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repressed !

Following the recent 'Aset Forever EP' by label bosses Dusky, 17 Steps announces its next release in the form of the 'Off Peak EP' by innovative Russian duo Formally Unknown.

The three broken beat originals will be familiar to anyone who has seen label owners' Dusky DJ recently.

Lead track 'Off Peak' offsets a breakdown of deep, Detroit-nodding chords with thunderous bass, modular bleeps and broken percussion that will test the outer limits of any sound system.

On the remix, Warehouse Music's Mella Dee flips the original with 4x4 kicks, spacey pads and layered percussion that glides in and out seamlessly, providing the EP with a hazy, dubbed out techno gem.

Industrial broken beat jam 'Burnin' again blends atmospheric chords with chopped samples to create a carefully crafted leftfield trip that feels like the perfect soundtrack to an industrial How It's Made video.

Closing things off 'Arp Three' brings things to a darker, stripped back close in a panic alarm buzz of broken bass and twisted FX - with distant rave divas crackling through the mix.

Lowfish is back! The electro veteran, who's been programming 808s since the early '90s, returns to Suction Records, the label he co-founded and debuted on in 1997, for his first release since 2011. This is suction046 - the 'Hypersensitivity' EP. It's been a while, but as the sprinkling of Lowfish compilation appearances - on labels like Analogical Force and Fundamental Records - over the intervening years have shown, Lowfish isn't interested in radical changes; it's all about quality and consistency. Flawlessly produced 808 drums, meticulously processed for maximum slam, combine with Lowfish's trademark synthesizer melodies and heavily-manipulated dialogue samples... best heard on standout cuts 'Apr294ms' - a melodic techno/electro dancefloor killer - and 'Favourable Reports' - a slice of 808 synthpop with melodic nods to vintage OMD and Gary Numan.

Fantastisches, drittes Album des Münchner Produzenten SCNTST aka Bryan Müller auf Boysnoize Records. "Scenes And Sketches From The Lab" ist ein amtliches Werk, das die makellosen Skills, Reife und Musikalität des jungen Produzenten, kombiniert mit einer Fülle an frischen Ideen, offenbart. Die 14 Tracks hüllen Techno, Ambient, Bass, IDM und Electronica in neue, kunstvolle und hochdetaillierte Formen, die sowohl auf Kopfhörer als auch im Club perfekt funktionieren.

Lunar Disko presents...
Time marches on with two Various Artist EPs to celebrate the 20th release on Lunar Disko Records. Eight tracks encompassing the modus operandi of the label since the beginnings
Part 2 features another selection of Lunar Disko favourites, with the return of DJ Overdose and Raiders of the Lost ARP, while two of Ireland's finest in Tr One and Automatic Tasty complete this stellar line-up.
..and time is still marching on

2024 Repress
"Apodiktische Gewissheit" ("apodeictic certainty") is the title of an audio-visual cooperative project from Berlin-based artist Gerhard Mantz and Wolfgang Voigt. The project is premised on a digital video piece from Gerhard Mantz. Steadily flowing geometric forms and themes move evenly around a fixed center towards the viewer. A hypnotic undertow-like effect of seductive beauty emerges - impossible to elude, whether you want to or not. Wolfgang Voigt seizes on the digital aesthetic and the mechanical flow of the images, giving them a musical equivalent. The result is a successful amalgamation of imagery and music that generates maximum intensity with minimum motion. An Impression of concurrency between loop-ish continuity and a constant forward thrust, always the same and always different, beginninglessness and endlessness is created.
The vinyl release at hand is a part of the audio-visual art installation "Apodiktische Gewissheit", developed in cooperation with Cologne-based gallery Hammelehle and Ahrens at Cologne's Gertrudenkirche and starting on Friday, November 4th 2016.

