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Aurora Records proudly presents Temporal Gardening, featuring
composer and performer Stephan Meidell and the baroque ensemble
Bergen Barokk
The new album will be available on vinyl and digital platforms on15th of
September 2023.
Temporal Gardening was originally a commission written in 2020 for Bergen
Barokk. The idea was to explore using early music instrumentation in dialogue
with new electro-acoustic technology. The unique and remarkable ecology grew
from pseudo- baroque music playfully reimagined, reinterpreted, disassembled,
remixed, and resampled.
The trio has been expanded with drums, functioning as speakers for the
electronic manipulations of the ensemble. A double-bass recorder vibrates a subwoofer speaker mounted inside a bass drum, and a live sampled harpsichord
sounds through cymbals, gongs, and a snare drum. Meidell himself part takes as
a musician in the performance, doing live sampling and electronic contributions.
Musician-composer Stephan Meidell is a musical adventurer who, in a nomadic
fashion, improvises his way through a plentitude of styles. Meidell's music exists
where genres dissolve into fragments that canbe picked apartand combined in
new ways. He frequently combines sounds from electronic, acoustic, and
electromechanical instruments and machines and then recontextualises them
with his finely tuned intuition and sense of detail. Meidell has a plentitude of
releases and commissions, including with Erlend Apneseth Trio, Strings &
Timpani, Cakewalk, and TRIGGER on labels such as Hubro, Clean Feed, Playdate,
and Ideophone.
Bergen Barokk was established in 1994 and is today one of Norway's leading
early- music ensembles. The group has concertized and appeared in radio
broadcasts in Europe, Russia and USA. Their recordings on Simax Classics, BIS,
Bergen Digital Studio and Toccata Classics include German, English, Italian and
French repertoire. Bergen Barokk has collaborated with several ensembles
through the recent years, some of them are Pratum Integrum (Moscow),
Norwegian Soloists' Choir and Barokksolistene (Norway). Bergen Barokk has
performed in festivals like Festspillene i Bergen, Bach Festival of Philadelphia,
Moscow Early Music Festival and Janacek International Music Festival (Czech
Republic).

The album describes an extraordinary time period of the global lockdowns and crises. It is also a portrait of one of this generations most intriguing guitarists.

Ole Martin Huser Olsen was names 'Performer of the Year' by the Norwegian Society of Composers in 2022. The critically acclaimed album is available on vinyl from 1st September, 2023.

Bei Daisy Jones & The Six handelt es sich um die fiktive
70ies-Band aus dem gleichnamigen Buch Bestseller von
Tayler Jenkins Reed. Die reale Band wurde im Rahmen
der Buchverfilmung nun gecastet und hat im Zuge dessen
das Album AURORA aufgenommen.
Zur Besetzung der "Daisy Jones & The Six" Band &
Show gehören u.A. Reiley Keough, Sebastian Chacon,
Sam Claflin und Suki Waterhouse.
Die 11-Song-LP AURORA wurde vom
GRAMMY®-nominierten Autor, Produzenten und
Multiinstrumentalisten Blake Mills produziert..
Geschrieben wurden die Songs u.A. von Marcus
Mumford, Phoebe Bridgers und Jackson Browne.
SYNOPSIS: Im Jahr 1977 waren Daisy Jones & The Six
ganz oben auf der Welt. Mit den beiden charismatischen
Leadsängern Daisy Jones (Riley Keough) und Billy Dunne
(Sam Claflin) war die Band aus der Bedeutungslosigkeit
zum Ruhm aufgestiegen.
Und dann, nach einer ausverkauften Show im Chicagoer
Soldier Field, löste sich die Band auf. Jetzt, Jahrzehnte
später, sind die Bandmitglieder endlich bereit, die
Wahrheit zu enthüllen. Dies ist die Geschichte, wie eine
ikonische Band auf dem Höhepunkt ihrer Macht
implodierte.
Daisy Jones & The Six wird ab dem 03. März als Serie
auf Amazon Prime zu sehen sein. Das Album AURORA
erscheint am selben Tag.

