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WRWTFWW Records presents the first ever vinyl release for the Startled Insects’ 1984-1985 abstract/synth-pop/post-punk/electronic run compiled into one album : The Antenna Years. The Bristol music must-have comes as a limited edition LP with astonishing artwork, liner notes and a heavyweight sleeve.
The Antenna Years compiles the independent EPs/mini-LPs the Startled Insects released in 1984 (self-titled) and 1985 (Underworld/Black Spring), with two bonus unreleased tracks that were only ever played in their live shows (W.W.W and What A Waste, both amazing).
Astonishingly futuristic when they landed in 1984, the Startled Insects sounded like they came from another planet while staying rooted in Bristol’s underground. Abstract electronic, leftfield synth-pop, dub science, gamelan heat, post-punk edge, cinematic atmosphere : The Antenna Years delivers one beautifully odd voyage into the sonic unknown.

In the 90s, the band released two albums, including the classic Curse Of The Pheromones via Antilles New Directions (Island Records), then evolved into The Insects: film composers for BBC/National Geographic, Emmy winners, and key architects of the 90s Bristol orbit, working with Massive Attack, Goldfrapp, Tricky, and members of Portishead.

Four decades on, The Antenna Years still hits like a transmission from the future. Dive in with no fear.

Our journeys into uncharted lands of the Reducerverse continue.

Essential must-buy shit for all disciples of: The Rootsman x Muslimgauze, Love's Secret Domain era Coil, Chris & Cosey, Meat Beat Manifesto, early Reinforced Recs, Shut Up & Dance, He Dark Age, Zombies Under Stress, SPK.

If you've just joined us: Reducer ARE the greatest lost dub punks. Rumoured to have almost signed to On-U Sound but told Sherwood to stuff it when he wanted his hands on the desk. Fame never found them, cos they didn't want it anyway. Living in the obscure memories of the select squatters and weirdos lucky enough to have had their minds blown, their first recordings were scraped off the linings of the cosmic dustbin recently through a series of self-released 12"s, cassettes, USBs and strangest of all a 3D performance screened at the Cube (in association with pals Bokeh Versions).

In short: Reducer's the most thrilling fairytale resurrection these pages have been privy to, joining 23 Skidoo, Killing Joke, PiL, Slits, Terminal Cheescake etc on the Mount Olympus of the Punky Reggae Party.

This latest slice of karmic justice comes from The Human Aerial aka Reducer's guitarist and prime mover Hooly. And ohhhh what a justice it is. Drawing on 40 years of private solo recordings across 7 tracks from Abu Ama style dabke jaguar steppas punishment to thumping bass-led electro, peak Depth Charge dubby big beat to careening breakbeat hardcore, trashcan gamelan spirituals and Jamie Vex'd style maximalist beats blissouts,

Tying together this jaw-dropping range of styles and fashions is a relentless sampladelic bombardment. The Human Aerial's habitual pilfering of TV and radio for into lovingly spliced tape loops and samples showcases humanity at its best and absolute worst. Tele-evangelists rub shoulders with long dead chieftans: "there is no death, only change of worlds" "We're MAD AS HELL AND WERE NOT GONNA TAKE IT ANYMORE" "THe land is sacred, a cathedral of the spirit". These wisdoms and grave sins slip into us subliminal through the dance, the needle drops like a waking dream.

While the Reducer archives may be running low, we assure you the Human Aerial coffers are full. And long may our minds be blown by this ongoing renaissance.

Different strokes for different folks. The celebrative 11-track 'xoxo' compilation, originally pressed as a 3xLP, is now also available as three separate EPs. On EP 1, Legowelt lures you in with Bos Ochtend Mist, before Aurora Halal's deep chords on Spiral send you ascending. Antenna's Break Flute shifts the pace and prints a ghostly image on your retina, and SFV Acid rolls the credits with UrbanFury128, a groover that goes down smooth.

Mrs. GREEN APPLE's fifth original album, "ANTENNA," will be released on vinyl on July 5, 2023! The band is celebrating its 10th anniversary.
This fifth original full-length album includes the theme songs "Soranji" for the film "From the Gulf with Love," "Que Sera Sera" for the drama "Sunday Nights...,"
and a self-cover of "I Am the Strongest," a song written for the film "ONE PIECE FILM RED."

Jay-Jay Johanson is one of the big names from the thriving Swedish electronic pop scene of the early 2000s. Jay-Jay's interesting
and four decade long career has resulted in a real cult following and interesting collaborations with Robin Guthrie (Cocteau Twins) and The Knife.

In 2002 he had his first real hit single in Sweden with "On the Radio".
Antenna is available as a limited edition of 500 numbered copies on white coloured vinyl.

Limited Edition to 200 copies incl. Remixes by DALO, Benedikt Frey and Nathan Dawidowicz

R.i.O. welcomes Brainwave Research Center, a NYC-based duo consisting of house/techno producer Chase Smith and documentary filmmaker Christa Majoras. In early 2023 they freed their debut album "figure 1" via their own label BRC. Two more albums followed. All documenting their love for experimental yet charming music of all kinds.

Their influences span a vast spectrum, from Steve Reich, Laurie Spiegel, and Edgar Froese to Martin Rev, John Carpenter, early Kraftwerk, or the ambient techno of Pete Namlook's Fax +49-69/45046 label. Yet, Brainwave Research Center forges a sound distinctly their own, seamlessly blending analog synthesis with electro-acoustic experimentation.

On "Psychic Antenna", the duo takes a gentle rawer approach. The tracks range from the manic verbal Die-Tödliche-Doris-like loops of "I Find Myself" to the meditative cosmic trance of "Open Your Mouth." "Orange Drop" and "Transmitter Park" toy with the dancefloor, channeling slow-motion acid trance and krautrock echoes.
The release is rounded out by three remixes: R.i.O.'s own Benedikt Frey delivers a deep, trippy groover full of inner musicality, while close companion DALO crafts a dark, echo-drenched pop rework, and Berlin's Nathan Dawidowicz injects psyched nu-disco rhythms, expanding "Psychic Antenna" into seven notions of intense neural oscillations.

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After recent explorations into ambient and pop under his full name, Sacha Renkas switches back to his Antenna moniker for ALT013. The Kiev-born, longtime Rotterdam-based artist uses a rough-around-the-edges, hiss-laden palette to construct his intricate, pensive club tracks. Often recording on the fly, he embraces the limitations and quirks of the hardware he works with, curating the happy accidents that come with them and that help make his music feel as alive as it does. It is emotional and imaginative in spirit, yet raw, almost instinctive in its rendering. Renkas cites the new wave and synth-pop from his youth and the sounds coming from Chicago and Detroit, as well as the Dutch West Coast he encountered later on, as inspirations. The sensitivity and hands-on approach associated with these are also tenets throughout his work. The ''Another Wave EP,'' a selection of tracks created over nearly a decade, further substantiates this approach. Made on multiple MPCs, Juno synthesizers, and an Akai S900, and mixed on a Mackie 16-channel mixer, it blends, among others, elements of first-wave techno and European proto-trance. Opener ''Alisa'' stacks angular sine melodies and formant basslines one upon another yet flows like silk, its balance immaculately kept in check. On ''Everyone M1,'' the bass organ patch from which the track derives its title finds itself amidst a lo-fi flux of capricious arpeggiators, ethereal pads, and decocted drums. ''Another Wave'' is a carefully sculpted slow burner, collected in its unfolding. Wisps of melody, gated pads, and whisper seem to wind between its drum patterns; the tension looming beneath this patchwork never entirely reveals itself. ''Quasar'' blends signature dramatic chords and off-rhythm bells with a creeping acid bassline and more kaleidoscopic drum patterns. It closes an EP distilled in its form, confident in its intent, and nowhere too bothered by genre boundaries or other formal constraints.

Thomas Haines (TH) is a composer and sound editor who primarily works in film, TV and animation. TH has recently completed score and sound on cinema projects with artist film makers including Shezad Dawood, Georgina Starr, Noor Afshan Mirza, Brad Butler and Patrick Goddard. As well as writing music for picture, TH is a core member of the London Snorkelling Team, who recently performed the world Premier of Gavin Bryars' On Lassus for the Collège de Pataphysique in Paris. In 2022, TH wrote a large scale live percussion ensemble score for artist Georgina Starr's Gelato Balleto.

The two pieces on this LP were generated from musical material found within a 14-minute recording of Sainsbury's supermarket, Chingford, UK. The source recording contains music-like material, scanner bleeps and conveyor belt drones. This material, once isolated, cross-processed and re-recorded, reveals vivid extended electroacoustic versions of itself. The compositions use film sound restoration processing, mixed with compositional techniques popular in classic early electronic music and musique concrète including pointalist collage, and ring modulation.

