a rare insight to Schifrin's superb musicianship, not only as a composer, but also as a pianist



c 3 You And Me [voce E Eu]
[d] 4 Lalo's Bossa Nova [samba Para Dos]





[j] 10 Samba Do Perroquet [parrot Samba]



[c] 3 You And Me [voce E Eu]
[d] 4 Lalo's Bossa Nova [samba Para Dos]





[j] 10 Samba Do Perroquet [parrot Samba]

Cinematic feasts of dramatic strings and cascading pianos that will satisfy fans of Nils Frahm and Ólafur Arnalds' The Ransom Note

The Roots of Chicha, compiled by Barbès Records, was originally released in 2007 and became the first recording to popularize psychedelic cumbia around the world.

From the late 60's through the 80's, Peruvians invented a new popular musical hybrid inspired by music from the Americas. In 1968, Enrique Delgado released his first record on Odeon with his new group, Los Destellos, single-handedly creating Peruvian cumbia. He codified the genre early on by using the electric guitar as the primary melodic instrument, and mixing cumbia rhythms with folkloric huaynos, criollo voicings, Cuban guarachas and guajiras, rock, boogaloo, surf, psychedelia, oriental music, classical music, and bits and pieces from Brazil, France, Chile... All Peruvian cumbia bands for the next thirty years would end up drawing from the exact same sources (Grupo Celeste, Los Mirlos, Juaneco Y Su Combo, Manzanita Y Su Conjunto...).

This new wave of Peruvian cumbia came to be known as chicha. Chicha is originally the name of an alcoholic drink, made of fermented maize, which the Incas were especially fond of. In the past thirty years, however, the word has taken on a pejorative connotation. Peruvian cumbia started being called chicha in the late 70s, around the same time that the music came to be viewed as the expression of the slums – the pueblos jovenes. Little by little, the word became an adjective, and people now talk of chicha culture, chicha press, chicha architecture, even of a chicha president, and none if it – you guessed right – is meant as a compliment. Chicha suggests corruption, shady deals, and cholos – a derogatory term for a person of Andean heritage that, of late, is being reclaimed and worn as a badge of honor by the very cholos it was supposed to demean in the first place.

15 years since their fantasy disco scene-defining 1st volume, Johnny Jewel’s IDIB lasso Sally Shapiro, Desire, Farah, Lovelock and the kreme of their field for a 27-song, 2-hour re-up



Where previous volumes took their sweet time to arrive, ‘Volume 4’ graces the ‘floor only two years since the last, and nobody’s complaining. From its slo-mo, dry-iced covers of Jennifer Lopez’ ‘Waiting For Tonight’, Don Henley’s ’Boys of Summer’ and even flipping R.E.M.’s ‘Losing My Religion’, thru to exclusive pearls by our disco queen crush, Sally Shapiro, and Johnny Jewel as Desire, it’s the ideal soundtrack for late summer into silly season.

Dive into the raw and uncompromising world of Davodka with "Boîte Noire", a mixtape gathering some of his most striking non-album tracks.



From the urban melancholy of "Cocktail Monotone" to the sharp reflections of "Misanthrope", through the explosive energy of "Aux Commandes" and the heartfelt sincerity of "Des Joies, des Peines", each song forms a piece of the puzzle that reveals the true portrait of a rapper with a dark yet lucid soul.



"Boîte Noire" is more than just a collection of tracks, it’s a journey through Davodka’s thoughts and raw truths, an introspective dive into the balance between shadow and light.

Celebrating a decade since its release, Wiped Out! returns in a special 10th Anniversary Edition. This expanded reissue features eleven bonus tracks alongside fan favorites like ''R.I.P. 2 My Youth,'' ''Daddy Issues,'' and ''The Beach.'' Pressed on 180g double vinyl and packaged with brand-new artwork.