Celebrated ambient artist John Beltran jointly release not one but two vinyl compilations on Delsin Records in association with his own Dado label. The compilations, named Music For Machines Part 1 and Part 2, will take the form of two vinyl LPs released apart, with both releases complied together onto one CD available at a later date. Michigan born producer Beltran, of course, has released countless legendary EPs and LPs on labels like Peacefrog, Carl Craig's Retroactive and Belgium's R&S. His music has been licensed to high profile HBO TV series and a number of films, and pulls together elements of jazz, world music, organic soundscapes and electronic textures into compelling listening experiences. Most recently this came in the form of his Amazing Things album in 2013, whilst his career spanning Ambient Selections from 2011 is still a vital listen. Part 1 of the compilation pulls together new and exclusive tracks from the likes of Winter Flags, Blair French, David Elpezs and John himself, whilst part two focuses on the likes of Natalie Beridze, Kirk Degiorgio and Vincent Volt. Part 1 opens up with the found sound lushness of 'Winterfall Winds' before naturally unfolding through Reinehr's wintry harmonics and the crowning glory of Beltran's own titular track, which is a moving bit of textured modern classical music that sooths your mind, body and soul. As for Part 2, it is riddled with sumptuous sonic delights like Greg Chin's icy and alpine 'Dashboard Angels' and Mick Chillage's beautifully suspended 'Only In My Dreams'. Vincent Volt keeps things beautifully beachy with his 'Subway Arp' and A2B2C2's 'Stereometry' is a suitably sombre affair that closes the compilation down in style.

Snuff Trax celebrates magic record release number 010: - Happy Jackin Birthday!' For this little anniversary we asked four great artists to rework chosen tracks from the label`s back catalogue. Leading us off, Mr White (you know him from his collaboration with Larry Heard) made an edit of Snuff Crew`s - Are You House'. Followed by Humandrone from Tokyo remixing Perseus Traxx - - Don`t Feel Alone'. On the flipside you hear a remix treatment for Raiders of the lost ARP - - Stealing My Love' made by our man Takeshi Kouzuki of Kobe/Japan. And last but not least DimDJ from Thessaloniki created his own version of - Galaxian Journey' by Elec Pt.1

somewhere between New Order, Arthur Baker, and Giorgio Moroder with the benefit of modern ears, Argentine export and Berlin movershaker Nico Purman continues to shape his ever evolving vision of sound with his new label Art of Memory and its debut release AOM001. Carrying the momentum of his recent EP's such as Visions on Vakant (VA036) and Fade Away on Crosstown Rebels (CRM086), Nico drops perhaps his most expansive and melodic work yet drawing on influences from decades past to produce something both new and honest to former eras. With nods to New Wave, Techno, and a dusting of Space Odissey, AOM001's 3 tracks (+1 digital exclusive) bring both the lush musical synth textures of Purman's electronic forefathers with modern low end motivation of deep bass and tight rhythmic production. The resulting tracks that comprise AOM001 express pensive, moving, deep ideas of an electronic yesterday with an unrestricted vision of tomorrow written and shaped by the minds of talent like Nico Purman's.

The Fuga compilation returns to Token with its seventh installment by a fresh batch of artists emphasizing the cryptic sound of the Belgian record label. The V/A displays urgency as its focal point, expanding and contracting its acoustic space throughout to channel instability. With eight contributions, Fuga VII sifts through nail biting arpeggios, frenzied percussion, and obscure ambiance to recalibrate techno's current soundscape.

Opening the compilation is contemporary techno mainstay Rene Wise with his debut contribution to the record label 'Rough Rider'. In this A1, Wise plays to his strengths by blending deep techno influences with hyper-focused rhythmic work. With a hint of tribalism, he conjures up synthwork from far off to whip motion into heavy drum patterns. Following this first track, STIPP and Sandrien take control in presenting 'Corrie', a sequence-forward groover that slides through drum programing to streamline rhythm. A shrill pad comes in at the halfway mark, completely lifting the energy of 'Corrie' to strain the track's obscurity with an ethereal counterweight. The brief passage of these kinds of elements provides a lot of dynamic to what would otherwise be a powerfully straightforward piece. Diving deeper, Red Rooms unveils 'Limited Sensory' as the next chapter of the compilation. Always swift and exact, the German artist continues to push into the ultra immersive with a web of elements that whiz by for a peaktime lock in. Cold in attitude, Red Rooms tunnels through 'Limited Sensory' with quick drumsand far-off percussive hits that rumble through the track. Stepping up afterwards is Lindsey Herbert with 'Oscillations in Space' - an appropriately named recording that experiments with mania as a tool for the dancefloor. Fast and spiraling, Herbert keeps her hands on the arpeggio's filter to contain tension through thunderous reverb transitions, balancing panic with pace. AgainstMe then stretches out the followup with the commanding 'Phase Shift' to double down on weight. Textural intimidation and stomping percussion is given the space it needs to perform on heavy weight sound systems, making it an austere middle point for Fuga. MAL HOMBRE then guides the listener to more elastic sound design in 'Critical Velocity', in a most appropriate Token fashion. Snowballing in intensity halfway through, MAL HOMBRE pushes the cutoff of his melody and programs snare rolls for vintage craze through the second section. Bells clash with ringing hats to fly the track along its course without looking back or letting go. Conor Wall takes control with 'The Strategy' that focuses on pace rather than melody, weaponizing metallic texture for a deep dancefloor experience. The ambiance does a lot of story telling here, marking breaks and riding through drops to provide grit to an already substantial record. This leads us to the final contribution in Fuga VII - 'Ad Libitum'. Here, Porteix emphasizes the conclusion of the compilation with mystery. The synths slither around pulsating rhythm, creating uninterrupted motion throughout the track's entirety. Porteix draws the curtains on an inquisitive note, keeping the suspense high until the next Fuga compilation comes around.