It’s been a great year for Andy Blade & Eater. Ant was released worldwide through Cleopatra, some high-profile gigs with Dinosaur Jr, Jah Wobble and U.S up and comers The Darts and more to come now big boys AEG have taken the band onboard to secure gigs. As usual singer Andy Blade is doing it in his own inimitable way; not for him a backing band of septuagenarians. Instead, he’s got in some young pistols called Jo Jo & The Teeth (a band in their own right) which give the songs an intensity and relevancy beyond your traditional punk audiences meaning the sky’s the limit for the band. The new Eater single on Antenna is original Eater’s version of Alice Cooper’s classic ‘Eighteen’ but renamed after their average ages at the time 'Fifteen'. It’s backed by the controversial 'Why Don’t You…?' (censored version). Both tracks are not on 'Ant' and like 'Ant' features the found Dave Goodman remixes/missing guitar parts. The single is in translucent clear vinyl and colour picture bag with 2 sided lyric insert. The Deluxe version includes a signed A3 folded poster & CDR with rare live Eater Tracks, Andy Blade solo stuff and hilarious audio book excerpts from his acclaimed 'Secret Life Of A Teenage Punk Rocker'. Again done in his own way! Andy Blade "Fifteen is an outtake from the Ant sessions (too many covers). We made Alice’s song our own. The guitars lift it from crucification to glorification. Punchy as fuck. The flip side, Why Don't You? Is a song people will know with a word we can't say anymore."

It’s been a great year for Andy Blade & Eater. Ant was released worldwide through Cleopatra, some high-profile gigs with Dinosaur Jr, Jah Wobble and U.S up and comers The Darts and more to come now big boys AEG have taken the band onboard to secure gigs. As usual singer Andy Blade is doing it in his own inimitable way; not for him a backing band of septuagenarians. Instead, he’s got in some young pistols called Jo Jo & The Teeth (a band in their own right) which give the songs an intensity and relevancy beyond your traditional punk audiences meaning the sky’s the limit for the band. The new Eater single on Antenna is original Eater’s version of Alice Cooper’s classic ‘Eighteen’ but renamed after their average ages at the time 'Fifteen'. It’s backed by the controversial 'Why Don’t You…?' (censored version). Both tracks are not on 'Ant' and like 'Ant' features the found Dave Goodman remixes/missing guitar parts. The single is in translucent clear vinyl and colour picture bag with 2 sided lyric insert. The Deluxe version includes a signed A3 folded poster & CDR with rare live Eater Tracks, Andy Blade solo stuff and hilarious audio book excerpts from his acclaimed 'Secret Life Of A Teenage Punk Rocker'. Again done in his own way! Andy Blade "Fifteen is an outtake from the Ant sessions (too many covers). We made Alice’s song our own. The guitars lift it from crucification to glorification. Punchy as fuck. The flip side, Why Don't You? Is a song people will know with a word we can't say anymore."

The 50th release on the Clone Royal Oak Series. A small milestone, and its longtime label friend and collaborator Antenna who has the right tunes for this release! He delivers a unique blend of house cuts EP that conjures up a very blissed out and heady feel. Digging deep in the roots of electronic dance music the tracks have a classic and familiar feel, reminiscent of the heydays of early 90's raves and chill outs where the darker and deeper sounds reigned. Antenna puts a fresh spin on those classic themes and firmly sets it in a 21st century place. Another beautiful release on the Clone sub label celebrating the musical diversity of all offsprings of the Royal Oak of house music.

After writing pop-based music under the name Renkas, Sasha Renkas searched for a more carefree and direct approach to making and recording music. His project Antenna is the result of that. He gets his sounds from the unexpected errors and limitations of hardware equipment from the '80s and '90s. Under the Antenna moniker, Sasha has released EPs and singles on labels like Clone, Pinkman, and Beats in Space. This time, Antenna is back with a full-length album. He recorded hours of jams in his studio in Rotterdam and then took a small set-up to Kiev to edit and finish the tracks there. The result is 'Quiet fx', the first release on new label World Of Paint. On 'Quiet fx', Antenna offers melodic soft house tracks with touches of electro and uk breaks.

The return of Timothy J Fairplay sees tracks from his 2 EPs on Emotional Response remixed on one special release. Four favourite producers chosen to bring new dimensions to his brooding, shuffling electronics, featuring Scientific Dreamz Of U, Alessandro Parisi, Perseus Trax and Antenna.Part of the label since inception, the last five years have seen TJF's career explode with releases on Bird Scarer, Charlois and Hoga Nord, setting up the Crimes Of The Future label with Scott Fraser and releasing an album alongside Andrew Weatherall as The Asphodells. His EPs for Emotional Response saw some of his strongest, deep and dubbed out productions that marked their own terrain and these reworks have been a long term project. Starting with a trance inducing breaks-dub of Stories of Prison from Scientic Dreamz Of U and you understand why this mysterious producer has become a cult in his own dreamtime, as subs bump this vortexed revision to its own portal.
Next Alessandro Parisi implants his cyber-electro-harmonies to Aim For The Yellow Sector. Fairplay's late night drive-by is respectfully given a future-retro mix, gliding away from East London's dank streets to mysterious plains and beyond. Things take an analogue twist for the flip with Perseus Traxx showing his love for Chi town on his remix of Saco Bay. A bumpin' bass sets the motion, mixing the swirling original to basement vibes x 10. Win win win.
Kindred spirit and fellow Pinkman/Charlois member Antenna closes the EP with a deep retake of Night Ferry. After causing a stir with the killer Odessa EP and subsequent releases on Royal Oak and Beats In Space, a remix was a given. A mellow groove and optimistic keys is the perfect way to end this chapter of Timothy's music and await for new adventures.

Antenna broadcasts new exciting sounds to the ether, channelling a banging A side and two deep cuts on the flip. The message is clear; a beautiful 90's inspired release with artwork to prove it. Ready to dismantle the floor and sooth you into the abyss. Brought to you by the BAKK Satellite Service.

Arising from the outskirts of Brussel is Noord Halle, a young and promising source of hard to beat fast paced electro tracks. Jefre EP might be his debut, but the support is steady already with the B side delivering two truly unique remixes by BAKK regulars Antenna and Haron. All in all this record proves to be a strong hand in any game.

Mesh-Key is thrilled to present this mind-bending solo album of electronics and vocals from legendary Japanese musician Phew. Phew's career began in the late 1970s as lead singer of Osaka punk group Aunt Sally (whose only full-length was released by Vanity Records in 1979). Ryuichi Sakamoto produced her debut solo release in 1980, a two-song single, and in 1981 Pass Records released her debut album, a bonafide masterpiece recorded with original Can members Holger Czukay and Jaki Liebezeit at Conny Plank's studio in Germany. She has forged a singular path over the past thirty-plus years, collaborating with folks like Anton Fier, Bill Laswell, and Seichi Yamamoto (Boredoms). It's borderline sacrilegious to compare an artist as unique as Phew with anyone else, but for those unfamiliar with her work, 'Light Sleep' might be described as a more animated Nico singing (in Japanese) for early Suicide. Prepare to be floored.

The perfect Christmas gift for discerning fans of cutting edge analogue electronica. And Kraftwerk!

Radioland was initially devised as a breathtaking audio-visual live experience by the Anglo-French trio of Matthew Bourne (synthesisers, voice), Franck Vigroux (electronics) and visual artist Antoine Schmitt.

The original music has been transformed with hurricanes of modulated electronics, earth-shattering bass frequencies, vocoders ebbing and throbbing and the occasional drop into periods of eerie near-silence.

Using a variety of vintage analogue synthesisers and electronics, they have recreated the futuristic, industrial world of ominous darkness and dazzling light imagined by Kraftwerk in 1975 and reconstructed in this bold new manifestation for 2015.

The album is mastered by Denis Blackham, who mastered Kraftwerk's classic 1974 album Autobahn

The LP edition is limited to just 1,000 copies for the world in a deluxe gatefold sleeve with a CD included

Both versions include liner notes by David Stubbs, author of Future Days: Krautrock and the Building of Modern Germany, and photographs and images from the project

The album cover artwork is taken from the video work of Antoine Schmitt, creator of the captivating visuals that are a vital component of the Radioland performance

Matthew Bourne and Franck Vigroux's impressive collective CV boasts collaborations with artists such as John Zorn, Nostalgia 77, Marc Ribot, Annette Peacock, Elliot Sharp, Mika Vainio, Ben Miller and Zeena Parkins

More Radioland shows are expected to follow the release in 2016

The story of Bonobo is one that's become uncommon in contemporary music. There was no sudden, viral internet sensation, no one-off big hit, no abrupt, accidental alignment with the zeitgeist. Instead, over the course of four albums, myriad tours, singles, remixes and production work for other artists, he quietly but very definitely became one of the most important artists in electronic music. The hard work paid off, and culminated in 2010's 'Black Sands,' a masterful album that married Green's inimitable melodic genius and musicianship to bleeding edge electronics, bass and infectious drums.

After a year plus of touring the hypnotic, extended live versions of Black Sands, he finally found time last year to embed himself in his New York studio and write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. 'The North Borders' is a long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece.

It's also an album that shows just how far electronic music has come. Its richness of texture, emotive force and all round depth are facets found more often within, dare we say it, classical music. If there's a renaissance taking place within this scene, Simon Green could make a strong claim to being one of its key driving forces.

