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The 7th edition in the Exit Planet Earth vinyl series features another serving of electronic cuts designed for space travel with 20/20 Vision debuts from The Exaltics & Paris The Black Fu, Alex Jann, Lost Souls of Saturn and Kim Cosmik.

Opening with an interstellar serving of classic electro funk from the pivotal figurehead of Germany's electro-tipped underground 'The Exaltics' of 'SolarOneMusic' and 'Paris The Black Fu' from the mighty 'Detroit Grand Puhbas'.
This heavy weight collaboration comes in the form of 'wea poni zedin form ation' a masterclass in acid-influenced and undoubtably charismatic electro, complete with distinctive Kraftwerk-esque vocals. Alex Jann follows up on the A side with 'Android Memory' combining bleep techno elements with futuristic electro in an expertly crafted high paced does of sci-fi funk peppered with chaotic glitches, driving grooves and punchy kicks.

On the flip side we're joined by Seth Troxler and Phil Moffa under their inter dimensional moniker 'Lost Souls Of Saturn'. L.S.O.F offer up a mind altering hybrid of sci-fi inspired electronica, techno, electro, acid, free-jazz and more, blurring genre lines and pushing boundaries deep into the cosmos. Under-pinned by a predominately break beat groove 'Rave is Back' incorporates a plethora of un expected elements, from orchestral drones and harmonic melodies to unidentifiable machine glitches.

Wrapping up the 7th outing in the Exit Planet Earth vinyl series, we're joined by long-time purveyor of UK Electro -
Cybersoul's 'Kim Cosmik', firing on all cylinders with a tripped out assault on the senses. Her track 'Moonrise' hammers home with a fast paced, glitch heavy groove, serving up complex patterns across an ominous soundscape littered with ghost like echoes.

Best Record Italy presents a reissue of Model 11-29's "Wot Times," a particularly inspired work by the legendary Sangy that transforms "Rapper's Delight" into a slice of Italo-balearic ecstasy. On the vocal version, drums sit between disco and electro as they boogie down to a breakdance beat, with greasy funk basslines slapping and sliding in support. Solar dub chords pulsate through anthemic pattens, pads blow across the mix like a warming ocean breeze, synth leads sparkle in coral colorations, and those classic Sugar Hill Gang lyrical flows are reconfigured into an ebullient spoken word rap, which is then morphed by futuristic fx and interspersed with shouts, grunts, and call-and-response chants. On the flip, the instrumental version walks with more of a sexual disco strut, resulting in a summertime seaside cruiser overflowing with dazzling synthesizer displays, as organ chords generate mirage visions, gemstone leads shimmer through swells of tropical mist, and acid-laced Italo pulsations work the spirit into euphoric beach dance hypnosis.

Intimate, sensual: such is the music of Malik, shaped as desired over the albums: Un (2017), Tempéraments (2019), which earned him the nomination “Revelation album of the year” at the Victoires de Music 2020… And, today, Troy. Which opens a new chapter, that of an organic bias whose idea germinated after his last tour. Major fashions, solar and organic: TROIE imposes itself in warmth and sensuality.

Malik Djoudi has always been fond of duets or collaborations - with Juliette Armanet, Cécile de France or even Etienne Daho, support from the start - does not deprive himself of it here. Thus, we savor the tempo shared with the young rapper Lala & ce, “Point sensible” and the synthetic poetry explored with Philippe Katerine, “Eric”. Third collaboration, and not the least: "A few words", sung with Isabelle Adjani, the immense actress in a state close to Ohio, that of the navy sweater made in Gainsbourg.

Germany-based metal band OBSCURA launch trilogy concept on stunning new album “A Valediction”. The group’s first (sixth overall) album for Nuclear Blast pivots on many fronts. Advanced, elegant, and yet refreshing, “A Valediction” sums up past endeavors effortlessly as it gazes with purpose and conviction into the future. OBSCURA are fan-renowned and critically acclaimed for challenging and then expanding upon norms. From “Cosmogenesis” (2009) through “Diluvium” (2018), the band flourished and made significant progress in a musical genre unprepared for a creative shot of German invention. “A Valediction” spearheads OBSCURA into a new era of extreme metal.

Guitarist/vocalist Steffen Kummerer founded OBSCURA in 2002. Early on, he set out to improve, redefine, and push forward. Under his self-label creation, the Bavarian released debut album “Retribution” (2006), followed by heavy touring throughout Europe. Word quickly spread that a brand-new band from the south of Germany was on the rise. Buzz lead to a deal with U.S.-based Relapse Records. The first record out was “Cosmogenesis”. In Europe, Metal Hammer Germany awarded the album 6/7 while in the U.S., “Cosmogenesis” hit the Billboard charts at #71. The cross-continental praise and fevered momentum landed OBSCURA on high-profile tours in Europe, North America, and Japan.

When follow-up “Omnivium” arrived in 2011, they upped their chart success (Billboard #11; Media Control #14), received more accolades from publications like Terrorizer, Rock Hard, and Decibel, had another massive round-world tour cycle, while enhancing and making progress on their clever brutality. OBSCURA further developed their sound on “Akróasis” (2016). Moored by jaw-dropping tracks like ‘Sermon of the Seven Suns,’ ‘Ode to the Sun,’ and the title track, “Akróasis” elevated OBSCURA to the highest levels of international renown, having climbed up the Billboard charts (#5) as well as earning top marks in Rock Hard (8.5/10), Metal Hammer Germany (6/7), and Revolver (4/5). The Germans toured the world yet again, playing over 100 shows in support of “Akróasis”.

OBSCURA’s most significant accomplishment was, however, just around the corner. The final part of a tetralogy, “Diluvium” (2018), fiercely pursued OBSCURA’s multi-album transformation into musical innovators and metal powerhouses. Music videos for the title track, ‘Emergent Evolution’ and ‘Mortification of the Vulgar Sun,’ in concert with a substantial interest in virtuosic, forward-thinking metal, posited OBSCURA in the good graces (yet again) of the worldwide press in addition to rocketing up, for the very first time, the official album charts in Germany (#58) and Switzerland (#93). The Germans also topped out at #3 on the Billboard Heatseekers chart with “Diluvium”.