Prince De Takicardie takes the reins at Opia for our 19th release, channeling a heady mix of polished trance and shimmering prog through his deep dancefloor excursions into all things euphoric. Bass lines twist and roll to ground the EP in a strong sense of pace and momentum while hazy pads and arpeggios whirl and hum to gently nod towards a mellower Balearic influence, all the while still maintaining the energy needed to slot neatly into a peak-time record bag.

Bergsonist emerges on Dark Entries with Depths, a genre-bending 12-track LP of atmospheric and rhythmic excursions. For more than a decade, Moroccan-born Selwa Abd has been using the Bergsonist moniker to examine postcolonial identity and speculative temporalities across disparate media, including sound, image, video, and installation. She is also a key figure in New York underground music, fostering mutual aid and community support through her platforms Pick up the Flow (PUTF) and BizaarBazaar. On the 2025 album ASL أصل ⴰⵙⵍ, Bergsonist explored her Amazigh heritage using field recordings captured in Morocco. With Depths, her sixth LP, she continues the project of ancestral reconnection through sound. Abd notes: “I really use making music as therapy, not as a precious act, more as an energy release that makes me feel alive.” Depths overflows with this excess of vitality.

Tracks like “Trust the Current”, “Depths”, and “Underwater World Pursuit” showcase her singular take on diasporic techno-futurism, where James Stinson-esque atmospherics meet Moroccan rhythms. Elsewhere, “Again” and “Higher” push into coldwave territory, with icy arpeggios and electroid beats dancing beneath Abd’s ethereal vocals. But the dancefloor is not to be neglected: “Breakthrough” and “Ode to Life” spring forth with the kind of skewed peak-hour energy that only Bergsonist can bring. Artwork for Depths was designed by Eloise Leigh, and incorporates photographs by Abd and Greg Zifcak taken in Morocco. Also included is a protection poster that features an Amazigh symbol used for warding off the evil eye. Depths is an album that achieves a rare balance of elegance and DIY ethics - it is truly an ode to life.

Lex Wolf will be a familiar name to those who like leftfield edits and trippy disco sounds, following great outings on the likes of Razor-N-Tape. Here, the producer kicks off new label Changes with four cuts of passionate and throbbing pumps. 'Rhythm Papi' has elastic drums and fat bass with erotic vocal whispers, and 'Everybody' taps into classic sampling with jacked-up house drums and sparkling arps. 'Fall Into A Trance' has old school horns and a steamy energy with yet another bold, potent bassline, while 'Keep Playin' is a bouncy sound with panning melodies and vocoder vocals that blend the past with the future. These are full-flavour sounds packed with character.

Some grooves don’t rush to the dancefloor — they crawl there, slow and heavy, like smoke wrapping around a bassline. With Fragments of Reality, The Balek Band sculpt an electronic funk that lives between shadow and light — an end-of-the-world fever dream, a Barjavel-style Ravage where chaos turns nihilistic.

No sequencer grid here — just four musicians sharing the same room, shaping air and tension together: drums locked tight with a slap bass, a guitar dripping with echo and heat, and a one-man orchestra behind his machines, weaving acid lines and synth arpeggios while mixing the band live — drenching it in delay, reverb, and saturation, like a dub producer in a Kingston studio, Lee Scratch Perry or King Tubby conjuring ghosts through smoke.

This isn’t fusion — it’s friction. A living ritual where the TB-303 hums, and machines don’t dominate but converse with the human pulse. Each track feels like a night that refuses to end — that humid in-between where trance slips into languor, and the body starts to think for itself.