As with previous albums, The North Borders features a careful balance between vocal tracks and instrumentals, ensuring that the productions themselves get room to breathe and shine. When Green discovered that he and Erykah Badu shared a mutual appreciation for each other's work, he leapt at the chance to collaborate. The resultant 'Heaven for the Sinner' is one of the album's triumphs, a transcendental, incanted vocal masterclass married to a brilliant two-step glitch and a yearning melody.

NYC folk underdog Grey Reverend appears on album opener 'First Fires,' providing a raw, emotion-laid-bare growl that sets the tone for an album that's joyously unselfconscious. Bonobo has a long history of unearthing new talent, Black Sands having launched the solo career of guest vocalist Andreya Triana. The North Borders sees him do so once again. The startling, ethereal vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at. 'Transits' sees her vocal weave around a garage beat that's somehow fragile and purposeful all at once, a gradually emerging hook rising from the depths of the song.

'Emkay' is a stunning example of the album's marriage of addictive, urban-inflected drums to rise-and-swell melody that never fails to move the listener. Opening single 'Cirrus' sees a clockwork-precise rhythm drive a chiming, insistent melody that builds to one of the record's great emotional climaxes. This is where Green excels, he knows how to invest electronic music with immense feeling.

The North Borders - like all great records - is an album that demands to be listened to as such, a body of work with its own internal logic, themes and narrative arc. Bonobo's abilities are at an all time high, and The North Borders everything his growing army of fans will have hoped for - a sheer delight.

The multi-media project Kraftwerk was started in Düsseldorf, Germany 1970 by Ralf Hütter and Florian Schneider. They set up their electronic Kling Klang Studio where they conceived and produced all Kraftwerk albums.

Kraftwerk created the soundtrack for the digital age of the 21st century. AUTOBAHN 1974, RADIO-ACTIVITY 1975, TRANS EUROPE EXPRESS 1977, THE MAN-MACHINE 1978, COMPUTER WORLD 1981, TECHNO POP 1986, THE MIX 1991, TOUR DE FRANCE 2003. Their compositions, using innovative techniques, electronic sounds and synthetic voices combined with computerised rhythms, had a major musical influence on Electro, Hip Hop, Techno and Synth-Pop. 

Nous'klaer Audio proudly presents Nicola Cruz's latest full-length album, Kinesia. On his third studio album, the Ecuadorian producer masterfully blends rich studio sessions with deep analog synthesis. Kinesia invites the listener to channel an inner voice - to pick up thoughts, words, and messages as if ancient information traveling through time has been received. This album functions as a form of 'antenna,' translating these ideas into compositions and movement. The album begins with a 5/4 rhythm structure, summoning the voice of machina into a textural atmosphere, led by Perma, Nicola's vision of an infinite breaks vortex, and sustains the tension with the meditative Telepathine, a substance fictionally associated with telepathy. Regardless of the tempo, each track is intricately laced with chants, subtle percussion, textures, and spacious details that draw you back for more. With Kinesia, Nicola Cruz continues to evolve his signature sound and takes you along for the ride. While the album is crafted for a deep, introspective journey, the kinetic influence remains ever-present on dance floors.

Operation_PPRCLP kicks off release SUB010 asking how far will we go in the race for technological advancement, and at what cost? Have we forgotten our humanity as a result? Should we be more focused on how to expand human consciousness rather than trying to command, control and obfuscate or is this just in our habitual nature?

41 Minutes Past Midnight investigates painful emotions around losing loved ones without being able to get any closure, how do we move forward without answers in the face of unexplained, heartbreaking tragedy.

6EQUJ5 aka the Wow! signal first detected on August 5th 1977 shifts the perspective out into the constellation of Sagittarius from where the signal is thought to have originated. In 2022 we learned that 3 distant Sun-like stars within the original antenna-pointed coordinates may provide the answer but at a vast distance of 1800 light years from earth, since then, it's all gone quiet... What world reached out from the cosmos, intentionally or mistakenly...

The final track Celestial Beings asks the age old question of what other life exists across the universe, how advanced are these civilizations that may already be exploring distant galaxies with our shared sense of curiosity and when will we be able to connect collectively with such conscious entities.

Noroi debuts on Mechatronica with a uniquely futuristic collection of razor sharp, forward-thinking rave tracks across electro, left-field techno, bass music, broken beats and more. Cut-throat club hybrids for the heart, mind and floor.

Noise pollution results when man does not listen carefully. Noises are the sounds we have learned to ignore. Which sounds do we want to preserve, encourage, multiply?

When we know this, the boring or destructive sounds will be conspicuous enough and we will know why we must eliminate them. Only a total appreciation of the acoustic environmentcan give us the resources for improving the orchestration of the world soundscape.

What comprises a dream?

An astral plane of our own making where thoughts, love, and desires of the inner mind abound with irreverence - ripe with connection & perspective beyond constraints of time, set, and setting.

Azu Tiwaline exists within the wonders of these interstitial worlds, diving deeper towards inner sanctums of mystic imagination, sublime intrigue, & profound understanding on her second full length LP “The Fifth Dream”.

Released again through her beloved partnership with I.O.T Records, “The Fifth Dream” finds Azu painting an expansive vision towards unified multitudes, mercurial realities, & abundant inner sanctums.

Where her first album “Draw Me a Silence” was a loving ode to her family & upbringing in the form of an elegant diptych, “The Fifth Dream" is the enactment of actualizing her roots into new routes, taking her multifaceted identity into new means of communication towards herself, the world, & the cosmic unknowns that surround her.

Throughout The Fifth Dream’s 54-minute runtime, we hear all elements of the uniquely transcendental sound that Azu is beloved for worldwide. “Antennae Opening”, “Blowing Flow”, & “Amen Dub” embody her talents for tectonic, dubwise soundscapes that channel the innately maternal elements of bassweight into bold & abstracted pulsations, indebted to the most psychedelic & body activating ends of dubstep.

Still attuned to the spatial awareness of dub sonics but giving way to the hypnotic syncopation & synaptic frequencies of techno, “Reptilian Waves”, “Long Hypnosis”, & “Mei Long” bring forth her spectacular expertise for entheogenic rave rhythms - guiding us warmly towards trance-inducing hyper states of dance & delight. Fluctuating between an adventurous velocity and enveloping stasis, the expansive abyssal planes of “Golden Dawn”, “Night in Palm Tree”, & “Canope Imaginaire” conjures a wondrously invigorating rhythmic enlightenment & celestial comprehension - simultaneously moving us forward, inwards, & outwards through Azu’s uniquely omnidirectional & kaleidoscopic musical visions.

Adorned with sampled field recordings of her deeply inspiring home in the desert of El Djerid in South Tunisia, Azu opens a portal into the synergistic inner sanctums of being, self, and the world around us that’s essential to her work as an artist - from the macro levels of humanity’s naturally intimate connection to the Earth we share, down to each of our own micro levels of culture, ancestry, and belonging. All of this is alchemized through a combination of timeless Saharan knowledge & modern cybernetic tools, creating new dimensions of bewitching, euphonious sonic energy. This is music that gives back as much as the listener wants to give themselves unto it - detailed and layered, orbiting a steady core as ethereal swirls and intonations of the natural world embrace us warmly within a spellbinding journey.

8 of the album’s 9 tracks feature a deep level of collaboration from innovative Franco-Iranian percussionist Cinna Peyghamy. Cinna’s use of Tombak, the principle drum of Iranian music throughout time, is beautifully sonorous - channeling the passion of centuries of Southwest Asian rhythm & expression into his own personalized flourishes, with Azu adding her own electrifying frequencies & undiluted artistic freedom to their shared interplay. This profoundly communicative diasporic essence is transmuted between Azu & Cinna, their expression, & the listener. Both are music lovers, intimately connected to their respected Iranian and Tunisian cultures - concurrently acknowledging the wisdom of their resonant pasts, while proudly bringing the sounds of their heritage into the present & future.

“The Fifth Dream” embodies a cosmic anodyne for those feeling caught in between life’s abyssal inbetweens, whilst aiming for a consonant awareness of where our home truly lies in the swells of life’s spiritual maelstrom. This dream belongs at once to none & to many, that of a common language unified in concentric depth - finding beauty in all aspects of our world, and ultimately, within oneself.

To celebrate reaching its 50th Anniversary, electro pioneers Kraftwerk have announced three new editions of their landmark 1975 album Radio-Activity for release on 15 May 2026. Using the original 16-track master tapes, Kraftwerk founder Ralf Hütter with engineer Fritz Hilpert have created a brand-new Dolby Atmos Mix which takes Kraftwerk’s first all-electronic album and brings vivid new shading, forensic detail and richly layered cinematic depth to the most boldly experimental album in the Kraftwerk catalogue.



The new Dolby Atmos Mix is available as a Blu-ray audio disc and digital release, and the stereo album is pressed as a stunning vinyl picture disc featuring updated artwork.

Single picture disc vinyl LP in a spined sleeve, with die-cut to front cover, shrinkwrap, mktg. sticker.