OBSCURA‘s stats have been impressive: Twenty years active; six highly prized albums; over 600 shows on four continents. Worldwide fan and press engagement—the videos for ‘The Anticosmic Overload,’ ‘Akróasis,’ and ‘Diluvium’ have over 4.5 million views—is only getting stronger the longer OBSCURA continue to offer up and interact with (via play-throughs and member/gear spotlights) their very captive audience. This is only the tip of Kummerer’s custom ESP guitar, however. A Valediction finds OBSCURA turning the page to a new chapter in the band’s evolution. A year in the works, the songwriting sessions followed a new approach, where the framework was relaxed, allowing new inspirations, imagining, and opportunities to arise. Songs like the opening epic ‘Forsaken,’ the '80s-tinted ‘When Stars Collide’ (featuring Soilwork/The Night Flight Orchestra frontman Björn Strid), the brutal groove of ‘Devoured Usurper,’ the ethereal artistry of ‘Heritage,’ and the fleet-fingered title track benefitted compositionally (refined structures) and aesthetically (more dynamism) from OBSCURA’s restyled songwriting stratagem.

OBSCURA wrote, recorded, and finalized “A Valediction” during the pandemic. The stipulations of working during this time allowed OBSCURA to work cross-country, tracking each respective part—drums, guitar, and bass—in national studios across The Netherlands, Austria, and Germany. Once the pieces were completed, the recordings were shipped off to award-winning producer Fredrik Nordström and Studio Fredman (In Flames, Architects) in Gothenburg, Sweden, where Kummerer and Münzner completed vocals and acoustic guitars using custom-built ENGL amps. Nordström was also tapped to mix and master. The final result is a deeper, heavier, yet more rounded production.

Lyrically, “A Valediction” is layered in structure and meaning. The word ‘valediction,’ by definition, deals with goodbyes and farewells. In a way, this is auf wiedersehen to the four-part album series while also addressing complex topics of Kummerer’s personal life. Instead of obscuring issues of loss, death, and abandonment in metaphor and allusion, the German laid bare his torment across songs like ‘Forsaken,’ ‘Solaris,’ ‘In Unity,’ ‘The Neuromancer,’ and ‘In Adversity.’ But for every line of desperation, he also offers positivity. Indeed, new beginnings—physical, emotional, or environmental—can provide light in the darkness. Lauded artist Eliran Kantor (Testament, Helloween) was brought on board to visualize the leitmotif. The bronze-themed colourway Kantor used exemplifies OBSCURA’s resistance to individual and sonic corrosion.

In 2021, OBSCURA will lighthouse their musical prowess, thematic complexity, and lyrical ambition on “A Valediction”. The group continue to be a beacon for change. No doubt OBSCURA’s new stats will amaze, but what they’re focused on is the release of “A Valediction” and then taking it on the road. Several high-caliber tours of Europe, North America, and Asia are planned through to 2023, with routes are in the works for the band to visit Australia, South America, and beyond. Truly, there is no band quite like OBSCURA. “A Valediction” proves that persistence, perseverance, and enterprising minds can achieve anything. Welcome to the next level!

Castles in Space is thrilled to present Luke Requena’s debut solo album, “Mirror Stage”. As the Lacanian title suggests, it is a collection of meditations and self-reflection translated into sonic explorations of the space that connects the macrocosm and the microcosm. Inspired largely by Tarkovsky’s film Solaris, the making of Mirror Stage was a musical journey of internal struggle across subconscious landscapes.
Requena is a composer and multi-instrumentalist based in Vancouver, BC. Although his main source of sound is analog synthesizers, he also integrates santur, guitar and organs into his pieces. Drawing influences from artists such as Günter Schickert, early Pink Floyd, and classical Persian music, “Mirror Stage” emits waves of sonic and lush textures while exploring the dark cosmos. It’s a genuinely enthralling work.
Luke has already released a double album, “Nocturnal/Seasonal” with John Jeffrey, drummer of Moon Duo, for the Castles in Space Subscription Library as part of the new age electronic jazz project, Oscilloclast.

Book+LP+CD

Song Cycle Records in collaboration with the Andrey Tarkovsky International Institute present the release of Solaris. Sound And Vision – The Film Album, a collector’s edition book that includes the exclusive photo book with unreleased images of the movie set and essays about music and cinema of the duo Artemiev/Tarkovsky, and the soundtrack on Vinyl and CD realised by the great Russian composer Edward Artemiev for the Andrey Tarkovsky’s masterpiece film Solaris (1972).

List of contents: Dialogue with Andrey Tarkovsky about science-fiction on the screen by Naum Abramov Interview with Edward Artemiev Music in Solaris and other Andrey Tarkovsky films by Roberto Calabretto Exclusive and unreleased images from Solaris

Clear History are a scorching post-punk trio from Berlin who make a big deal out of little things, sometimes vice versa.

Pressing of 500 copies worldwide on 180GM black vinyl.

Clear History’s debut mini-album is entitled 'bad advice good people' and will be released by Upset The Rhythm on November 5th. The six songs here cast a huge net across themes of raucous opposition, identity, closeness, gifting and exploding cars. They are a full-hearted call to arms from a stubborn Aries concerned with wasting time and energy. With such rapport for the touchstones of danceable post-punk (ESG, Kleenex, Gang of Four) Clear History are proud hi-hat botherers, bounding along with the plummy bassline, joining the dots whilst thinking to the beat. This debut documents the tantalising first sparks from a band intent on holding up a magnifying glass to the sun.

Their influences include correct grammar, Rihanna & ‘The Waiting Room’ by Fugazi. They make muscular songs about intimacy whilst dreaming of an extravagant breakfast the day after the rapture. What will the dance floors look like over there? What music will ring true and make the people move? Clear History are giving this their full atttention!