Dylan Atlantis' Insta bio read 'amateur artist' at the start of the year. Now she's on a billboard in Times Square. With vocals and lyrics that extend well beyond her young years, Dylan Atlantis is the definition of meteoric rise. Pitchfork describes her as "the silky R&B singer, sliding in with the laid-back cool." THE PHILIPPINES-BORN, WEST SYDNEY BASED MUSICIAN WAS RAISED on a musical diet of RnB and Hip-Hop by her Mum. Now a self-professed lover of all genres of music (even country), she's out here sharing her innermost thoughts and lyrical experiments with the world. "I kinda just treat music like a diary but also a science lab where I can experiment expressing myself in different ways until it's awesome enough that I feel compelled to share it." Impressed Recordings are proud to present Dylan Atlantis' release - It Starts Again, on limited edition vinyl.

"Ranking Dread In Dub, originally released, on the Silver Camel UK label run by the late Tony Gorman, in 1982 is back in the shops with a completely remastered version that highlights the musical production of this classic album. The rhythm’s are provided by The Roots Radics and Sly & Robbie, with the tracks mixed at King Tubby’s. It also come back with the iconic artwork by Rod Vass."

"Brooklyn-based pianist Eva Novoa returns with The Freedom Suite: Novoa / Carter / Mela Trio, Vol. 2 — the second radiant release from her compelling trio with saxophone icon Daniel Carter and celebrated drummer Francisco Mela. This marks Novoa’s sixth album with 577 Records. The trio first came together live in 2021, followed by a series of performances, including appearances in Cambridge (Boston) and later at the Brooklyn edition of the NY Forward Festival.
"The Freedom Suite is an homage to jazz titan Duke Ellington — particularly his masterful big band suites and legendary orchestra featuring Johnny Hodges and other luminaries who helped define an era of jazz greatness. In contrast, Novoa presents her Suite in a more intimate format: the piano trio. The album comprises twelve pieces — mostly brief — with a few extended tracks such as Free to Be Free and Cyborgs.
"For this recording, Novoa also steps in as a vocalist on several tracks, including Mainstream Media, Big Grande, Global, Free to Be Free, Dream, and Cyborgs. These pieces often feature a vocal dialogue between Novoa and Mela, whose expressive, word-infused style draws from rich Cuban traditions.
'Words are powerful,' says Novoa. 'They define who we are, where we come from, and who we hope to become. Without words, there is no conversation — and without conversation, there is no real sense of time, space, or connection.'
The Freedom Suite emerged from deep philosophical and creative conversations — spoken, written, and improvised — between Novoa, Carter, and Mela. In the studio, Novoa introduced printed texts that served as thematic foundations for spontaneous, in-the-moment musical interpretation. The result is an urgent and organic interplay, where instruments speak to one another in a language as fluid as it is fearless.
"Standout track Cyborgs begins with Novoa’s percussive piano, exemplifying the trio’s dynamic, conversational energy. Creative Destruction features Novoa on electric harpsichord in a wild, electric exchange. While Free to Be Free stands out as the album’s leading single, it also captures the essence and message of the entire Suite.
"Recorded in 2021 at New York City’s legendary Sear Sound Studio, the album captures a creative explosion of sound and spirit. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs — even whistle — showcasing her expansive sonic palette. Together, the trio embodies the power of free improvisation and emotional storytelling.
"Originally from Barcelona, Spain, Eva Novoa has been cultivating her distinctive voice since childhood. Now a staple of the New York creative music scene, she has performed across the globe and collaborated with some of the most adventurous voices in jazz and beyond."