Tha God Fahim's timeless creative instincts have been evident from the moment his art began to circulate. Emerging unexpectedly from the epicenter of trap music, the Atlanta emcee quickly distinguished himself with sharp wordplay and atmospheric production that couldn't be further from the monotonous sounds echoing Around Him. With Just A Few Projects To His Name, Tha God Fahim Was Still A Hungry Young Talent On The Rise when he unleashed Tha Dark Shogunn Saga in late 2016. Among his most memorable early releases, the album kicked off an unprecedented creative explosion, as Fahim cemented his status with more than 50 projects released over the next two years. Followed by an equally compelling sequel released just a few
months later, the overall saga became an important moment in Tha God Fahim's rise, evoking shadowy street corners and smoke-filled hallways. Nearly a decade later, Fahim is expanding this series into a full trilogy with Tha Dark Shogunn Saga, Vol. 3. Reviving the unmistakable vibe of the original projects, the new collection finds our hero back in warrior mode, sharpening his lyrical blade over rich production from Cookin Soul, Nicholas Craven, Fortes, and Fahim himself.

What is Tentacletek? Don't you know? Then listen to the new album by those fellow underwater friendos LOS PULPITOS. The two legendary music producers Felipe Salmon (Dengue Dengue Dengue) and Dirk Leyers (one half of Closer Musik and A08 formerly known as Africaine 808) have spent the last two years in seclusion deep down in their hidden diving station creating a bigger than life wave breaker album! From the very first track, gently gyrating, digitally processed, electro-acoustic sound tentacles spiral into your techno ears. These seducing limbs will suck you directly to all the festival dancefloors of the seven seas. Caribbean 3/4 disco polyrhythms meet state of the art techno UK dubby bass music.

"Mola Mola" floods your body as if you had fallen into the Mississippi and been dragged back to Atlantis by Drexciyans. While the wonderfully deep, monstrous dancehall-like bass of "Lab Lab" describes the metallic burst of a sinking spaceship. The cumbia-dancehall-drum&bass "ii ii ii" effortlessly equalises that pressure. In the Bermuda Triangle, a well-camouflaged "Antennariidae" fishes for its diving listeners with endless deep dub, giving them ice-cold shivers down their spine until all their legs and teeth are rattling voodooesque. "Sirens" sings of West London broken-beat strings while "Squidler" gallops fluidly on a seahorse down the Aquabahn straight to Detroit. "Catfishy"! rides in the wildest water bull in reverse-cowboy rodeo style. "Pannetronica" overflows like an Abyssopelagial pool?

LOS PULPITOS debut album is a wonderfully playful and stringent, excellently produced electronic concept album. The 10 tracks are unrivalled in their merciless yet extremely balanced bassiness.

(Mirko Hecktor)

2025 Repress

At last, we get doused from the source; four priors of reissued gems and newer beauts now land us at the quintus maximus: the inaugural Spray on Spray. It’s large and in charge, as we pull back the velvety curtain to reaffirm the exquisite curator is just-as-exquisite a melody maker. OT Rails adjusts the prog antenna to broadcast 3 anthems from the great big dance satellite in the sky, including a collaboration with French cuties Baraka. You’ve had your trad, now dance!

The title track struts along its psychedelic catwalk with a sexy house swagger, unlocking a wobbly stack of pineal-tickling melodies en route. The angels soon sing in positiva harmony, before the piano-lude calls for a tight embrace with those closest to you on the dancefloor. Raise those hands aloft, you know what’s coming; that hard house’d snare roll soon erupts and, before you know it, you’re soaring like the white dove you are. Why does it feel so good?

Spray then switches channel to Ceathair, coaxing the prog spirit from the motherland as the psilocybinised breaks wisp through the undergrowth. The vibe is bouncy, as the diva croons and bassline sings, before the vista opens and the sprayed piper summons you home. Open that third eye, súil eile.
Our swan song is reserved for Baraka and Spray, conjoining their tech trance powers on Think Of Me. The trio up the pace for the grand finale, rolling the tight groove from the off while igniting its hybridised trance rump with hypnotic fervour. The friendly mantra floats heavenly above throughout, absorbing you in a semi-lucid ecstatic state. It’s a whirlwind of dancefloor energy from beginning to end, and Spray wouldn’t have it any other way.

Dancing & Crying is a club, just outside Carmel Vista, that is open 24/7. Here you can dance and cry on your favorite Emotional Dance Music. Producer Palmbomen II (Kai Hugo) teams up with different performers to release a series of EP's made for the fictional Dancing & Crying club. Music that makes you dance and cry. The music has been recorded over the last few years; from COVID-19 confinement up till now, while Kai was building a new recording studio, during which he made a small temporary studio in a hallway of his house and while doing soundtracks for films and series. In this edition singer Naiara Trivino takes a special spot and sings in French, Spanish, and English and she features in the music video made around this EP. This EP ranges from dramatic French synthwave ('Tes Yeux'), touching the world of Kai's other project Cindy, to proto-techno 'Darker Days' (with Antenna) to dreamy breakbeat ('Your Eyes Are Empty'). Welcome to Dancing & Crying.

Glass Museum Records was born out of a desire to promote music specifically created for soundtracks of both existing and imaginary films. Without being bound to any genre, the label will present its first limited edition vinyl release in September 2025. The release will be "Through metaphors, assonance but mostly by differences", a journey of seven tracks produced by the band GORO HANADA, a cinematic collective based between Italy and the Netherlands.
Music fades, but it holds the vault of endless cinematic worlds.

[b] A2 Gathering Storm / Il Pleut À Mourir [+Clatters Like Worry]
[c] A3 "Welcome To Barco AM/PM..." [L.A.X.; 5/14/00]





[i] B5 [...+The Buildings They Are Sleeping Now]





[o] D3 [Glockenspiel Duet Recorded On A Campsite In Rhinebeck, N.Y.]
[p] D4 "Attention...Mon Ami...Fa-Lala-Lala-La-La..." [55-St.Laurent]


[s] D7 [Antennas To Heaven...]

SIDE A. J. Diggns - Saturday Salsa with sizzling brass, deep pocket percussion, and a groove that’s pure motion. Whether you’re rocking the decks or rolling at the rink, this one brings that feel-good energy straight to your soul. It isn't Saturday without the "De La Brilla", Glow in Spanish —

SIDE B. King Most – BALLA EDIT From Radio Havana to West Africa, the spirit of Latin rhythm crossed oceans, bouncing oc antennas and into the soul of a continent. On BALLA EDIT, King Most channels that deep cultural echo—an infectious blend of clave, funk, and highlife sensibilities, flipped with modern finesse and analog warmth. Made to ride at block parties, or sets where borders blur and rhythms rule. Global grooves, rooted deep. Pressed heavy. Played loud

»Shell I« is the second edition on Edições CN by Brussels sound artist Florence Cats. It is a magical collection of 23 edits for voice, field recordings, theremin, and piano. Cats’ recorded piano rehearsals and singing sketches reminds us of Cornelius Cardew works. They are at the heart of Edições CN, where a sketch or rehearsal holds as much, if not more, truth than a definitive composition.

A melody line from Debussy passes by. Waves crash in the distance. Sails and flagpoles are sounding by the winds. Florence singing a stream of consciousness poem next to a water stream. Track by track you dream deeper in this generous collection. While the album’s A Side is an aquatic storyboard, the B Side is the essence of storms and days spent in the forest.

Cats holds a singular position at the firmament of Belgian sound explorers. Her art, almost unspectacular, is an important voice in these algorithmic times.

Florence Cats (Be, 1985) is an experimental artist working somewhere between music, sound, visual art and acupuncture. In 2023, she was selected as an emerging sound artist by Stuk, Q-O2 and Musica. Her work is a needle or antenna, inspired by the vibrations of sound and light in nature, travel, telepathy and dreams. She plays the theremin in experimental ways, interacting with her body, voice, water, radio and various.

180G vinyl pressing

After releasing their well-received 7” and 12” singles ‘Night Time’ and ‘Feel It / So Hot’, Isle of Jura is pleased to present Exotic Illusions, the debut album from D.D. Mirage, the Sydney-based duo of Josh Dives and Disky Dee.

Having first played music together during the mid-2010s in the indie-psyche and punky-shoegaze bands King Colour and SCK CHX, the two Australian musicians/DJs came up in the warehouse party scene that fermented in the wake of the Sydney lockout laws. While organising mixed media events under the Yeah Nah Yeah brand, they discovered the joys of disco, dance-punk and the Balearic beat through Pender St Steppers’ DJ mixes and reissue releases and found themselves changing direction in response.

Written and recorded with a range of vintage keyboards and preamps, instruments and digital studio software, Exotic Illusions is a cosmopolitan love letter to the immaculate blend of Italo disco, Neopolitan funk, Nigerian boogie, cosmic house, synth-pop, UK street soul and lovers rock sounds that have inspired D.D. Mirage since they began this iteration of their ever-evolving musical relationship.

“The name Exotic Illusions refers to our fascination with all of this music made in other parts of the world,” they explain. “During lockdown and thereafter, we indulged in these exotic sounds as an antidote to our lack of travel. This fascination continued as the world opened up again, and we started working on tunes together. It’s also a way of acknowledging that we feel like tourists partaking in these styles and established sounds. They aren’t ours and weren’t born out of the place we’re from, but we hope we’ve been able to add something unique to them.”