HIGHLIGHTS: Long-awaited second album by the rising stars of Neo Cumbia and Psychedelic Chicha in Peru, Arequipa's very own Los Chapillacs, featuring the late Lucho Carrillo, lead singer of the legendary band Los Diablos Rojos, Daniel F (Leusemia) and Laurita Pacheco. A mix of many different music genres and styles from Peru and beyond. From the expected cumbia and chicha (with and without the psych element) to Chacalon influences, popular Afroperuvian rhythms and a touch of rock with a certain sense of humor that even welcomes '80s hair metal guitars and a touch of deep ballad vocals... Jungle-tinged electric guitars firing up the party! DESCRIPTION: Long-awaited second album by the rising stars of Neo Cumbia and Psychedelic Chicha in Peru, Arequipa's very own Los Chapillacs. "Lo bueno, lo malo, lo feo y los alaracosos Chapillacs" comprises many different music genres and styles from Peru and beyond. From the expected cumbia and chicha (with and without the psych element) to Chacalon influences, popular Afroperuvian rhythms and a touch of rock with a certain sense of humor that even welcomes '80s hair metal guitars and a touch of deep ballad vocals... A number of guest top artists are featured in this new album: Daniel F from punk band Leusemia; harp virtuoso Laurita Pacheco on 'Cada Noche Me Pierdo'; the late Lucho Carrillo (Cumbia All Star, Los Diablos Rojos) on "Fiesta de Mostros"; and also0 Rony Carbajal (Xdinero) and Arequipa's folk artist Filiberto Barrios. Jungle-tinged electric guitars firing up the party!

Over the past decade or so, Chris Forsyth has produced a series of perennially year-end list haunting studio albums of expansive art-rock, from 2013’s Solar Motel to 2019’s All TimePresent , in the process becoming one of the leading lights of the so-called “indie jam” scene, musicians combining omnivorous influences with post-Dead sprawl.

These critically lauded albums have established Forsyth as one of today’s most unique and acclaimed guitar player/composers - a forward thinking classicist synthesizing cinematic expansiveness with a pithy lyricism and rhythmic directness that makes even his 20-minute workouts feel as clear, direct, and memorable as a 4-minute song.

Pitchfork has called his music “a near-perfect balance between 70s rock tradition and present day experimentation,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors,” and the New York Times calls him “a scrappy and mystical historian… His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.”

But the studio records are just the tip of the iceberg.

You see, in a live setting Forsyth’s music is never really finished.

He hasn’t had a fixed band in years and plays with a rotating cast of characters. Regulars in Forsyth’s bands have included bassists Doug McCombs (Tortoise) and Peter Kerlin (Sunwatchers), and drummer Ryan Jewell (Ryley Walker, too many others to mention), among others - basically, whoever is available for the given gig or tour.

These are not groups that rehearse, exactly. Operating more like a jazz band, Forsyth and his players treat the songs as frameworks that remain identifieable but morph based on who’s playing them, like weather to a landscape.

Embracing this flux has become a cornerstone of Forsyth’s live sets, rendering every performance special and thereby catching the attention of tapers from his home base in Philly to New York City, Chicago, and Minneapolis. In fact, most of his live performances over the last few years are recorded and posted on the Live Music Archive site.

But the taper recordings, though many are high quality and full of character, are not professionally recorded and mixed multi-tracks.

Which brings us to Peoples Motel Band , the new live LP culled from a set that Forsyth played with NY-based group Garcia Peoples as his band, and is self-releasing on his own Algorithm Free label in a limited pressing of 500 copies.

Recorded September 14, 2019 before a packed and enthusiastic hometown crowd at Johnny Brenda’s in Philadelphia, Peoples Motel Band catches Forsyth and Garcia Peoples (plus ubiquitous drummer Ryan Jewell) re-imagining songs from Forsyth’s last couple studio albums with improvisatory flair.

Forsyth and Garcia Peoples played a number of 2019 shows together, beginning with a semi-legendary jam set at Nublu in NYC in March, through a couple dates on Forsyth’s month-long weekly residency at Nublu in September and concluding with a five-date tour of the Northeast in December. The chemistry between the players is tangible.

As is often the case with Forsyth shows, the gloves come off quickly and the players attack the material - much of it so well-manicured and cleanly produced in the studio - like a bunch of racoons let loose in a Philadelphia pretzel factory.

Recorded and mixed with clarity by Forsyth’s longtime studio collaborator, engineer/producer Jeff Zeigler, the record puts the listener right in the sweaty club, highlighted by an incredible side-long take of the chooglin’ title track from 2017’s Dreaming in The Non-Dream LP (note multiple climaxes eliciting wild shouts and ecstatic screams from the assembled).

This is not the new Chris Forsyth album, exactly, but then again, it kinda is because whenever he sits down to play, something new comes out.

PAURA explores the horror repertoire from the precious CAM Sugar archives taking us on a hypnotic journey into the labyrinths of fear, through the different variations that Italian horror took on from the esoteric and supernatural to the slasher films of the early 1970s; to reinterpretations of Romantic literature and gothic fiction to the splatter films of the ‘80s; and from witchcraft to metropolitan horror. This is not a real “best of” but an eclectic menu full of mysterious voices, childlike lullabies, sweet melodies, obsessive music boxes, obstinate harpsichords, crazy distortions and threatening synthesizers, conceived as a succession of sequences, as if a film edit. The new collection includes some of the most creative music ever written and strives to do justice not only to some of the best known composers in this genre, but also to many great unsung composers: From celebrated composers like Ennio Morricone, Riz Ortolani & Stelvio Cipriani to long-forgotten personalities who fed the industrial backbone of Italian cinema such as Daniele Patucchi, Marcelo Giombini & Berto Pisano. The collection includes 6 previously unreleased tracks plus 3 tracks released on vinyl for the first time and 5 tracks available commercially for the first time (originally released only as a limited promo item).

"We don't want to conquer space at all, we want to expand Earth endlessly. We don't want other worlds, we want a mirror" these words uttered by Dr Snaut from the masterpiece of Science Fiction novel "Solaris" couldn't better outline this tripped-out 6 tracks ep. RTR crafted a hypnotic pull, drawing the listener deeper into its enigmatic journey by joining the dots between colorful, moody and very melodic electro all way long. It rolls out as much structures as Solaris planet can carve out on his ocean surface, intertwining acid-tinged bass, crisp techno, break edits, jungle. Fans of electronic music's 90s golden age will find plenty to love about Splash of a drop.