Progressive Swedish rock trio Time Dwellers is the
brainchild of guitarist Martin Fairbanks (formerly
from the doom metal band The Graviators) and
multi-instrumentalist and singer Kristofer
Stjernquist.
Started in 2017, Time Dwellers blend anything
from rock to prog, funk and jazz to compose a
potpourri of songs that are still coherent and
cohesive.
The band’s debut album, ‘Novum Aurora’,
showcases a musical landscape with influences
from mostly 60s and 70s music, filled with
mellotron, 12-string guitar, synthesizers, grooving
rhythms, thrilling guitar solos and imaginative
existential lyrics delivered from a whisper to a
lion’s roar.
In a world that’s growing more cynical by the
minute - where popular music, at the same rate, is
getting saturated and bland - Time Dwellers set out
to put a blanket around you and soothe your
aching soul, while not fearing any musical limits or
borders.
For fans of Beardfish, Opeth, Death Meadow,
Camel, Needlepoint, The Flower Kings, Gentle
Giant, Graveyard, Jethro Tull, Kadavar, Caravan,
Black Mountain, All Them Witches, Barclay James
Harvest, Earthless.
LP pressed on clear vinyl.

Aggressive Blackened Death Metal with hooks and technical finesse that invokes the Ancient Gods! Aurora Borealis has been around for years (going back to as far as 1994! and it has mostly self-released their albums. Underground fanatics might remember the band reaching out to promote its music on forums back in the day and tracking its progress, each album was a large improvement over the earlier ones. And through time Aurora Borealis had great drummers ranked in its line-ups: Tony Laureano, Derek Roddy and Tim Yeung, which indicates the quality and level we talk about here. Aurora Borealis plays Black/Death Metal, remaining gritty not unlike Angelcorpse, but being more dynamic comparatively. It has got unique themes and the album artworks represent that. As the band name suggests, they are indicative of the Aurora Borealis phenomenon although the band has progressed to involve sci-fi imagery not far removed from Nocturnus, where artworks are concerned. Musically, the band remains true to its original Black/Death sound but it’s doing it with far more potential and competency than the others. The band’s definitely got a solid US death metal sense, it is not flirting too much with the European style of melody-infused death metal as it may appear. One will be surprised to find it so hard-hitting and gravelly and yet be rife with some of the most driven and enthusiastic activity. It is not solely focused on being technical (which in a way it is) but it is varied and it is catchy. Floridian Death Metal bands have much in common with the way Aurora Borealis structures its songs and there is the ever-present Morbid Angel influence, infected with some early Malevolent Creation rabidity. This is what makes death metal so good, few could contest with that. It’s got Death Metal in its genes, but Aurora Borealis takes the vitriol from Black Metal especially in the vocal department and gives the music an edge that is hard to miss. Here there is that special spice, that sizzling quality that comes from the rasps, adding a certain Thrashiness to it as well. The hooks make this album special, because writing good songs can be safely left in the hands of founding member Ron Vento.

Aurora Records is proud to present asamisimasa's latest album with two
pieces by composer Trond Reinholdtsen – Unsichtbare Musik (Invisible
Music) and SPASTIL (Late Style)
After nearly twenty years of collaboration, this is their first collaborative release.
Reinholdtsen is among Norway's most prominent composers of his generation
and has a significant international position with a long list of commissions on his
resume. asamisimasa has premiered seven works by Reinholdtsen at festivals
such as Donaueschingen, Ultima, Huddersfield, and Darmstadt. Being a prolific
voice within the experimental opera and music theatre scene, Reinholdtsen has
previously only released two works on CD. With this release asamisimasa wishes
to shed a light on his instrumental chamber music. This is the ensemble's fifth
portrait album, their second on Aurora Records. "Unsichtbare Musik" was
commissioned for a concert at the Berliner Philharmonie in 2009, and explores
the relationship between language and music, between words and sonorous
representation. The piece challenges both the act of listening, our perception of
musical sounds, and the attempt to conceptualize musical impressions and
experiences. Composed ten years later,"Spatstil" is based on the semantic
analysis of "Unsichtbare Musik" and the ensemble's performance history with this
work. "SPATSTIL" marks a clear, yet ironic distance from the previous piece
through a dystopian self- criticism. The pieces have a unique sonorous
sophistication and aims to inspire philosophical reflection as well as aesthetic
pleasure. The aim is that the album can contribute to a reflection on music's
conditions today by focusing on the solitary and secluded listening one does at
home.
asamisimasa was founded in 2001 by musicians who shared an interest for
experimental music. Since then the ensemble has won two Spellemann Awards
(2012, 2015) and premiered more than 80 new pieces and toured all over Europe,
USA and Asia.