In recognition of this, rather than just reinterpreting genre motifs through an antipodean lens, D.D. Mirage opened up lines of communication with some of their favourite musicians from the Neapolitan scene, bassist Daniel Monaco (Rush Hour, Periodica Records) and drummer Andrea De Fazio (Parbleu/ Nu Genea), who recorded the rhythm section for ‘So Hot’. They also wrote to the Manchester-based singer/producer Private Joy, who graced ‘Night Time’ with a smoother-than-silk street soul vocal that helped the single secure crucial plays on NTS and BBC Radio 6.

Opening with the tropical melodies, post-disco machine beats and jilted art-punk singalong chants of the title track, Exotic Illusions unfolds as a series of sturdy, internationally-minded dancefloor excursions. ‘Piranesi’ is boogie with a South American shuffle. ‘So Hot’ is Neapolitan funk with a Leichhardt strut, and ‘Antenna’ (featuring Jofi) is D.D. Mirage’s love letter to ‘80s drum machine bossa nova from Brussels.

On ‘Feel It’, the duo hit a sparking groove that reaches into an eternal sunset of the mind before throwing out a bubbly disco-not disco spoken word bounce on ‘Cat’s Cradle’, featuring psychedelic-pop singer Jermango Dreaming. From there, D.D. Mirage bring it home with a cheeky Aussie drawl on ‘Living Upside Down’ and the nocturnal excellence of ‘Night Time’, making a case for themselves as a significant new force from Australian music to the world.
full sleeve artwork from Bradley Pinkerton.

When dub and dope beats entered into an open relationship in the mid-nineties and created a casual hybrid with trip hop, Jean-Yves Prieur aka Kid Loco was one of the first French people to be there. With singles like "She"s My Lover" and "Love Me Sweet" and the album A Grand Love Story, the producer proved himself to be a loverman indeed, with a knack for bedroom moods, charming little melodies and a comforting balance between minimalism and lush arrangements . As a keyboard all-rounder, Guillaume Méténier aka Soul Sugar has been featured on numerous Kid Loco productions for more than twenty years. From the synthesizer to the clavinet, from the Fender Rhodes to the Leslie organ, the "Funky Frenchman" is no stranger to any keyboard instrument. The Hamburg label Echo Beach, which has already issued dub commissions for a number of pop and new wave classics, thought it was time to change that. Dub masters such as Rob Smith, Noiseshaper, Dubmatix, Paolo Baldini and many others remixed for the label. Songs by Martha & The Muffins, The Police, David Bowie, Grace Jones and Robert Palmer, among others. In order to honor the music of Florian Schneider, Ralf Hütter and their respective fellow Kraftwerkers with a dub set, they turned to Kid Loco, who has now established himself as a musical all-rounder, and who immediately invited his long-time accomplice Soul Sugar brought on board. The calculation really worked out.

The last couple of years have seen a renaissance for West Coast singer-songwriters. LA-based youngsters such as Drugdealer and Sylvie have attracted considerable attention releasing warm and mellow records tonally reminiscent of the early 70s. Most fans of this new/old sound are unaware of Bart Davenport's early explorations in the same sonic territory. His now 20-year-old "Game Preserve"album should gain an appreciative new audience with its first ever vinyl release.

In the year 2000, Bay Area troubadour Bart Davenport and several other musicians were recruited by a major tech corporation in Seattle to work on an algorithm-based music matching/search engine. It was what looked like the beginning of a promising career. After a year, however, the project was shelved. Bart and his colleagues were laid off with a healthy severance package... on the 12th of September, 2001. Not only had the musician's life changed, so had the world. Rather than blow the money on a holiday or new car, Bart knew he had to make a record. A proper album that meant something.

Back in Oakland, he entered Wally Sound Studios with former Kinetics bandmate Jon Erickson at the controls, and a swathe of talented local musicians. "With Game Preserve," Bart explains, "Jon and I really wanted to knock it out of the park. I wanted to utilize people from my old bands like Loved Ones drummer John Kent. I also invited my newer indie-pop friends from Call & Response, and a young Nedelle Torrisi. Harmony singing by The Moore Brothers was an essential ingredient on Game Preserve as well."

Both Erickson and Davenport fondly recall growing up in households where the music of The Carpenters, Joni Mitchell and The Eagles soundtracked their young lives. By the early 00s they were ready to reconnect with what is often referred to as the "Laurel Canyon" sound. "I'd buy used tapes at garage sales and play them in the car. "Ladies Of The Canyon" by Joni and Jackson Browne's first album were both in heavy rotation. Jon Erickson was getting deeper into the Steely-Mac-Doobie yacht-rock sound in earnest. A certain amount of childhood nostalgia led a lot of us back to that part of the 70s. I'd flirted with classic soft-rock on my first album, but that record was pretty scattered esthetically. I wanted my next one to be more focused. Jon and I made some ground rules: no electric guitars (except on 'Bar-Code Trees'). No synths. Most importantly, all the songs have an air-tight, super dead, close mic'd drum sound. Putting these sorts of limitations on the sessions will give your record a specific quality. In the case of "Game Preserve"it's mostly about tight drums, acoustic instruments and analog production. We used a 24-track, two-inch tape machine for tracking, then ran the mixes through an analog board straight to a 1/4 inch master tape."

While the album's sonic palette may be firmly planted in 1970, Davenport's songwriting covers a sizable landscape of moods and reflections. From the quasi-flamenco intro of 'Sweetest Game' to the somber Wurlitzer of 'Nowhere Left To Go', to the 12-string shimmer of 'Intertwine', "Game Preserve" tells a story of young love, lost innocence and redemption, crossing borders and oceans along the way.

Released in 2003 on family-run Oakland label Antenna Farm, the ultra-analog sounding "Game Preserve" was only made available on digital formats, including CD. Copies were later pressed by labels in Germany and Spain; the latter being one country the album actually did well in, establishing Bart Davenport with a small but loyal fanbase he still enjoys today. Two European tours as support for Kings of Convenience also helped gain a foothold on the continent. Back in the US, however, Davenport and his sophomore album remained quite obscure.

Limited promotion meant it did little, but for the music lovers that heard it, the album undoubtedly remains a classic of the era, deserving far more. Twenty years on, it now finally receives its vinyl debut. "I personally think it holds up well," says Bart of the album two decades later. "The idea was to make something that could be an homage to late 60s/early 70s West Coast pop but hopefully timeless as well. Years on, I hear it as just that. It was a colorful and brief period of my life that felt at times like it could last forever. I discovered the joy of working in a proper studio with a perfect cast of characters. I'm still very close with all these people and still play music with many of them."

Having built a cult following with his live hardware performances and releases on Orson and Varial, Ninechecker disembarks for a solo EP displaying his versatility. The blistering A Very English Wind opens procedures, followed up by the evocative gliding dub of Antennas. On the Bside, shifting gears again with the Rephlex-informed menace of Curtain Twitcher and closing with the lush, woozy cassette ambiance of Proposal.

White labels, handwritten, numbered and limited to 80. Includes an A4 insert.

"This concluding release contains a selection of the many artists that took part on our label -- from the first demo until the last drop of ink printed. 11 years, 11 tracks. Thank you all for tagging along. xoxo "

Edoardo Florio Di Grazia is a Cantautore (singer-songwriter) and story collector from the Amalfi coast, born in Florence and living in Paris, of a Neapolitan family..
Edoardo tries, like an antenna, to pick up signals and transform them into songs. Writing songs allows him to travel and unite distant worlds, to create imaginary landscapes on which to dream up new music: the Amalfi rocks of Tangier harbor can lead directly to a house in Belleville overlooking a Florentine piazza.

Edoardo is also a writer, with a PhD in medieval history from the University of Florence, a podcast author, radio show host, and DJ Selector, a compulsive Digger constantly on the lookout for the rare gem. He will publish next spring "Italia Express" the podcast produced by Radiooooo. It is a journey in five stages through the main Italian cities (Naples, Rome, Bologna, Milan, and Genoa) to discover music and history, from the post-war period to today.

After a first EP “Indossare Il Mare” released in June 2023, the spring of 2024 will see the release of “Ambra e Corallo”, Edoardo Florio Di Grazia’s first album, produced by the Parisian afro-beat label Comet Records (Tony Allen, Ebo Taylor, etc.). 9 songs about journeys, a small collection of stories found in the deep and mythological Mediterranean Sea. Like bottles in the sea, these songs belong to no one and are timeless, messages whispering us the dream of a new path to explore. The story of his first album, "Ambra e Corallo" has the flavor of a novel, the aftertaste of a contemporary fairy tale.

The vinyl includes a QR Code booklet featuring lyrics, liners notes, photos..