Deep space Electro! Serbian Electro astronaut Kalson returns to his German base Dominance Electricity. The title track Solarni Sistem, featuring Direct Control, is a broken beat Electro opus with precise sound design, that starts minimalistic und organically builds up to epic spacy Electrofunk. The beatless Synthapella bonus version highlights the beautiful synth work. Next stop is the Taurus constellation, to which Kalson drives the listener with a hypnotizingly slow-paced, melodic beat. Somewhere between dark Synthwave and classic Berlin School, Kalson and H! round up the release with an ambient rendition of a theme from the 1994 Amiga video game Universe ...floating into deep space eternity.

2021 REPRESS! Robotic, atmosferic, dark electrotechno as we have come to expect from The Exaltics. Reminiscent of old B12, Transmat and Dopplereffekt releases.

On The Corner Records are proud to reveal the second instalment of their newly forged ‘Double Drop’ series, pairing together two EP’s from two different members of the OTC family, delivering a cosmically twinned, action packed slab of wax.

Label boss Pete OtC developed this series to introduce record players around the world to new artists coming through On The Corner’s region of the solar system. With Vinyl manufacture in pandemic pandemonium and questionable environmental impacts of the efficacy of Disco 12”s it seemed like a prime time to get laying the OTC family’s sonic landscapes onto highly collectible long playing EP pairings, with no represses and no compromise on the artwork, each side sporting a 20+ minute audio journey.

On the A-Side, and hot on the heels of the ‘Dub Protection & The Sportswear Mystics’ cassette, The Diabolical Liberties present their ‘Birds Of Paradise’ EP. This EP all but sold-out and follows the dynamite success of the Duo’s debut long player “High Protection & The Sportswear Mystics” and it’s follow-up hype cassette of dubbed out versions (as well as a series of self-released and long sold-out white
labels that included collaborations with Nyasha (a moniker of Nubya Garcia) and a super limited On The Corner 10” dubplate.)

Clear Vinyl

Superb transparent record with transparent serygraphy.
Music by praised Tzii : experimental cinematic ambient, deep distortions of oriental soundscapes.
Noises surprises !


recorded from 2010 to 2012 at Venetie studio and erasmus studio by tzii himself, this record is perfectly situated in his own discography between HUMANS (TZII 2008/ARN008) and A SHOT IN DARK (TZII 2018/TS004) passing by the first TZII on NIGHT ON EARTH in 2001 or even SAND HEART RAGE (TZII 2013/TUT031 & 2nd F52) and THE GREEDY RAVEN AND THE FOUR BRANCHES (SOLAR SKELETONS 2015/ZZR054).
the central tool of this record is an electronic tabla, an MS20, voices, a shenaï, many effects and increasing the use of various samples of voices, violon etc.
mixing in side a two hits between muslimgauze and third type tapes, buddha bar as an introduction of a piece with tendency harsh surgical ethnic-breakcore noise well severe all that in frank cuts, brutal with a good toast of noise. at the end of side a we also find an enigmatic mental ketamine hole more calm and intimist sprinkled with ultra sounds.
side b as for her, is opened by an ultra violent white noise but very quickly caught up by two long ambient tracks to intensely lose the balance, very close to the door between the conscious and the unconscious with drones of shenaï and delay.

mastering & cut by angstrom mastering in 2020 kali yuga.
visual by ssm.
published during summer 2021 kali yuga in 33rpm 12" by kali nada.
223copy.

“After many years and EP released, the idea of working on something bigger was growing in me. This project is a natural way for me to introducing myself by showing my musical signature, a generous & mesmerizing sound, taking influences into ethereal colors in order to impact the listeners with a powerful & vibing sound, also by bringing some ideas I never dare to put here. “

Nikitch is a versatile musician, making his unique signature by using classical music as much as Jazz & electronic music. He rapidly get supports by tastemakers Gilles Peterson & Laurent Garnier, playing his music all around the world, and also working with labels like Ninja Tune, Brownswood or Soulection. France based but open to the whole musical world, his projects and collaborations goes from Brussels based producer Kuna Maze to french Rapper Grems passing by UK singer Andreya Triana. After a bunch of remixes ( DJ Cam, Submotion Orchestra, Ghost Of Christmas) and some releases on prestigious labels as Chateau Bruyant, Cascade Records or Tru Thoughts, he just joined the Casamance team to release his first LP, which will be out in September 24th.

Exceptional recordings by this New age maestro. Only recently re-discovered by his friend JD emmanuel & the band Sun Araw. Originally released on cassette in 1983 and now for the first time vailable on 180g Vinyl. For fans of Joanna Brouk, JD Emmanuel and Pauline-Anna Strom.

Randall McClellan was a founding member of the electronic music studio at the Eastman School of Music in 1967 where he later received a Ph.D. in Composition, Theory and Musicology. A growing interest in North Indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind. He constructed his concerts to be spaces for harmonization of mind and body through a musical practice informed by his esoteric studies of ancient mystery schools and sacred geometry, believing these to be primarily teachings on intentional resonance.

These performances were given between 1977 and 1983 in semi-darkened spaces that allowed listeners to relax on carpeting while being enveloped by sound. Each improvisation lasts from twenty-five to forty-five minutes. An entire performance is up to three hours and is designed to provide an environment of meditative sound. They gained in popularity and were soon attended by larger audiences. His final live performance took place at New York City's Alternative Museum in October, 1983.

The “Music of Rana” Enviromental Series uses synthesizers, drone box, tamboura, voice and tape delay to create an environment of continuously evolving multi-layered melody. Described as subtle, graceful and of other worlds. The name RANA, meaning “Sunbreath”, has its origin in ancient philosophical concepts that recognized vibration as the fundamental creative force and central principle of the many esoteric mystery schools of the ancient world. It is now evident that the use of music for its ability to alter mind states and for its effectiveness as a therapeutic aid was music’s original purpose and an important concept of these mystery schools. In the broadest sense, the practice of music for its healing ability may well stand as our oldest continuous musical tradition.

This album is the first volume in the series, previously issued as a cassette in 1983, and part of the cassette box set published by Sun Ark in 2013. This music is based on principles outlined in Randall’s book, The Healing Forces of Music: History, Theory and Practice. These compositions are selected for their meditational and healing abilities. EQ settings of treble and bass levels determine the music's effect upon you. Please explore until the most comfortable settings are found.