Oscillating bass tones, off-kilter drums, velvety pads, melancholic synths, ambient soundscapes. Four timeless cuts by Estrato Aurora & Siarem plus an outstanding remix by VC-188A. Everything we dreamed of.

Repressed !

Hear & Now's Story Is One Of Friendship And A Shared Passion For Music. It Began With A Chance Meeting On The Dancefoor At Red Zone In Perugia, One Of Italy's Most Legendary Clubs
Of The 1990s. Nearly Three Decades On, These Glassy-eyed Clubbers Have Joined Forces To Deliver One Of The Most Magical And Sun-kissed Albums That Claremont 56 Has Ever Released. By The Time Ricky L And Marcoradi Frst Joined Forces In The Studio In 2016, Both Had Become Established Producers Within Italy's Vibrant Deep House Scene. Between Them, They'd Released Records And Remixes On Such Labels As Ibadan, Uomo, Reincarnation, Top Tracks, Restricted
Tracks And Vega. Keen To Step Away From The Dancefoor, They Decided To Simply Create Beautiful Music For Bleary-eyed After-hours Sofa Sessions, Lazy Summer Afternoons And Early
Mornings Spent Blinking At The Rising Sun.
Aurora Baleare, Their Debut Album, Follows On From A Fantastic Double A-side 12' For Claremont 56 In February 2017. Those Two Tracks Take Pride Of Place Amongst An Eight-track Selection Simply Brimming With Evocative Workouts, Gentle Soundscapes And Noon-bright Sonic Bliss. While You'll Fnd Luscious Instrumental Cuts Designed To Inspire Baggy, Glassy-eyed Shuffing - See The Mid-tempo, Spine-tingling Brilliance Of salsedine', Mind-massaging hirundo' And Dreamy Slow-house Treat sabbia Magica' - It's The Effortless Brilliance Of Marcoradi's Improvised Guitar Playing And The Duo's tmospheric Approach That Really Catches The Ear.
Check, For Example, The Heady Horizontal Shuffe Of trasimeno', Where Poignant Ambient Chords, Jazzy Electric Guitar Solos And Deep Space Electronics Tumble Down Over Shuffing Beats And A Squeezable Synthesizer Bassline, And The Sun-down Adriatic Wonder Of stella Dei Venti', A Track So Effortlessly Loved-up And Blissful That You Might Be Overcome By Emotion (it Certainly Had Us Daydreaming Of Days Spent Exploring The Intense Natural Beauty Of Italy's Adriatic Coast).
Moments Like This, Where The Duo's Dreamy Electronics And Smile-inducing Melodies Seemingly Shimmer Across The Sound Spectrum, Can Be Found Dotted Throughout Aurora Baleare. There's The Darting Digital Synthesizer Motifs, Sparse Hand Percussion And Ricocheting Solos Of airone', The Italo-disco-inspired Chugging Positivity Of la Marsa' And The Title Track's Humid Beachside Breeze, Where Intertwined Electronic And Acoustic Lead Lines Seemingly Glimmer Like Rays Of Sunshine Bouncing Off The Surface Of A Becalmed, Crystal Clear Ocean. Their Roots May Be On The Dancefoor, But Hear & Now Are Fast Becoming Down Tempo Masters. You Can Dance If You Want To, But You May Just Want To Hug A Stranger Instead.

Blissful ambient scapes alternated with dark tones and spacious IDM trips: Nous'klaer proudly present the third album by the Rotterdam via Sydney producer Nadia Struiwigh. After her Oooso EP earlier this year, Nadia returns with nine healing tracks to dream to. Artwork courtesy of Yan Cook.