Kyiv (Ukraine) born Sasha Renkas, made music as Antenna for almost a decade, releasing many EP's and a full length album. Now he follows his urge to make a different kind of music. The result is a full length album with slow, intimate, nighttime music varying from abstract pop ballads to ambient movie score pieces. At times they sound like stripped down Kate Bush instrumentals, drenched in reverb, or introvert Roxy Music with a touch of dub and nineties trip-hop. "This time I wanted to compose music and then perform my instruments live making this album. I used mainly old synthesizers and other instruments and a heavy layer eighties reverb machines. Before moving to the Netherlands, I was growing up in the nineties in Kyiv, surrounded by economic turbulence and a weird mix of music from different decades that overflowed the country after years of isolation. Accompanied by the weird early Ukrainian visual culture I was mesmerized by the music videos I saw on TV and I wanted to belong there. I guess I never really grew up, still drifting like a cowboy through imaginary spaces, in a timeless vacuum, outside of real life. I decided to release this album as Sasha Renkas, because it felt very personal and pure, all coming from a spacious, misty place where everybody is still alive and safe."

Attention Banger Alert! Parissior Is a Spanish Dj Producer Who Has Been Producing Countless Tracks for Many Years Now. His Style Could Be Described as a Mix of Dark Disco, Indie Dance, Italo, Trance but Personally We Think It Goes Much Further. He Has a Total Mastery of the Art of Production (Something We Have Rarely Seen), It Looks More Like Sound Design It Sounds So Huge. His Tracks Are Not Just Dj Tools to Be Played but Bangers to Send in Pick Time. It Is Extremely Powerful, We Have Already Verified This During Our Recent Skylax Evenings (Especially for Our Event &Ldquo;série Noire”) and We Can Tell You That the Effect Is Devastating. for Us, He Managed the Perfect Ep, the One That All the Italian Indie Dance Producers, Even the Biggest Names in the Genre, Failed to Create. There's Nothing Cheesy About It, We've Been Listening to His Music Non-Stop Since We Received It, No Weariness in Sight. This Guy Is Monstrous. the 12 Inch Begins With the Brilliant Antennae, Which Is the Perfect Mix of Italo New Wave & Trance, Followed by Canes Venatici Which Could Have Been Created by Daft Punk if They Had Chosen to Be Less Commercial and Put Their Balls on the Table Instead of Hiding Behind Masks. Ceres and Alpha Apodis Follow the Same Line. We Miss Words So Much This Maxi Is Gigantic. a F%c$ing Masterpiece. to Add a Final Touch, Just Note That Many of His Recent Productions Have Been Recently Played a Lot by Pablo Bozzi & Soft Crash at Hör Berlin....

The Church’s Starfish is a dreamy, atmospheric masterpiece, guitar-driven alt-rock before alt-rock was a term. It includes the timeless smash hit “Under the Milky Way,” and “Reptile,” both First Wave staples.

Intervention's 2X 180-Gram LP, Artist-Approved Expanded Edition is 18-tracks total, including 8 amazing bonus tracks that were not on the original LP. These bonus tracks kick off with wonderful acoustic versions of “Under the Milky Way” and “Antenna.” The other tracks are so strong that it’s very apparent that Starfish could have been a potent double LP.

Starfish is 100% Analogue Mastered with the original repertoire cut directly from THE Original Master Tapes by Ryan K. Smith at Sterling Sound. Intervention's cut expands the original 10-song repertoire to three vinyl sides opening up the already massive soundstage and presenting this amazing recording with FULL bass extension and dynamic power. All of the 8 bonus tracks are 100% Analog Mastered from separate tape reels assembled by Ryan K. Smith.

The 180-gram LPs are ultra-quiet, pressed at boutique press, RTI in Camarillo, CA. Intervention replaces its stampers every 500 copies so every pressing is is a hot stamper.

Starfish’s album art was lovingly restored by Intervention's Art Director Tom Vadakan, and the original inner sleeve here is printed as the interior of a gorgeous gatefold jacket. The jacket is an “Old Style” gatefold made by wizards at Stoughton printing in LA. It's printed on heavy stock and film-laminated for superior colour depth, beauty and durability. The centre labels are printed by Dorado.



Mastering Notes
Starfish is 100% Analog Mastered from THE Original Master Tapes by Ryan K. Smith at Sterling Sound. Intervention's cut expands the original 10-song repertoire to three vinyl sides for maximum bass and dynamics. Even the bonus tracks were mastered 100% Analogue from tapes assembled by Ryan K. Smith.

Pink Vinyl. The title of the most recent Atmosphere album, May 2023's So Many Other Realities Exist Simultaneously, evokes the multiversal storytelling that's recently vaulted into the mainstream consciousness. With their latest effort, the irrepressible Talk Talk EP, the Minneapolis legends dart across threads of space-time to grab hold of the one where Slug and Ant became titans of the electro-rap that was foundational to their youths. By evoking acts like Kraftwerk and Egyptian Lover, Atmosphere makes visions of the future from four decades ago seem new once again, the relentless forward churn of technological optimism reimagined as an endless loop with irresistible drums. The genesis of the Talk Talk EP was the session for a song of the same name that appeared on So Many Other Realities Exist Simultaneously. A collaboration with Lifter Puller alum Bat Flower, the song "Talk Talk" exists alongside electro classics in an uncanny valley that's been warped into a sweaty nightclub, at once vaguely alien and deeply human. Enamored with the song's outcome, Slug and Ant returned for a longer exploration of the sound, to mesmeric results. The pulsing "Rotary Telephone," where the TV antennas seem tuned to a world just slightly askew from ours, thrives on the tension between Slug's careening vocals and the song's taught structure_form matched perfectly with content. And on "Hear Hear," the struggle to make human connections is revealed as a beautiful one. For all its well-documented roots in disco and R&B, rap's connection to the electronic music of the 1970s and `80s is a core part of its DNA. The Talk Talk EP is one of the clearest articulations of this truth to emerge in many years, a testament to the communal power of programmed sound. For proof, look no further than "Traveling Forever," the haunting missive that closes out the record. Images flash: of police knees on necks, of prying cameraphones, another empty hotel room indistinguishable from the last. "I never got to learn how to dance for you," Slug raps, pointedly. "I don't know whether or not that's an attribute." A chill runs down your spine but the skull at its top keeps nodding.

This album is an evolution of the potent songcraft shown in Strohm's past work-- including his role as co- founder of the seminal college- rock band Blake Babies and indie-rock acts Antenna and Lemonheads.

The Madlib Invazion Music Library Series Entry #4: Dan Ubick (Connie Price & The Keystones, The Lions) explores the realms of Canyon Funk. This is the next up in a series of music library releases, with future volumes produced by DJ Muggs, Karriem Riggins and more. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

LILA mainstay Ayaavaaki and ambient veteran Purl speak different languages but used a translator to convey ideas to one another as they made this record. And they very much foment their own unique musical language on Ancient Skies, an album that blends ambient, drone and space music into richly layered soundscapes that are constantly on the move. Each piece is meticulously crafted and suspense you up amongst the clouds, hazing on at the smeared pads and swirling solar winds that prop you up. It's a record that would work as well in the depths of winter as a bright spring day such is the cathartic effect of the sounds. Beautiful, thought-provoking and innovative, this is as good an ambient record as we have heard all year.





e C1 Gateway Realm (Spiral I) Outer Helix (Spiral I)





e C1 Gateway Realm (Spiral I) Outer Helix (Spiral I)

Imagine if Eric Carle had been signed to Ghost Box, or if the Look Around You team had ended up taking over the Radiophonic Workshop. If you can picture that kind of sound, we’re ready to welcome you to the Cosmic Neighbourhood.

Cosmic Neighbourhood’s Gatherings is an album made for wild imaginations and deep daydreams. Its fourteen tracks provide the kind of trip you can take if you close your eyes tight enough and let your mind wander. It’s the music of small things, groovy sounds from way underground that’s inspired as much by Martin Rev and Moondog as it is by walking trees, pine cones catching the bus, nocturnal farmyard symphonies and the movements of butterflies reimagined through restless drum machines. Sounds good? Come join the gathering. There’s room for everyone.

Cosmic Neighbourhood is the musical alias of York-based illustrator and musician Adam Higton. Adam’s work encompasses comic strips, collage and sound art and documents the daily goings-on of the forest folk within the realm of the Cosmic Neighbourhood. His two albums on Kit (|Collages I and II) see each song acting as a response to a series of paper-and-scissors compositions. Sonically, these records straddle new and old, taking modular electronics, flutes, bells and softly pattering drum machines, before colouring them all with the amber glow of some forgotten, psychedelic kids' TV programme. Higton's benign toots and echoing jingles bring to mind Daphne Oram's early delay experiments or the meandering playfulness of Tom Cameron. Radiophonic and time-worn, it still somehow sounds like the future.

Gatherings follows previous Cosmic Neighbourhood albums Library Vol 1 and Collages I and II. Previous Rivertones releases include spoken word and found sound collages by Robert Macfarlane & Chris Watson, poetry and elemental music by Will Burns & Hannah Peel and the soundtrack to Wolfgang Buttress’ Hive structure at Kew Gardens by Be.

Catorce reflexiones sobre el fin (Fourteen Reflections on the End) originated from an installation exhibited at the Museo de Arte Contemporáneo de Oaxaca, Mexico, in 2019. Fourteen magnetic bodies of tape that dialogued with the fourteen pieces of electroacoustic music now contained in this album composed from the sound anthology of Angélica Castelló. Thus, Catorce reflexiones sobre el fin is a complex piece consisting of multiple parts that, although articulated with each other, hold a life of their own.