FACT MAG: "These deeply meditative pieces are an expert take on how subtleties and concentrated listening go hand-in-hand. There is inherent beauty here, but it’s the deeper aspects that make the biggest impact."

Over the last few years, NuNorthern Soul has established a number of traditions, most notably annual releases that provide a snapshot of the label’s output while also considering their suitability for certain seasons. Perhaps the most popular is founder Phil Cooper’s Summer Selections series, which each year showcases warm and sunny gems mined from a range of forthcoming releases.

The 2021 edition of the sampler, the third in total, may well be the best yet. Six tracks deep and as subtly varied as you’d expect, the entertaining set features tracks from a mixture of exciting newcomers, experienced producers and long-time members of the NuNorthern Soul family.

To kick things off, Cooper introduces us to Marshall Watson, an American producer who later in the year will release two five-track EPs on the label. ‘A Door To The Sky’, which will feature on the Sunsets On Larkin Part 1 EP, is sumptuously sun-kissed, with delay-laden electric guitar textures and sparkling electronics reclining over a tactile electronic groove.

LOVA’s ‘Echoes of Memories’, the track that follows, recalls the atmospheric, synthesizer-sporting new age Balearica popularised by Quiet Force in the late 1980s. The Italian producer was signed after bringing a USB stick of productions to one of Phil Cooper’s gigs in Ibiza; his Gypsophilia EP will be one to check when it drops later in the year.

Gusk’s ‘Sketch #4 - Anafi Nights’ is seductive and exotic. It’s a crackling and atmospheric musical painting that daubs starry stabs and yearning melodies atop a bubbly, lo-fi drum machine beat. It provides a perfect snapshot of the Greek musician’s Mediterranean Sketches EP, which gathers together home recordings made between 1997 and 2003.

Arguably even more immersive and enveloping is ‘Aqua Blancas Sunrise’ by Tambores En Benirras, the musical project of Cumbrian selector DJ Gripper. A slow-burning delight full of intricate musical flourishes –think drifting female vocalizations, Indian-influenced percussion, twinkling pianos and haunting clarinet motifs the track is one of the many highlights on the Barrow in Furness based producer’s forthcoming debut album for NuNorthern Soul.

To round things off, Cooper has chosen to offer-up cuts from two very experienced artists. George Solar (real name Georg Boskamp) is an Ibiza-based German producer who has been collaborating and releasing music since the late 1980s. ‘Infrared’, his contribution to Summer Selections 3, is a languid and glassy-eyed slab of slow-motion Balearic dub. His Los Ra-yos Del Sol EP will be one to look out for later in the year and is his debut solo release.

The sampler’s final missive fittingly comes from long-time friend of the family B.J Smith, a regular contributor to NuNorthern Soul releases who has reunited with Huw Costin – a vocalist he previously worked with on Smith & Mudd releases for Claremont 56 for a double A side single due later in 2021. ‘Sun When You Come’ is as warming and hazy as you’d expect and features Costin’s emotive, reverb-laden vocals and mazy electric piano solos rising above a suitably horizontal groove. It provides a stunning, sunset-ready conclusion to another superb set of Summer Selections.

Mind Dance unveils ‘Mystic Minds, Volume 1’ - a five track compilation warmly welcoming label associates old and new. The first in an ongoing series of VA outputs, Mystic Minds was established to provide a new space to foster the collaborative nature of the electronic underground. Whilst only scratching the surface of the cross-continental contemporary dance landscape, the first edition of Mystic Minds effortlessly showcases the breadth and depth of talent in Australia and afar.

Storming modular techno set from MØLLER on the 5th episode of the Vinyl Only limited series of Lost Episodes

Etruria Beat founder Luca Agnelli unveils his long-awaited debut album, ‘Source Drops’ – presenting a ten-track journey through techno and beyond.
A name at the centre of Italy’s rich house and techno scene for over a decade, Etruria Beat head-honcho Luca Agnelli continues to showcase his talent as a leading DJ, producer and label boss on the international stage. With releases via a host of globally renowned labels, plus standout remixes including Moby’s iconic ‘Porcelain’, the Tuscany native’s reputation has seen him become of the genre’s leading artists when combining energetic, entrancing productions throughout his powerful DJ sets. Yet, the core of his work has always found a perfect home on his own Etruria Beat imprint, with July now welcoming the arrival of his highly-anticipated debut album ‘Source Drops’ – an in-depth musical story presenting growth, development, self-reflection and raw emotions via a collection of ten tracks ranging from powerful peak-time anthems through to EBM influenced cuts and slower, hypnotic productions.
“This is the journey that traces my musical evolution of the last 20 years, discovering more conceptual, deeper musical territories; taking inspiration from what influenced me in my career as a DJ and from my continuous research without musical barriers. A journey always in equilibrium, at times dark and sharp, solar and fluid, that develops a different creative vision in each track trying to convey my most intimate and strongest emotions". – Luca Agnelli
Opening via the slow-blooming builds and atmospheric and waves of ‘Black Mirror’, before diving into the heady and menacing tones of ‘Mutant Circle’, the ten-track project quickly showcases a wide-reaching range of influences and nuances central to Agnelli’s development as an artist over his career. Productions such as ‘Balance’ and ‘Oxigen’ contrast with one another whilst bringing space to proceedings, guided by breaks-influenced percussion, minimal arrangements and warping leads, whilst the driving ‘Resistance’ harnesses classic techno tendencies to provide an energetic and lively, snaking journey through rich soundscapes.
Title cut ‘Source Drops’ brings that trademark Luca Agnelli energy to the heart of the project, merging scintillating melodies, acid-tinged stabs and icy hats to unveil a high-octane ride into the peak-time, whilst ‘Raw Surface’ keeps the tempo high with sweeping leads, oscillating basslines and resonant lasers. Next, ‘Omega’ spirals into an off- kilter ride through glitchy echoed vocals, crunchy percussion and rumbling low-ends, with the epic ‘Losing Control’ welcoming an infectious lead melody at its core guided by punchy kicks and slick drum licks. To close, the package veers to an eerie yet ethereal close as hazy, celestial vocal chants meet panning sirens and swooping electronics – punctuating an expansive and diverse offering from the Italian favourite and shaping up an impressive debut LP in the process.