The record recalls the cosmic jazz of Alain Mion or Eddy Louiss meeting the fiery energy of West African afrobeat musicians freshly arrived in a smoky Belleville basement in the mid-’80s. When The Balek Band summon ghosts, it’s only to reshape them — bending the past into something futuristic, alive, and strangely refreshing. Both disciplined and delirious, Fragments of Reality feels like a promise at dawn: dark funk for the late hours, slow acid for warm blood.

This EP isn’t nostalgic, though it remembers. It’s a transmission from a parallel past — a moment when jazz players met drum machines and decided never to stop playing. Each note sweats, each rhythm breathes. You can almost see the light cutting through the haze, faces half-awake, half-possessed.

The Balek Band aren’t recreating a moment — they’re keeping it alive.
Flesh and cables. Impulse and patience.
A band, not a loop.
A trip, not a format.

Ayô Dele — which means "joy comes to me" in Yoruba — is neither a slogan nor a promised miracle. It is a breath of fresh air. That of an album born in the interstices, where the word find their way between shadow and light, between the disorder of the worldand the impulse to be .
At the heart of the project, Julien Gervaix and Damien Tesson, multi-instrumentalist beatmakers, share a groove language that is both dense and airy, where every detail breathes and finds its place.
With background in Afrobeat, Dub, Funk, Soul, Roots Reggae, and Electronic Music, they treat the studio to be their playground. Their music is a hybrid groove that speaks to the body: round or bouncing basslines, brass oscillating between melodic warmth and funk energy, textured guitars, arpeggios, enveloping Rhodes, clavinet that slides, presses, and embraces. Everything comes together with precision and flexibility, in an inventive and warm composition. The meeting of their experiences and sensibilities gives rise to open, generous music, made for dancing and vibration.
With Ayô Dele , Ireke is embarking on a new chapter: the duo is refining its style,allowing the voices to breathe. The groove remains the driving force but opens up to intimacy. This intimacy is carried by two unique female voices: Nayel Hoxo, a Beninese-Nigerian singer/rapper, and Agnès Hélène, who has already made a name for herself on Tropikadelic with "Petit a Petit". They don't sing side-by-side; they coexist, respond to each other, and sometimes intersect. But each follows her own path: Nayel, with the power of her words in Yoruba, offers songs of elevation, healing, and resistance — a light born in the cracks Agnès explores these cracks themselves: what wavers within us, what reinvents itself in bonds, glances, and gestures.
For one track, Olivya (Dowdelin) joins this dialogue in Martinican Creole. Her sunny soul sketches the contours of gentle resistance and celebrates rediscovered light.
Ayô Dele embodies a quiet yet radical determination: to smooth nothing over, to let plurality, contradictory emotions, and mixed heritage live. An album that moves forward through vibrations, that speaks of emancipation without slogans, love without clichés, anger without uproar.
Two women, two inner worlds: a sensitive complicity, a shared breath. Music that seeks not effect, but echo, weaving a living soundscape between reinvented traditions and contemporary textures. An alchemy faithful to the spirit of Underdog Records, where music unites and brings people together. Ayô Dele : "joy comes to me." A lucid joy, crossed by shadows, patiently regained. Music that welcomes, releases, gives, and in doing so, makes us feel good.
In a saturated world, Ayô Dele chooses nuance: transmission without emphasis, joy without naivety. An album that vibrates more than it demonstrates, that connects more than it imposes, and which, in its quiet clarity, resonates with a deep desire to be fully alive.

This 12" introduces Maajo Soundsystem, the electronic, dancefloor-focused sub-project of Maajo, presenting stripped-down, club-ready versions of their 2022 album 'Water of Life' that go beyond standard remixes through newly recorded balafons, percussion, and vocals from Senegalese artist Ismaila Sané and Mauritian vocalist/drummer Gilbert K. Sané began his career in the 1970s as a percussionist and African ballet dancer before relocating to Finland in 1999, later becoming the first emigrant to receive the country's Citizen of the Year award. While Maajo tours as a six-piece live band, Maajo Soundsystem offers a flexible electronic configuration that retains live vocals and percussion. The group has released multiple LPs and EPs on Queen Nanny and Permanent Vacation, scored the silent film Lost World, received remixes from Luke Vibert and Call Super, and toured internationally, with strong radio and press support from BBC Radio 6, Worldwide FM, KEXP, Resident Advisor, WFMU, and more.

Matt Gold and Dustin Laurenzi present Devotional Fade, a collaborative record of electroacoustic rhythmic improvisations – equal parts meditation and dance, released on We Jazz Records, 24th April. Laurenzi and Gold, key collaborators in the Chicago creative scene and with genre spanning artists such as Bill Callahan and Makaya McCraven, step forward here with a major artistic statement, a product of extended improv sessions capturing the duo's hypnotic interplay. This is the sound of two of Chicago's most vibrant instrumental voices listening deeply, communing in sound.