Like every body, these have a unique history made up of mixed fragments spun by Angélica, ranging from field recordings, references, and self-references to previous pieces, experiences, and voice recordings made specifically for these compositions re-recorded in various formats, from lo to high fidelity, analog and digital, composed, decomposed and recomposed (Castelló, A., 2019). Likewise, as any body, they also reflect on their end, whether absolute or temporal, of the many ways of being finite and of saying goodbye.

During the Catorce reflexiones sobre el fin, Castelló takes you on a journey that is difficult to locate. An ethereal space between shattered glass, stridulation of cicadas, war drums, murmurs in French, Italian maledictions, and soft recitations in Spanish. From uproar to solace, all wrapped in a soft abstraction that only allows access to the subtle whisper of these expressions. A gesture between invitation and sharing because who does not recognize oneself in this emotional storm?

First, the approach of the winds, the first breeze that caresses the body. Then the bewilderment announced by the scent of uncertainty condensed in the air’s humidity. The prelude to the storm, to something that will shake you from head to toe, something from which there will be no return.

To the acceleration of the winds comes the percussions, the tremor of the storm with its lightning. la Ira (1). A vibration running through the whole body, unstoppable. This reverberating sound, resulting from its re-percussion with our body acoustics, owes its tones and echoes to the cavities and organs of different masses. From what is hollow and what is full; what is void and what is matter. There is no turning back. It is a dive into the void; to fight and resist because there is no other way to go. It is a matter of survival.

Ma fin est mon commencement Et mon commencement ma fin (2)

After this, the cicada resumes at the crack of dawn, a gentle breeze, and solitude, that temporarily musical silence of embraces (3) with hints of harpsichord and bells.

The breaking of the waves in Sicily is accompanied by the antenna that picks up radio transmissions that already invite other tastes. The Mediterranean and its currents mingle and divide tense routes of escape, exchange, and struggle between Blutorangen, tides, and birdsongs.

An immersion into deep waters.

And in the end, we all commit sins! Queste maledette! (4)

Lorena Moreno Vera, 2023

JEFF COTTON OF CAPTAIN BEEFHEART & HIS MAGIC BAND FAME
RELEASES HIS FIRST EVER SOLO ALBUM -'THE FANTASY OF REALITY'
After playing guitar, lap steel & vocals with the legendary Captain Beefheart & his
Magic Band, appearing on the ground-breaking album 'Trout Mask Replica' (under
the pseudonym Antennae Jimmy Semens), as well as playing on 'Strictly
Personal' & 'Mirror Man', Cotton withdrew from the commercial music business
for nearly 50 years. Using the island state of Hawaii as a home base, he emerges
from his seclusion in 2022 with his first ever solo album; 'The Fantasy Of Reality'.
Whimsical, playful & tongue-in-cheek - Cotton delivers a psychedelic journey that
will delight Beefheart devotees while bringing plenty of new ideas to the table
across the sprawling 22 track, 66- minute runtime. 'Trout Mask Replica' cover
designer Cal Schenkel collaborates once again as he returns to contribute to the
internal artwork of the album to continue the Captain Beefheart canon into the
2020's.
Across the decades, the Magic Band's power & influence has only grown in might
& the cult following of 1969's 'Trout Mask Replica' still excites fans to this day, in
part due to the mystery & enigma of members such as Antennae Jimmy Semens
(aka Jeff Cotton). In 1967, Cotton was scoped by Don Van Vliet - Captain
Beefheart himself, replacing Ry Cooder on guitar. He then went one to help craft
some of Captain Beefheart & the Magic Band's most vibrant recordings & later
contributed to the cult band MU.
Now blending together musical strands such as jazz, delta blues, Hawaiian & the
avant- garde to create a melting pot of ideas, Cotton astonishes fans with his
comeback.
The magic will continue on 'The Fantasy Of Reality', available via Madfish.

Ltd Edition White Vinyl, DL card.

Debut from genre-defying producer, Yosa Peit. Laurie Anderson meets Bjork; Prince overlapped with Arthur Russell and the hum of Blue Velvet, with jarred and splintered ambient production reminiscent of Aphex Twin. ‘Phyton’ gets a special expanded edition via Fire Records, featuring unreleased tracks; ‘Tyrann’, a live version of the haunting album track ‘Serpentine’ and end of the night lament, ‘Rise’. ‘Phyton’ is a conundrum with its own humour and beauty amid the electronica soundtracking; it’s a record that’s defied genre categories when first released on Tax Free Records two years ago. Yosa’s ascension from singer to producer is now complete. “In my head I was making a movie,” Yosa told No Wave magazine, “I dreamed up a Coen Brothers’ movie scene for a few tracks.” The result is a haunting, provocative sound; a soundscape where songs merge and splinter, a trip that’s never predictable.

"The production is super fresh" Holly Herndon. // “Warped lo-fi meets glitchy electronica and pop” The Vinyl Factory //

Download extras: 1. Serpentine (Live Bonus) 2. Rise (Bonus)

Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London. Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996.

Trapped Animal Records are proud to present for the first time on vinyl, Stars and Rabbit's 2020 smasher 'Rainbow Aisle'. Remastered at Metropolis to lacquer and cut to 300 Purple Stripe 180GSM 12"s this is a very special package from Indonesian household names, Stars and Rabbit! // Press quotes : Alternative Fruit, UK - This fun and catchy album is laid back to back with classic numbers which each have a soul of their own. A friendly rock 'n' roll delivery mixed with classical melodies and homely closeness allows us to hear this band in person from wherever we happen to be. // Analogue Trash, UK - Reviewed (Little Mischievous) There’s a joy and innocence at the heart of Little Mischievous that is delightful and infectious, in large part down to the fun, rollercoaster vocals of Elda Suryani. Sounding like a cross between Nina Persson and Björk, her livewire performance is the perfect foil for Didit Saad’s equally electric lead guitar melody and the briskly bouncing arrangement. // Reviewed Naked King - They make up the central core of the song, as soft synths and lush strings wash in and out of perception, combining to confect a sweet sense of serenity. Though contemplative, Naked King looks outward and also seeks to engage the listener: the children’s choir and assertive guitar solo bringing the song to a euphoric crescendo, with Elda Suryani’s performance directing the song to ever greater heights. // Antenna, Japan - Stars and Rabbit were captivated by a variety of songs that sublimated 90s introspective alternative rock, mainly in Europe, such as Sigur Rós, Radiohead and Portishead. On one occasion, listeners like "Little Mischievous" show light guitar pops that can sing a long, and "Attic No.7" shows a jazzy, dark side like a trip hop. // Atwood Magazine, UK - Elda Suryani and Didit Saad make up the group and both employ signature rhythms and harmonies onto each song of theirs, and “Little Mischievous” is no exception with its slick guitar riffs and tantalizing vocal performance. // Beehive Candy, UK - Their new LP, Rainbow Aisle, a full spectrum of colors, showcasing their knack for groovy electro rock as well as intimate acoustic confessions. // Big Takeover, US - Wow, such a vocally and lyrically intriguing number! Yet again, there’s the ’90s alt-rock feeling, but the vocals are yes, mischievously impish; a teeny-tiny bit like SOAK vocally, but with a grainier, deeper timbre.

Red Hot Chili Peppers will unveil their new album and twelfth full-length offering, Unlimited Love Warner Records, on April 1, 2022. It notably marks their first recording with guitarist John Frusciante since 2006 and first with producer and longtime collaborator Rick Rubin since 2011. To herald Unlimited Love, the Los Angeles band just shared the first single and music video “Black Summer.”

“Our only goal is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt.

We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

ROCK OUT MOTHERFUCKERS!” - Anthony Kiedis, Flea, Chad Smith, John Frusciante

On lead track “Black Summer,” ethereal guitar underlines introspective lyrics as the rhythm unlocks a hypnotic drum groove highlighted by evocative bass. It quietly inhales only to exhale with a massive refrain, “It’s been a long time since I made a new friend, waiting on another black summer to end,” before a guitar solo echoes to the heavens and back.

Unlimited Love resumes a three-decade partnership with Rick Rubin Johnny Cash, Adele. Their creative collaboration spans legendary albums, including the diamond-selling Blood Sugar Sex Magik 1991, Californication 1999, By The Way 2002, and Stadium Arcadium 2006.

The interplay between the band borders on intergalactic once again—yet elevated to another stratosphere altogether. Unlimited Love represents the united spirit of four individual souls still fearlessly exploring the future of their eternal friendship and musical congregation.

This summer, Red Hot Chili Peppers will launch their first tour in support of Unlimited Love. They’ve invited a dynamic cohort of guests along for the ride at select dates, including Anderson.Paak & The Free Nationals and Thundercat and will be playing stadium dates in the UK in June 2022.

Mondo, in partnership with Walt Disney Records and Lucasfilm, are proud to present an all new 4XLP expanded edition soundtrack to 2016's ROGUE ONE: A STAR WARS STORY.