Una interpretación de Soinuarenbidea II debería partir de esta premisa: todo es posible, nada es aleatorio, y en sí mismo es un imposible de aleatoriedades. El escenario planteado explora la idea de realidad aumentada desde una percepción sonora, ambiental y colectiva. La obra transita hacia adelante y hacia atrás recreando experiencias extintas de porvenir incierto, tratando de facilitar un fin pacificador. Cada pieza sonora se crea, se despliega, se repliega y se destruye, en una torsión permanente de toda la realidad que hace posible cada fragmento musical, cada identidad acústica, cada espacio sonoro. Lo onírico, la ficción, y el viaje están continuamente presentes, y es en el transitar de cada fragmento donde se produce el diálogo de la exposición musical. Los elementos de esta ficción se recrean continuamente, en un continuum donde se entrelazan y se van contorsionando a medida que crecen o decrecen con cada fragmento de síntesis concreta. Los temas explícitamente musicales son el magma que conduce a dar voluptuosidad al disco, siendo la piel un contexto o límite que en sí mismo fluctúa indefinidamente en texturas y configuraciones posibles. Y la urdimbre del silencio es la síntesis que está continuamente presente y que trata de cohesionar los fragmentos en continua colisión expresiva. Las grabaciones de campo proporcionan el material sonoro concreto, y como un fractal sonoro cada una de ellas ofrece diferentes grados de interpretación que a su vez conduce a nuevos fragmentos y nuevas creaciones. Así que se puede pensar que esta es una síntesis de una posible realidad, pero interpretable en infinidad de maneras. Un movimiento y una estaticidad implícitas que generan estructuras y dinámicas acústicas. Lo que se escucha no es real, pero en sí mismo forma parte de la realidad, creando un escenario expectante. Lo cinematográfico, plástico y teatral, danzante y dinámico cobra importancia en este juego, porque se trata de contar una historia, una experiencia recreada desde los puntos de vista del arte visual. Es a su vez hilo conductor y entretenimiento, discurso político y puro divertimento. Es desde este espacio de convivencia artística que tiene sentido la totalidad y justifica el formato sonoro planteado. La contradicción de la obra es patente en el formato, y es a su vez el planteamiento de una accidentalidad en el devenir vital. Contenedor de Ruido recoge todas estas contradicciones y las manifiesta en la obra Soinuarenbidea II. Es una historia sonora, es un cuento acústico. Es un fragmento de vitalidad en imágenes audibles. Es una invitación a la reflexión, a la crítica, al disfrute, a la meditación, a la celebración. Y sobre todo es esperanzadora apreciación de la realidad como algo maleable que confeccionamos colectivamente, que requiere de una paciente observación y la participación colectiva global, en un mundo finito pleno de diversidades y del que ignoramos prácticamente todo, al que deberíamos volver con respeto y devoción.