Recorded in Laurenzi's attic studio, Devotional Fade emerged from a series of weekly sessions over the course of a single month. The duo kept the tape rolling continuously each day and selected a number of immersive sonic worlds to present, oscillating between patient, sacred minimalism and wild, dancefloor-worthy combustion.

The pair set two parameters to heighten the sessions' stakes: editing would be kept to a minimum, and a rule of "no pitched overdubs" was put in place – ensuring that all melodic and harmonic gestures would have to be committed in real time. Laurenzi and Gold held true, only sparingly adding a stray shaker or brush to these already largely complete improvisations. Devotional Fade is imbued with quiet propulsion and ecstatic repetition.

Matt Gold is a guitarist, multi-instrumentalist, songwriter, and producer based in Chicago, IL. His work pulls from diverse traditions of electric and acoustic music. Matt has performed across six continents and contributed to over fifty recordings as a collaborator and instrumentalist, garnering critical praise from Pitchfork for playing "one of the most exhilarating guitar solos of recent memory, in any genre." Gold has several long-running collaborative bands spanning jazz, folk, experimental, and chamber music including Sun Speak, Storm Jameson, and Tin. He performs and records with an array of creative artists including Makaya McCraven, Marquis Hill, Jamila Woods, Natalie Merchant, and Greg Ward. Gold co-curates the record label and concert series Flood Music.

Chicago saxophonist/multi-instrumentalist Dustin Laurenzi has developed a personal approach to improvisation and composition that has garnered the attention of the city's creative music community. Laurenzi's music is inspired and informed by jazz, folk, and improvised music. His inventive improvisational sensibilities have made him a sought-after musician in many circles of Chicago's vibrant music scene and beyond. Laurenzi has toured extensively with songwriter Bill Callahan and is featured on Callahan's 2024 release Resuscitate! He has toured with Grammy award-winning artist Bon Iver and appears on the band's critically lauded 2016 release 22, A Million. Laurenzi has also performed with Jeff Parker & The New Breed, Marquis Hill, Makaya McCraven, Matt Ulery, Japanese Breakfast, and This Is The Kit.

Die XKatedral Anthology Series III ist die dritte Ausgabe einer Reihe von Archivveröffentlichungen, die Musik von Komponisten zeigen, die sich mit langsam sich entwickelnder harmonischer und klanglicher Musik beschäftigen. Die hier vorgestellten Stücke konzentrieren sich auf die Verwendung von synthetischen und akustischen Klängen sowie auf algorithmische Komposition als Werkzeuge für präzises Arbeiten im Bereich der spektralen Erforschung. Dieses Doppel-Vinyl-Set erscheint anlässlich des zehnjährigen Jubiläums des Labels und enthält Werke aus den Jahren 2014 bis 2025. Es wird zusammen mit Neuauflagen der XKatedral Anthology Series I-II veröffentlicht. "My Falling Sinks" von Kali Malone ist eine sparsame, absteigende Melodie für justierte Orgel, Cello und Akustikgitarre mit Lucy Railton und Stephen OüfMalley. Das Stück ist eine kompositorische Skizze in septimaler reiner Stimmung, die 2021 während eines Aufenthalts in La Becque auf einer experimentellen Stimmorgel in La Temple de La Tour-de-Peilz entstanden ist. ,Empyrean Flare" von Maria W Horn wurde 2022 für ,The Dawn Chorus" der Choreografin Stina Nyberg komponiert. Dieses Stück nutzt die von Arvo Pärt entwickelte Tintinnabuli-Technik, um vier Supersaw-Oszillatoren in langsamen diatonischen Arpeggios zu animieren, die um eine Moll-Tonika-Dreiklang kreisen, und destabilisiert das harmonische Gerüst durch Glissandi und verstärkt die Summe seiner Teile durch analoge Bandsättigung. ,Tessellation" von David Granstrom wurde im Sommer 2017 mit generativen Synthesemethoden komponiert. Die musikalische Periodizität und harmonische Bewegung, die in dem Stück zu hören sind, entstehen durch feste synthetisierte Bandschleifen, die einen Raum zwischen gegensätzlichen Welten erkunden. "To Whoever Shall Inherit the Earth" ist das erste Solostück von Jessica Ekomane und entstand laut der Komponistin fast zufällig. Das Werk wurde vor einem Jahrzehnt spät in der Nacht aufgenommen und fängt einen flüchtigen, zerbrechlichen und unwiederholbaren Moment ein, der genau so festgehalten wurde, wie er sich ereignet hat. Smoking Mother von Stephen OüfMalley wurde für Gisele Vienneüfs Der Teich / LüfEtang von Robert Walser geschaffen. Es wurde 2018 während eines Aufenthalts im SMEM-Synthesearchiv in Freiburg komponiert und im August 2020 bei EMS produziert. Das Stück greift auf Werke von Zia Mohuiddin Dagar, Krzysztof Penderecki und Popol Vuh zurück und erkundet gleichzeitig die Wurzeln des Minimalismus. ,Att boja sjalarna" von Mats Erlandsson wurde 2018 komponiert und ist Teil von ,On Eternity", einer Sammlung von vier Texten und vier zehnminütigen Kassettenloops, die 2021 von Irrlicht Forlag als limitierte Box-Set-Edition veröffentlicht wurde. Dieses Werk enthält Darbietungen von Gaianeh Pilossian und Sara Fors, jeweils auf der Violine und mit Gesang. This will be my last piece for organ wurde 2025 von Theodor Kentros komponiert und nutzt Gruppen von Cluster-Oszillatoren durch resonante Rückkopplung, um die schwankenden Frequenzen zu synthetisieren, die beim Verstimmen einer Orgel im physischen Raum zu hören sind. "Fault Lines" wurde von Daniel M Karlsson mit generativen Methoden komponiert, wobei ein deterministischer und endlicher Output für diese Veröffentlichung festgelegt wurde. Dieses Stück enthält Gesangsdarbietungen von Sara Fors, Ansis B.ti. und Art.rs C.ukurs.