In anticipation of its 5th anniversary, Michael Giacchino unearthed nearly over an hour of previously unreleased music and recording sessions from the film.

Featuring all-new original artwork by John Powell, new liner notes by Michael Giacchino, mastered for vinyl, and pressed on 180 gram black vinyl, this collector's set is essential for Star Wars fans.

Composed by Michael Giacchino and John Williams

Artwork by John Powel

180g LP + 10" im Gatefold mit Thermographie, bedruckten Innenhüllen und Download Coupon. GY!BE kehrt mit einem weiteren Soundtrack für unsere Zeit zurück, wie ihn nur dieses unnachahmliche und ehrwürdige Ensemble schmieden kann. Das neue Album besteht aus zwei fesselnden, 20-minütigen, LP-Seiten füllenden Epen aus lärmgetränktem Breitwand-Post-Rock, während die beiden begleitenden 6-minütigen Stücke der 10" die Band aus Kanada in ihrer verheerendsten, eindringlichsten und elegischsten Form zeigen. Unerbittliches Tuckern blüht auf, während einige der hochfliegenden, brennenden Melodien der Band inmitten von Geigen- und Basskontrapunkt abprallen und zusammenlaufen. Field Recordings und aufgewühlte, halb-improvisierte Passagen umrahmen diese inbrünstigen Epen. Ergreifende Atmosphären, geräuschhafte Orchestrierung, Drone, hypnotische Swingtime-Crescendos, unaufhaltsam geschichtete Türme aus verzerrtem Klargesang: STATE'S END verkörpert jede geliebte Facette der Band. Fünfundzwanzig Jahre später ist dieses neue Album so vital, mitreißend, zeitgemäß und unerbittlich wie jedes andere in der geschichtsträchtigen Diskographie von Godspeed You! Black Emperor. So wie STATE'S END die ganze Bandbreite der klanglichen Trademarks von Godspeed vereint, so umspannt auch das Album-Artwork die gesamte visuelle Geschichte der Band: die körnige, monochromatische Fotografie der letzten Veröffentlichungen findet ihren Weg auf die Innenhüllen, während das Klappcover auf die ikonischen Grafiken früherer Klassiker wie Slow Riot For New Zero Kanada und Lift Your Skinny Fists Like Antennas To Heaven zurückgreift. STATE'S END ist mit Illustrationen von William Schmiechen versehen, wobei die Taijitu-Blumen auf der Vorderseite und die Tränengaskanister auf der Rückseite des Covers in erhabener, thermografischer, schwarzer Tinte auf dem Doppelvinyl-Albumcover abgebildet sind. Das leuchtende Kreuz von Godspeeds Debütalbum F#A#INFINITY taucht auch auf der Innenseite des Klappdeckels wieder auf, als wiederkehrende Hommage an das elektrifizierte Hügelkreuz in der Heimatstadt der Band in Montreal. STATE'S END wurde im Oktober 2020 in Montreal im Homebase-Studio der Gruppe, Thee Mighty Hotel2Tango, von Jace Lasek aufgenommen und abgemischt, dem altgedienten und preisgekrönten Indie-Produzenten (und Mitbegründer von The Besnard Lakes), der mit Godspeed bei dieser Aufnahme zum ersten Mal zusammenarbeitet. Danke fürs Zuhören. UNSERE SEITE MUSS GEWINNEN. (R.I.P. D.H.) ENG audiophile 180gLP + 10" in gatefold jacket with thermography, colour flood interior, artworked inners, DL card. GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical impudence of the anarcho-punk title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography. Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown. STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran awardwinning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording. Thanks for listening. OUR SIDE HAS TO WIN. (R.I.P. D.H.)

Following his debut on the label in 2019 - ‘Mind Dweller’ (COUNTER013) - Frankfurt’s Stefan Alexis is back with his next chapter of four atypical, undulating club tracks.

The EP features ‘Eratosthene’, a shimmering up-tempo weapon in collaboration with label founder Inland, alongside three other diverse cuts highlighting some of the Macedonian psychotherapist’s favourite modes of play: filter-funk, acid, broken-beats, sampling.

This release comes on 180g 12’’ vinyl and digital, featuring artwork by Berlin-based Norweigan painter Tyra Tingleff.

(180 gram pressing) Kosmo Sound from Ghent presents its long-awaited debut album 'Antenna'. The instrumental sextet is inspired by the typical dub sound where their background in jazz is never far away. They mix heavy bass lines and tight drums with spacy melodies into an organic trip that sets every venue on fire. They have already performed twice as the support act for Dub legend Adrian Sherwood and became winners of Sound Track 2019.

After a short hiatus, the dynamic duo of VSK & Conrad Von Orton return with their collaborative project, Symmetrical Behaviour.
After a steady stream of releases via Soma over the last couple of years. The pair took time out to focus on solo projects but return with a vengeance with the "Superconducting Harmonic Oscillator" EP which furthers their experiments in sound design and high-powered Techno.

Title track "Superconducting Harmonic Oscillator" kicks off the EP at a furious pace as highly charged atmospheres create and emphatically large sound for the pairing's suitably tough beats to hammer through. "Quantum Interference Device" goes down a more direct path as expertly crafted rhythms overlap against a backdrop of highly evolved drones and synths.

"Amplitude Spectral Density" keeps the tempo moving but leans on a more industrial tip with crashing beats submerged against articulately mangled synths that drive home the true force of the track. "Resonant Antennae" closes out the new EP from Symmetrical Behaviour and really has them show off their production prowess.

Jarring and off kilter rhythmic structure combine to deliver a truly head pounding track complete with the pairs stylistic atmosphere manipulation.

All Tracks Mastered by Conor Dalton @ Glowcast Mastering.

Moving across the dynamics of feelings and rythms of matter, Oltrarno Recordings presents 'Observing Organic Structures', a mini LP produced from the duo Raccoglimento Parziale.
The breath of analog machines tarnishes the infinite mirrors of possibilities. Our duo wants us to absorb their work not only with the ears, but through all our pores. Attention becomes our antenna.
To refine this package, long time friend of the duo Spacetravel, who just released his debut double-EP on Perlon, elaborates his personal view with a full galloping remix.


Raccoglimento Parziale is a project by Stefano Meucci and Andrea Giachetti
Written and recorded in Pausenraum, Berlin, 2015.
Mastered by Stephan Betke at Scape, Berlin.
Artwork by Juana Anzellini, von der Serie "Anonyme", 2015.

O.D.D., Modini and Casio Royale team up to wreck clubs across the galaxy! I glanced at the wrinkles on my hands as they worked the controls on landing pod. I'd aged considerably since we left Earth to track the alien. Taking an extremely dangerous short cut via the rim of a black hole allowed me to get to the outer regions of the universe before I turned geriatric and was too decrepit to navigate the ship. Now, as we approached Planet Simila, excitement burned within me. It wasn't just about meeting an extra-terrestrial, I was lonely. It had been many years since I'd spoken to anyone other than the ship's computer and here I was about to meet the first known life form outside our planet. I bumped the pod down on the terra firma as gracefully as I could. Intel confirmed Simila had an almost identical atmosphere to earth and that I'd be able to breathe on it unaided. However, precautious as always, I put the large dome shaped breathing apparatus over my head and pulled on the silver safety suit. I took my first step out of a spaceship in 14 years and there it was only yards away from me; a small green creature with large white goggle eyes on the end of two spindly antennas. If you'd asked a 5-year-old earthling to draw a spaceman it would have looked exactly like the thing stood before me. I had no idea whether it could comprehend English or not but nerves made me blurt out: 'Greetings from Planet Earth, I have travelled many light years to meet you, I...
'Here, never mind that pish, ya space helmet, you got the new DABJ Allstars Vol 3 on ya, it's got new stoaters fae O.D.D, Modini and Casio Royale. I've heard it's oot o' this world.'

A1, "Capitulo 4". We find Gregor surprisingly accepting of his new reality: far from going crazy, he has serenely discovered in his new self everything he didn't know and didn't perceive as a human being. "Capitulo 4" is an incredibly precise description of the awakening of the new Gregor. Shadows, fog, sinuous silhouettes that are impossible to identify. In one word: confusion.
B1, "Capitulo 5". Vertigo starts to ease, we can hardly feel the anguish and the heartbeat is gone. We are in a new reality and although it seems a done deal, every movement he makes tells Gregor that understanding this new world and his perception of it will not be easy. Chapter 5 demands our everything while we listen: our full dedication and attention to the last minute detail that reveals a new horizon and its new colour, or lack of it. A horizon that, nevertheless, is more perceptible for Gregor, because he can now capture all sorts of colours and emanations.
B2, "Capitulo 6". Light. Gregor still ignores that most domestic insects have a strong aversion to intense light, but his human conscience is still intact and it will take him a long time to reprogramme certain habits, instincts and automatic behaviours, like a preference for lit environments. The painfully intense sensation that his antennae convey to his tiny brain when faced with light is an effective path to learning: little shocks that Reeko reproduces in this track, surrounded by an oscillating and changing ambience that redefines itself each time we listen to it.