Black Truffle is pleased to announce the first-ever vinyl reissue of Remko Scha’s Guitar Mural 1 featuring The Machines, originally published as a rare cassette edition by Taal Beeld Geluid in 1982. A computational linguist by profession, Scha played an important role in the development of sound, installation, and digital art in the Netherlands from the late 1970s onward, co-founding the performance and exhibition space Het Appolohuis in Eindhoven in 1980. Alongside Paul Panhuysen and Jan Van Riet, Scha was a founding member of the radical improvisation group The Maciunas Ensemble, though he is best known for his work with mechanised electric guitars, documented on the legendary 1982 LP Machine Guitars.

Guitar Mural 1 documents an installation of Scha’s mechanical guitar ensemble The Machines held at a Groningen gallery space in 1982. Five electric guitars hang from the wall, their strings sounded by rotating rubber strings and a sabre saw controlled by a mechanical apparatus, as well as four ropes criss-crossing the five instruments on the wall. Once the mechanism was set up, Scha’s only intervention was to vary the speed at which it operated. Where Machine Guitars presents short excerpts clearly distinguished by rhythmic and timbral variation, here we are confronted with four enormous side-long slabs of percussive string attack and the resulting clouds of harmonics. Variation is minimal across the duration of each side, making for a sculptural listening experience, as if we are patiently examining each facet of a static object. But significant variety exists between the four sides, each of which shows off a different facet of what The Machines were capable of. The first two excerpts feature open strings sounded at rapid tempos, dissolving the percussive attack into a continuous stream of sound reminiscent of Charlemagne Palestine’s ‘strumming’ technique. On the third side, the strings are partly muted and the tempo slightly lowered, resulting in layers of relentlessly chugging rhythm somewhere between an ensemble of hand drums and an early Velvet Underground bootleg. On the fourth side, havoc breaks loose in percussive waves of asynchronous repetition that bring Scha’s sound world close to that of another pioneer experiment in musical mechanisation, the Solar Music of Joe Jones.

Presented as a limited edition 2LP set in a deluxe gatefold sleeve accompanied by stunning visual documentation of the original installation, remastered audio and new liner notes from Alan Licht and Van Lagestein, Guitar Mural 1 is an exhilarating document occupying a unique space between kinetic sculpture, hardcore minimalism and rock & roll.

After the moderate success of the debut album "Live in Montreux", Agorà published their first and only studio work in 1976. The possibilities offered by the recording studio seemed more congenial to their proposal, which turns out to be a deeply matured LP, technically flawless and with songs that still belong to the best Italian jazz-rock, with a more intense jazz component at the expense of the progressive one.
Unfortunately, both “Agora 2” and the single “Cavalcata Solare” taken from this work were almost completely ignored, in a period in which the vast universe that revolves around the Italian progressive was slowly decaying.
The Atlantic label, also due to a very poor familiarity with the Italian bands and scene, didn’t renew Agorà’s contract and the group disbanded after a final appearance at the Parco Lambro Festival in 1976, with their various members that dispersing in many other jazz bands, in some cases up to the present day.
“Agorà 2” still sounds wonderfully today, and deserves a respectable place within a serious Italian progressive rock discography. The album is here reissued on LP for the first time ever, in a faithful reproduction of the original edition of ‘76.

Olafur Arnalds' highly anticipated second full-length album '...and they have escaped the weight of darkness', continues his mission to lure an indie-generation of pop and rock fans into an emotive world of beguiling electronic chamber music and delicate classical arrangements. The sense of an organic crossover recording is reinforced by the involvement of co-producer Bar?i J?hannsson of eccentric pop/rock/electronica-formation Bang Gang. Bar?i has successfully coloured the brittle minimalism of previous releases through the addition of an array of new instruments.

Those expecting a mere continuation of the minimal melancholia of his previous albums are therefore in for a surprise, as the record may be the most uplifting and richly orchestrated work of his career: "The album has a very clear theme", Arnalds relates, "which is that there is always light after darkness. To me, it has a more positive note than my previous works." When ?lafur saw how the opening scene of a Hungarian indie film metaphorically described a solar eclipse, he instantly connected it to the concept, naming the album after a key line of the film's introductory monologue. Staying true to this positive note, '...and they have escaped the weight of darkness' will herald another intense year for ?lafur Arnalds, with the album being accompanied by a world tour, starting in China in March 2010.

Born in the suburban Icelandic town of Mosfellsb?r, a few kilometres outside of Reykjav?k, the 23-year old composer has always enjoyed pushing boundaries with both his studio work and his live-shows. His new opus is set to again challenge his fan base, which is still growing rapidly. Over the past eighteen months Arnalds has advanced from a former support-act for Sigur R?s to an internationally respected artists in his own right. He was privileged to be invited to write the 'Dyad 1909' score for award-winning choreographer Wayne McGregor, aired on BBC Four and on ITV1's South Bank Show. 'Found Songs', a collection of pieces each written, recorded and released in a single day via the Erased Tapes label website, as well as the video for 'Lj?si?' have since managed to generate half a million downloads and video views.

In many ways, the new record is clearly inspired and informed by these events. Several of the pieces were, in fact, written on and off throughout his tour and benefit directly from the intensity of the live situation and the emotional roller-coaster-ride of life on the road: "The first half of 'Gleypa okkur' was written in a sound check in Munich, for example", Arnalds relates, "while the second part was scored in Braunschweig, Germany." On the other hand it is the result of meticulous studio work, of refining compositions in close co operation with compatriot Bar?i Johannsson, known for his eccentric personality and unique electro-acoustic sound: "I definitely wanted to do something a bit different this time, something more. Working with a producer was a part of that." The enthusiasm translates to arrangements displaying a new sense of sonic diversity.

?lafur Arnalds has created an even more open and spacious sound and taken his distinct style to a new level. Compared to his previous works, '...and they have escaped the weight of darkness' makes use of diverse instrumentation ? drums, guitars, voice, Rhodes, a selection of subtle synthesisers, alongside Arnalds' trademark piano as well as Tony Levin on bass. Traditional terminologies become void on his latest offering, which blends contrasting elements into an original, entirely organic new language and a sensitive ballet of the mind.