Soinuarenbidea II-ren interpretazio batek premisa honetatik abiatu beharko luke: dena da posible, ezer ez da ausazkoa, eta, berez, ausazkotasun ezinezko bat da. Planteatutako agertokiak errealitate areagotuaren ideia aztertzen du, soinu-, ingurumen- eta talde-pertzepzio batetik abiatuta. Lanak aurrera eta atzera egiten du, etorkizun zalantzagarriko esperientzia desagertuak birsortuz eta helburu baketsua lortzen saiatuz. Soinu-pieza bakoitza sortu, hedatu, tolestu eta suntsitu egiten da, musika-zati bakoitza, identitate akustiko bakoitza eta soinu-espazio bakoitza ahalbidetzen dituen errealitate osoaren etengabeko bihurdura batean. Onirikoa, fikzioa eta bidaia etengabe daude presente, eta pasarte bakoitzaren joan-etorrian gertatzen da musika-erakusketaren elkarrizketa. Fikzio honen elementuak etengabe birsortzen dira, continuum batean, non sintesi zati zehatz bakoitzarekin hazi edo txikitu ahala elkar lotzen eta bihurritzen diren. Esplizituki musikalak diren gaiak diskoari atsegintasuna ematera eramaten duen magma dira, azala testuingurua edo muga izanik, testura eta konfigurazio posibleetan mugarik gabe aldatzen dena. Eta isiltasunaren irazkia etengabe presente dagoen sintesia da, zatiak etengabeko adierazpen-talkan kohesionatzen saiatzen dena. Landa-grabazioek soinu-material zehatza ematen dute, eta soinu-fraktal batek bezala, horietako bakoitzak interpretazio-maila desberdinak eskaintzen ditu, eta horrek, aldi berean, zati eta sorkuntza berrietara eramaten du. Beraz, pentsa daiteke errealitate posible baten sintesia dela, baina hamaika modutan interpreta daitekeena. Egitura eta dinamika akustikoak sortzen dituzten mugimendu eta estatikotasun inplizitu bat. Entzuten dena ez da erreala, baina, berez, errealitatearen parte da, eta agertoki espektakularra sortzen du. Zinematografikoak, plastikoak eta antzerkikoak, dantzariak eta dinamikoak garrantzia hartzen dute joko honetan, ikusizko artearen ikuspegitik birsortutako istorio bat, esperientzia bat, kontatzea baita helburua. Aldi berean, hari gidaria eta entretenimendua da, diskurtso politikoa eta dibertimendu hutsa. Elkarbizitzarako espazio artistiko honetatik osotasunak zentzua du eta planteatutako soinu-formatua justifikatzen du. Obraren kontraesana nabarmena da formatuan, eta, aldi berean, bizi-bilakaeran istripu-tasa bat planteatzea da. Zarata-edukiontziak kontraesan horiek guztiak jasotzen ditu eta Soinuarenbidea II obran adierazten ditu. Soinu istorio bat da, ipuin akustiko bat. Bizitasun zati bat da, irudi entzungarrietan. Hausnarketarako, kritikarako, gozamenerako, meditaziorako eta ospakizunerako gonbidapena da. Eta, batez ere, itxaropentsua da errealitatea modu kolektiboan egiten dugun gauza xaflakor gisa hautematea, behaketa pazientea eta partaidetza kolektibo globala eskatzen dituena, dibertsitatez betetako mundu mugatu batean, ia guztia kontuan hartzen ez duguna, eta errespetuz eta debozioz itzuli beharko genukeena.

An interpretation of Soinuarenbidea II should start from this premise: everything is possible, nothing is random, and in itself is an impossible randomness. The proposed scenario explores the idea of ​​augmented reality from a sonic, environmental, and collective perception. The work moves back and forth, recreating extinct experiences of an uncertain future, seeking to facilitate a peaceful end. Each sound piece is created, unfolds, retreats, and is destroyed, in a permanent twisting of all reality that makes each musical fragment, each acoustic identity, each sonic space possible. The dreamlike, the fictional, and the journey are continually present, and it is in the transit of each fragment that the dialogue of the musical exposition takes place. The elements of this fiction are continually recreated, in a continuum where they intertwine and contort as they grow or diminish with each fragment of concrete synthesis. The explicitly musical themes are the magma that leads to the work's voluptuousness, the skin being a context or boundary that in itself fluctuates indefinitely in possible textures and configurations. And the warp of silence is the synthesis that is continually present and seeks to unite the fragments in a continuous expressive collision. The field recordings provide the concrete sound material, and like a sonic fractal, each one offers different degrees of interpretation that in turn lead to new fragments and new creations. So one can think of this as a synthesis of a possible reality, but interpretable in an infinite number of ways. An implicit movement and staticity that generate acoustic structures and dynamics. What is heard is not real, but in itself is part of reality, creating an expectant scenario. The cinematic, plastic and theatrical, dance and dynamic aspects take on importance in this game, because it is about telling a story, an experience recreated from the perspective of visual art. It is at once a common thread and entertainment, political discourse and pure entertainment. It is from this space of artistic coexistence that the whole makes sense and justifies the proposed sound format. The contradiction of the work is evident in its format, and it is, in turn, the presentation of an accidentality in the course of life. Noise Container gathers all these contradictions and manifests them in the work Soinuarenbidea II. It is a sound story, an acoustic tale. It is a fragment of vitality in audible images. It is an invitation to reflection, to critique, to enjoyment, to meditation, to celebration. And above all, it is a hopeful appreciation of reality as something malleable that we collectively craft, requiring patient observation and global collective participation, in a finite world full of diversity and of which we know practically nothing, to which we should return with respect and devotion.