SUNANDBASS Recordings proudly presents its next release, welcoming rising artist Napes with a brand new single: Hit The Corner / Clamber. This release marks the exciting introduction of a new artist joining the SUNANDBASS Recordings roster, signalling a bright future for both the label and its evolving sound. With previous releases on Shall Not Fade and Alix Perez’s 1985 Music, Napes is a promising name within the modern jungle scene. This release is a clear statement of his pushing boundaries combining grime influences and old school jungle, giving us his fresh sounds and melody-led drum and bass music, reaching new horizons while staying rooted in foundations. On the A-side, Hit The Corner showcases acid-tinged synths that meet a UK grime edge, driven by energetic beats and rolling breaks. In 6:20, Napes lets us travel through all the facets of a SUNANDBASS Recordings journey, with his ever-changing arrangement that evolves from heavy, club-focused energy into a euphoric jungle-inspired middle section, before concluding with driving arpeggiated synths. On the B-side, Clamber offers a deep, darker contrast. Between the atmospheric strings set intro which is dropping into a heavy, bass-driven groove, easily imagined shaking the dancefloor during an Ambra Night indoor session. The track reveals a more introspective side of Napes, blending refined sound selection with classic, weighty basslines built for the dancefloor. We’re honoured to welcome Napes to the SUNANDBASS Recordings family, an artist whose sound reflects our love for all corners of the genre while paying homage to the music that brings us together in Sardinia year after year. SUNANDBASS Recordings continues to push the boundaries of drum & bass, fostering connection through music that transcends borders, unites listeners, and celebrates rhythm, movement, and culture.

Hatchback is the alias of Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs. ‘Phaser For The Ocean, Chorus For The Moon’ is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Soaked in Californian consciousness, the album is a balm like no other for these troubled times.

When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like ‘Quadrophenia’ and ‘The Lamb Lies Down on Broadway’, as well as epic pieces that took up an entire side of a record: Pink Floyd’s ‘Echoes’, Yes’ ‘Close To The Edge’, Klaus Schulze’s ‘Nowhere Now Here’, Miles Davis' ‘Shhh/Peaceful’ and ‘He Loved Him Madly’. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ ‘Tales From Topographic Oceans’, and Tangerine Dream’s ‘Zeit’ being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album. - Sam Grawe

‘Phaser For The Ocean Chorus For The Moon’ is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI.
These are songs for the sunrise and the sunset - and every colour in between.

[a] 01. And The Walls Became The World All Around [18:53]
[b] 02. Phaser For The Ocean, Chorus For The Moon [21:48]
[c] 03. Other Desert Cities [20:19]
[d] 04. Friendship Fountain [18.33]