Arnalds fusion of 21st century electronics and classical vocabulary thereby continues to decisively unwrap the sealed-off world of classical music.

"For their fourth release, East London based label want? welcome seminal Frankfurt artist Frost to the fold. It’s a special happening and the first time that label owner Matteo Manzini has invited a guest artist other than his studio partner Fabrizio Maurizi to contribute to the label. The collaboration comes from a place of both personal and professional respect for the Pressure Traxx founder following many meetings in the sacred halls of Robert Johnson. Frost has been an influence on many levels to want? and his spirit of education and music sharing is the backbone of this EP.".

11001 Records is a Berlin-based record label focused on techno, ambient, experimental and other forms of abstract visions. Co-founder of Teufelsberg Domecast, a sound installation podcast series with ambient experimental live performances using the dome at the top of Teufelsberg as a natural parabolic reverb. In ‘Dimensional Perception’, each song revolves around an object in outer space: A1 RYUGU Ryugu is the name of an asteroid. In June 2018, a Japanese spacecraft called ‘Hayabusa2’ landed on it, took some measurements and samples. After a long journey it landed successfully in the desert of Australia early December 2020. The goal is to discover what asteroids carry with them across the universe. If they carry water this could explain how life is spreading in the cosmos. A2 QUASAR A Quasar also known as a quasi-stellar object, is an extremely luminous active galactic nucleus, in which a supermassive black hole with mass ranging from millions to billions of times the mass of the Sun is surrounded by a gaseous accretion disk. They are capable of emitting hundreds or even thousands of times the entire energy output of our galaxy, making them some of the most luminous and energetic objects in the entire universe. B1 SEDNA Sedna is a large planetoid and possible dwarf planet in the outer reaches of our solar system. Its surface is one of the reddest among Solar System objects. It is a possible dwarf planet. It has an exceptionally long and elongated orbit, taking approximately 11,400 years to complete and a distant point of closest approach to the Sun at 76 AU. Understanding its unusual orbit is likely to yield valuable information regarding the origin and early evolution of the Solar System. Scientists continue speculations on its origins of this trans-Neptunian object. B2 NAMAKA Namaka is the smaller, inner moon of the dwarf planet Haumea at a distance of 25,600 kilometres. It takes 18 Earth-days for the moon to complete one orbit around the dwarf planet. Discovered on 30 June 2005 it was named after Nāmaka, the goddess of the sea in Hawaiian mythology and one of the daughters of Haumea. Photometric observations indicate that its surface is made of water ice.

From St Lucia to Jamaica to Ghana to Colombia, London born duo The Busy Twist have travelled the globe to create their dance floor killing productions.

Their debut EP 'Friday Night' combines these cultures, respectfully crossing sound boundaries and joining the dots between Afro House, Kuduro, Latin and Uk Bass.

The London Luanda Remix Series is the result of digging into 1970's popular music in Angola. Acclaimed by BBC radio host Annie Mac, and supported by the likes of Jillionaire, Buraka Som Sistema or Toddla T, some of these remixes are already being played throughout clubs and parties all over the world, but were never officially released.

Courtesy of Analog Africa, all original tracks were taken from the “Angola Soundtrack” compilation series. Includes 2 that have never been aired and one is a vinyl exclusive.

The release of these classic tribal reworks was eventually made possible thanks to the group’s recent trips to Colombia, where they worked alongside Systema Solar, Ghetto Kumbé, Nidia Gongora and Palenque Records, for an impressive variety of original productions, collaborations and remixes.

In alliance with Colombia-based label Galletas Calientes Records, one of these fruitful encounters, the London Luanda Remix Series was finally materialised.

Smith/Kotzen is the exciting partnership between guitarists & vocalists Adrian Smith (Iron Maiden) & Richie Kotzen (Solo artist, Winery Dogs, Mr Big, Poison). Part-time LA neighbours, full time friends with a healthy mutual respect - their music is evocative of the classic rock bands of the 70s brought bang up to date with punchy hooks, harmonies and sheer guitar virtuosity. Debut track ‘Taking My Chances’ sets the tone for this electrifying collaboration between two hugely admired rock music trail-blazers.

Smith/Kotzen is the exciting partnership between guitarists & vocalists Adrian Smith (Iron Maiden) & Richie Kotzen (Solo artist, Winery Dogs, Mr Big, Poison). Part-time LA neighbours, full time friends with a healthy mutual respect - their music is evocative of the classic rock bands of the 70s brought bang up to date with punchy hooks, harmonies and sheer guitar virtuosity. Debut track ‘Taking My Chances’ sets the tone for this electrifying collaboration between two hugely admired rock music trail-blazers.

The first two EPs of rising French-Algerian singer-producer-songwriter Sabrina Bellaouel on InFiné are now available on a single 12" vinyl edition for the first time. At the crossroads of modern electronic production, alternative RnB & North African beats, Sabrina Bellaouel offers her listeners an unprecedented mix of grand emotion of the Pop stage and the cutting-edge underground flair of buzzing nightclubs

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2020 saw Sabrina Bellaouel step out of her cocoon a fully formed artist. First, there was "We Don't Need To Be Enemies", a powerful and brave record - directing the limelight away from her talent as a singer and focusing on her honed, meticulous production skill and ingenuity in making demanding, forward thinking music. Bellaouel managed to tell stories of her identity and place in the world almost without a single vocal.

Then, there was "Libra" - fusing her own production with that gorgeous voice - showcasing a fully formed, trailblazing, independent artist. Sabrina jumps effortlessly between empowering trap on "Arab Liquor" to luscious RnB on "Float" and ends the record with "She Don't Care", a peak time house curveball that you can picture heating up the festival dance floors around Europe. The diverse and powerful EP united different sides of the press in its critical acclaim, receiving accolades from Resident Advisor, Mixmag, The Quietus, Metal Magazine and Pan African Music - just to name a few.

Both of these records then, represent a side of the coin - and are now available as a 12" Vinyl combining them to a singular listening experience. And when the clubs slowly open up again, you will surely see this secret weapon make it's way some well assorted DJ bags.