Paisajes sonoros, diseño sonoro, drones y música grabada, realizada y arreglada para Contenedor de Ruido por David Aranaz. Coro: Basandere Ahotsak. Producido y mezclado por David Aranaz. Mástering: Estanis Elorza. Fotografía: David Aranaz. Texto: David Aranaz. Traducción: Saioa Aranaz Oreja. Trabajo y Diseño artístico: Cristina Martinez. Edición: Contenedor de Ruido Producciones y Sarbide Music. Distribución: Contenedor de Ruido.

Contenedor de Ruido agradece el apoyo en la realización de Soinuarenbidea II al coro Basandere Ahotsak y en especial a Eva Orbara Goicoa.

Soinuarenbidea II está dedicado al pueblo palestino.

Paisajes y objetos Sonoros, samplers y otras músicas transformadas para Soinuarenbidea II
Burlada: Paseos sonoros matinales por Merindad de Sangüesa, Calle Mayor, Capuchinas, Parque Uranga y varias iglesias y plazas. Pasajes del cotidiano: basura de papel, cristal y plástico.
Pamplona: Cementerio de San José. CEIP Sanduzelai /// Quinto Real: Fábrica de Armas, Puerto de Urkiaga y alrededores. Suite del silencio, bosques en movimiento /// Fábrica de armas de Orbaiceta: regatas, biosques, paseo sonoro hasta regata /// Belate: Puerto de Belate y alrededores. Vacas en pradera junto a las turberas /// Bardenas Reales: Suite de guitarra y Suite del silencio, estepa desértica /// Austria: Tranvías de Graz y Viena. Muchedumbre del metro de Viena.
Voces cinematográficas de: Matanza en Texas, Robocop, Espíritu Sagrado, Solo los Amantes Sobreviven, Voces de Gaza, Yojimbo, Terciopelo Azul, Los 7 Magníficos.
La pista A2 está dedicada a la memoria de David Lynch.
La pista B4 está dedicada a Eva Orbara Goicoa.
Pista A4: Contiene interpretaciones de piano de Three Piano Pieces Op.11 de Arnold Schoenberg.
Pista A5: Es una interpretación expandida con síntesis FM del Concerto Op. 24 - Etwas lebhaft - de Anton Webern.
Pista A7: Contiene la canción Besarkatu ninduzun (Letra de Josune López y música de Josu Elberdin) en interpretación de Basandere Ahotsak en la iglesia de Burutain bajo la tormenta.
Pista B2: Contiene la canción Recuerdos de la Alhambra (Fernando Tárrega) en interpretación torsionada de David Aranaz Sarasa.
Pista B14: Contiene la canción Agur María (Letra y Música de Estíbaliz Robles “Estitxu” y arreglo exclusivo de Alfonso Ortiz para Basandere Ahotsak) en interpretación de Basandere Ahotsak.

Equipamiento para Soinuarenbidea II.
Micros de condensador SE7, configuración XY y ORTF; Micros de cinta ORTIZ LUTHIER configuración XY y Blumlein; Grabadoras MARANTZ y ZOOM; Sintetizadores y samplers Elektron MONOMACHINE SPS-1, MACHINEDRUM SFX6 y MODEL:SAMPLES. Dave Smith MOPHO. Torso Electronics S-4. Sintetizador Modular 333 DIY; Guitarra clásica ALHAMBRA 6P; Esculturas Sonoras tipo Baschet, cristal y metales; Mesa Soundcraft FX16ii; Interface de Audio RME Babyface Pro FS; DAW Logic Pro; Procesamiento de modelado analógico con Acústica Audio, Waves, Softube, Brainworx, Sonible, Analog Obsesion, Tokio Dawn. Metering de Logic y RME DigiCheck . Amplificación Hafler PRO2400. Monitorización BW DM602 S3. Mezcla digital; Mastering híbrido.

Ailise Blake explains the deep, personal meaning behind the album's title, "Soave": "I titled this album "Soave" not only because of the sound of the word itself, which to my ears sounds like the wind, but because for me, soave is what we perceive silently beneath the action of everyday life, that veil of calm and stillness found when we stop to listen to ourselves; it represents the light and the tenderness, yet it is still and untouchable, it is alchemical, it is transcendental, it gives a sense of peace completely subjective to the mind that perceives it."

Florida Sax0phonist with Glenn Zaleski on piano

Tashi"s latest punk anthems: electric guitar improvisations to brutally impact us with... gentle lyricism and introspective depth! In a time of extraordinary institutional inhumanity, seeing the faces of the many deprived, what is there to feel but exhaustion? What to want but silence? Tashi seeks it all out actively, with intention. Hard truths absorbed, he enjoins power to reconstitute as spirit, to disseminate to everyone outside the walls.

Here, Flavien departs from his usual creative process to embrace collaboration—because plouf! (Léviathan) is also the story of a dive, his first collective adventure with musicians he had always dreamed of working with: Michelle Blades (guitar), Kiala Ogawa (keys), Akemi Fujimori (bass), Cédric Laban (drums), and Thibaud Merle (winds).



Reworking these songs is a way of revisiting forgotten musical landscapes, shedding new light on them with a different perspective. It’s about transforming a solitary electronic record into a collective piece by exploring new textures and instrumental approaches.



With this album, Flavien Berger uses his early tracks as raw material—as if the 2015 Léviathan were now a kind of demo from which to extract the essence and create something entirely new. The project, like the music that drives it, is rooted in the idea of reinvention.



The result is a fresh sonic exploration where Léviathan’s tracks take on new forms—some staying true to their original versions, others completely reimagined, blending past and present.

Childhood Intelligence Nineteen by Dan Piu “The Mystic Mind” 2x12 LP

As the vortex of time evolves, Swiss Underground Legacy “Dan Piu” returns to his home planet “Childhood intelligence”. A rare specimen and artifact known for his timeless & intelligent soul-infused music, arises with his 3rd solo album on Childhood. “The Mystic Mind” 2x12 Lp as the trilogy, the sequel of “Tru Time And Ages” and “Inside Universe”.

This Full-Length player is a voyage through yet another unexplored realm of Dan's creativity, where listeners are invited to explore a vast network of emotions. As the album organically unfolds, tales of spooky synth worlds emerge, where hypnotic atmospheres collide with analog technoid elements, guided by classic JUNO chord progressions. Witness the alchemy of vintage ARP, Jupiter, Mono/Poly, and 80s Yamaha sounds as they morph into an elusive journey of electronic mysticism crafted by the otherworldly mind, the “Mystic Mind” of Dan Piu.

Another excellent find here, an unreleased dub/instrumental album compiled by Lloydie Slim at the end of the 70s, featuring exclusive dubwise & instrumental cuts to many of his rhythms from earlier in the decade. As a bonus we've added 2 more tracks to the original 10 track album tape - the vocal & dub cuts to Johnny Clarke's "I'll Never Fall in Love Again", one of Slim's personal favorites of his productions. This single was originally released in 1975 in JA on his Don One label, and again in New York a few years later on his namesake Ivanhoe the Conqueror label. This album is a great listen which reminds us of the classic Channel 1 Revolutionaries instrumentals of the mid/late 70s.