Devin Townsend brings to you the Devolution Series: a grouping of oddities and interesting material that he would like people to hear, but that aren’t necessarily a ‘major release’. The series will include all the quarantine songs and concerts, as well as various live shows from the past few years. The first release, “Devolution Series #1 - Acoustically Inclined, Live in Leeds”, is a remixed and remastered version of the ‘Live in Leeds’ show that was originally included on the Empath Ultimate Edition as video asset. A cool acoustic show that deserves to be heard, now availble as audio version.

The return of the Memphis soul/funk/jazz trio The City Champs. Members, Al Gamble (St. Paul & The Broken Bones), George Sluppick (Chris Robinson Brotherhood) and Joe Restivo (Don Bryant) have been secretly concocting these tasty, solar expansing nuggets since their last output in 2010.

Standard Light Rose LP! 'Flock' is the record that Jane Weaver always wanted to make, the most genuine version of herself, complete with unpretentious Day-Glo pop sensibilities, wit, kindness, humour and glamour. A consciously positive vision for negative times, a brooding and ethereal creation. The album features an untested new fusion of seemingly unrelated compounds fused into an eco-friendly hum; pop music for post-new-normal times. Created from elements that should never date, its pop music reinvented. Still prevalent are the cosmic sounds, but 'Flock' is a natural rebellion to the recent releases which sees her decidedly move away from conceptual roots in favour of writing pop music. Produced on a complicated diet of bygone Lebanese torch songs, 1980's Russian Aerobics records and Australian Punk. Amongst this broadcast of glistening sounds is 'The Revolution Of Super Visions', an untelevised Mothership connection, with Prince floating by as he plays scratchy guitar; it also features a funky whack-a-mole bass line and synth worms. It underlines the discordant pop vibe that permeates 'Flock' and concludes on 'Solarised', a super-catchy, totally infectious apocalypse, a radio-friendly groove for last dance lovers clinging together in an effort to save themselves before the end of the night. The musician's exposure to an abundance of lost records served as a reminder that you still feel like an outsider in this world and that by overcoming fears you can achieve artistic freedom. Jane Weaver continues to metamorphise_ "A mind-expanding delight, devoid of retro posturing." The Guardian "Ominous and luminous, expansively spacious and sonically imploding, scientific, ephemeral and eternal" The Quietus

Ståle Storlokken - Rhodes piano, Hammond organ, grand piano, Eminent 310, Mellotron, Continuum Nikolai Hængsle - Electric bass, electric and acoustic guitars Torstein Lofthus - Drums, percussion. After a solid run of five studio albums and 2019's two double live albums, Psychedelic Backfire I and II, Elephant9 had taken their groovy mix of high energy rock and power jazz as far as they could. In this respect Arrival Of The New Elders comes as a welcome and most timely addition to their recorded output. More varied, mature and reflective, don't let the self-ironic (?) title mislead you, they are as groovy as ever, but more structured and less jam oriented, with the longest track clocking in around the seven minute mark. Rather short, by their standards.Having built a solid live reputation even before their brilliant 2008 debut Dodovoodoo, the trio boasts what is probably the strongest rhythm section in Norway, complemented with keyboard magician extraordinaire, the one and only Ståle Storlokken. And boy, does he excel himself on this album, notably with more focus on the Rhodes than before. That said, this is nothing if not another strong group effort from what has been a very tight unit straight from the outset. Seven brand new compositions from Storlokken and one from Hængsle make way for what we consider to be their finest and most cohesive album to date. Arrival Of The New Elders was recorded by trusted stalwart Christian Engfelt, with early Dungen producer Mattias Glavå handling the mixing duties.Ståle started his musical journey in Veslefrekk with Jarle Vespestad and Arve Henriksen in the 90s, soon morphing into Supersilent with Helge Sten on board. He's also a member of Moster! and Humcrush, and have collaborated with a number of artists, most notably Motorpsycho. Nikolai is also a member of Bigbang, Needlepoint and Band Of Gold and have appeared on a couple of hundred records. The same goes for Torstein, an associate member of numerous bands ranging from pop and soul to free jazz. But Elephant9 has always been their special baby.

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

Jupiter, the gas giant in our Solar System, with thunderstorms a thousand times more powerful than on Earth, rainfalls of diamonds in the atmosphere, temperatures below -100°C, plenty of hydrogen, 79 moons and a South pole that looks like an abstract painting, has just the kind of environment this music seems to emanate from.

Jupiter and Beyond, the second collaborative effort of composer/performer Rafael Toral and percussionist João Pais Filipe as a duo (after Saturn in 2016), is definitely not quite a record of Earth music. On the contrary, Jupiter and Beyond, is indeed gas music, unfolding over two long movements without solid body or any tangible outline, between ambient and noise. A music of sheer volume and beauty, icy, massive, in which the elements of Toral's signature, in particular his use of jazz-inspired electronics and feedback, dissolve to become a labile, nebulous, expansive material, occasionally struck by abyssal depressions and masterful densities, magnified by the return, after 17 years of silence, of the electric guitar in Rafael Toral's instrumentarium.

Towards the end of Beyond, the second piece on the record, lurking behind the volutes of feedback, a bell and a bass drum, one can detect from the distance... a barking dog, as a surreptitious and prosaic reminder of where we are here and now, a calling back to Earth. Between sadness and joy, anger and peace, movement and stillness, Jupiter and Beyond is indeed a mirror held out to us, music reflecting our times and that emotionally speaks first of all about us.

"While João Pais Filipe was drummer in the Space Quartet, we played a live duo set. During soundcheck we were jamming for a while on bowed gongs and feedback and lost track of time, it just flowed so well. I joked "we could make a whole record with this!". But later we took the idea seriously and set to record an improvised session at his cymbalsmith workshop (he made the gong on the cover and it was used in the recording). When we listened to the first take the mass of sound was amazing. At some point it reminded me of the complex clusters of sound in Ligeti's music as it appears on Kubrick's 2001 scene "Jupiter and Beyond the Infinite". In the end the title felt like an apt choice for Saturn's successor. Back at my studio I felt the need for some more layers of density in some sections. I thought of using trombones, but ended up picking up the electric guitar, which I hadn't used since 2003.” Rafael Toral