SF's Fog Lamp have been at it for a few yrs now, repping heavily around the local environs, garnering a solid word-of-mouth reputation. Originally a trio sans tubs, the synth-driven iron gulp of their early days was like Animal of Anti-Nowhere League crashing a Cabaret Voltaire rehearsal. 'Power to the paradox' I like to say, or in the immortal words of Tug McGraw, "Ya Gotta Believe!" So after a couple tapes & whatnot, Siltbreeze got clued in & have solidly backed their debut vinyl lp, Still Entangled. Along the way, the band enlisted the solid drumming prowess of Rachelle Hughes & by doing so, Fog Lamp have zoned in an intensive, beguiling churn of Dossier era Chrome slipping into The Sleepers panic-creep of 'Sleepless Nights'. Their hauntingly dense & layered murk is as authentically Bay Area as a bowl of Cioppino. Look for them on tour (West Coast only) in Jan. of 2026. Flannel is the new Goth

Clammbon, who have performed numerous tribute albums for artists such as Yasuyuki Okamura, Fishmans, and YMO, have released their first covers album, including
all of their classic covers. From Akiko Yano to Bow Wow Wow, the selection and arrangements show the band's depth, and the loose and casual recordings of
the Magokoro Brothers' "Summer Nude" and the Beatles' "Across the Universe" featuring Takashi Nagatsumi are particularly captivating.

Andrew Lloyd Webber’s The Phantom of the Opera is one of the most celebrated musicals of all time, and this original London cast recording from 1986 remains the definitive recording. Michael Crawford’s Tony Award-winning performance as The Phantom and Sarah Brightman’s portrayal of Christine Daaé helped make this the best-selling cast recording in history. Re-issued for the first time in decades, this classic album brings the unforgettable score to a new generation of listeners. From the title song to “The Music of the Night” and “All I Ask of You,” every track reflects the power and beauty that continue to make The Phantom of the Opera a global phenomenon nearly forty years after its debut. Since its premiere, The Phantom of the Opera has been seen by more than 160 million people in 195 cities and has received over 70 major theatre awards. It holds the record as the longest-running show in Broadway history and was the first British musical to debut at number one on the music charts. The recording has been certified Platinum in six countries.

Our director, Joe Stephenson, was looking for a bold, gothic, and dramatic score mixing traditional Hammer Films tropes with a modern sensibility.

Much like Jekyll and Hyde, this is a score of two parts, recorded with two different orchestras - the Budapest Art Orchestra and The Royal Scottish National Orchestra.
This helped to emphasise the split personality of the score: switching from sparse, haunting horror to the operatic gothic explosions we hear towards the end of the film.

A 30-person choir helped achieve a sense of scale where needed, and Hyde’s textural effects are performed on a variety of rare archaic instruments such as the Viola Da Gamba and Stroh Violin which help to evoke the sense of an ancient evil.

With a gorgeous smoky coloured vinyl, and Sean Longmore’s stunning bespoke artwork, this is a limited release that I’m eagerly awaiting to display on my own shelf.
The future of Hammer Films is bright, and I’m thrilled that fans can celebrate its rebirth with a score that honours the past while eagerly stepping into a new era." - Blair Mowat

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Composer, arranger, and multi-instrumentalist Yoshiharu Takeda's long-awaited first album, released in 2018, is now available as a reissue LP with obi strip.
He plays various instruments himself, including piano, clarinet, pedal steel guitar, and percussion.
Fantastical, crystalline melodies constructed through masterful use of multi-tracking and programmed elements.
This richly textured work possesses an organic quality, unfolding dynamically through colorful arrangements while maintaining a mysteriously serene atmosphere.
Highly recommended not only for jazz and world music fans, but also for enthusiasts of ambient and new age music.

Reggae cover of Bobby Caldwell and Boz Scaggs' AOR classic on 7"!

Bobby Caldwell is famous for his AOR classic "What You Won't Do For Love" (Silhouette of the Wind) released in 1978, and Rejie covered "Special To Me," another classic song from the same album, with a reggae arrangement. The original song was a single cut only in Japan at the time, and a Japanese Eurobeat cover by Wink in 1989 was also a hit. The B-side features the beautiful melody of the original song with a hint of reggae flavor.