In the cinema, the composer must go to meet the filmmakers, enter their world, but without giving up his own. This is the difficulty or the paradox of music for the image. By collaborating with directors from a wide variety of backgrounds, I think I have indirectly discovered a lot about myself. It helped me to progress, to explore territories that were not naturally mine. Cinema is a laboratory where I have sought to construct original orchestral formulas combining Corsican polyphonies, musicians from jazz, variety, classical, or even rappers. Like the world today, a fragmented world where all cultures mingle. So said Bruno Coulais, one of the most innovative composers of contemporary cinema, during the tribute paid to him in 2011 at the Cinémathèque de Paris

In 1978, Bruno Coulais, a young composer of concert works, discovered in film music a new means of expression, a way of bringing the demands of his writing to the masses. François Reichenbach, then Josée Dayan, Jacques Davila, Souleymane Cissé or Laurent Heynemann, first on television and then in the cinema, lead him of his own accord in the discovery of this new world.

In 1995, he composed the music for Microcosmos. This centimeter-scale initiatory journey offers him the opportunity to reveal the full dimension of his writing. He injects into his score a strange lyricism, between wonder and fantasy, confirming the lesson learned from François Reichenbach: "to any documentary image, music brings a part of fiction".

The success of Microcosmos established the musician and made him the indispensable composer of other natural tales, notably alongside Jacques Perrin (Le Peuple migrateur, Oceans, Les Saisons, etc.). Other long-term relationships will be forged, in particular with Benoît Jacquot, with whom he has worked for more than a decade, not to mention Frédéric Schoendoerffer, James Huth or Jean-Paul Salomé.

In addition to great popular successes such as Les Choristes, Brice de Nice or Sur La Piste Du Marsipulami, it is hardly surprising that this insatiable curiosity has found in the animated cinema the most inspiring playgrounds, in particular through his collaboration with two exceptional designers, Henry Selick and Tomm Moore.

The first, American director of The Nightmare Before Christmas produced by Tim Burton, invites Bruno Coulais to sign in 2009 the magnificent score of Coraline (film nominated for the Oscars). 10 years later, he is about to find him for a new and beautiful Wendell & Wild adventure. For Irishman Tomm Moore, Bruno Coulais has already composed the music for two Oscar-nominated films, The Secret of Kells (2009) and Song Of the Sea (2014), and in 2020 he will sign the score for Wolfwalkers.

Whether it is about author's films or more mainstream films, Bruno Coulais maintains the same standards, always considering his art as a window open to the world. Much less wise than it seems, he reveals in it a gift of a modern alchemist and a very personal way of mixing the most diverse cultures in universal harmony at work.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Zero 7 return with a sublime new 12' featuring two new tracks. On the A-side 'Mono (featuring Hidden)' see the debut collaboration between the band and new vocalist 'Hidden'.
On the B-side 'Aurora (featuring Jose Gonzalez)' sees the band team up with their long standing collaborator Jose Gonzalez.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

repressed !

First part in the triptych of Versalife! Pure intense atmospheric electro techno tracks constructed on the costal areas of the dutch west coast. Hope you enjoy it as much as we do! (The following Versalife releases 06.2 and 06.3 are scheduled for the next 2 following months).

Following 3 maxis on Hilltop Imprint and the label Construct Re-Form, the producer Fareed – formerly of the Society of Silence duo (Versatile, Concrete Music) – returns on the new label, MAZE, dedicated to experimental breaks and cinematic soundscapes.
This first EP, with irregular rhythms and metallic sounds, loses us in the meanders of a jungle and transports us into a world borrowed from mysticism.

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

Dapayk Solo, Berlin based producer and veteran of the minimal techno scene, announces the release of his 10th studio album 'The Calling'. This latest project will be the producer's first solo album since
2015. The 8-track double 12inch LP will be available via Dapayk Solo's label Mo's Ferry Productions and comes with a free download voucher for the extended 12-track digital album.

The first track on this LP 'The Calling' shares its name with the album and starts off with a pang of energetic, chopped beats before exploding into a brassy melody, continuously gaining momentum.
'Blackout' immediately announces itself as a next generation Detroit House anthem. The rolling synths, hi hats, and vocals make this one of the most outstanding tracks on the album. 'Aurora' stays true to its name with a buildup composed of throbbing ethereal synths that give the track an otherworldly vibe. 'Flood' transports listeners to the dancefloor with its pulsating bassline combined with Komplement's quaint vocals.

The second part of the album begins with 'After All', one of the most enticing tracks on the album. It combines the groovy rhythm of four to the floor percussion with tantalizing vocals by VARS before New Release Information 'Low Tinnitus' reverts to Dapayk's signature minimalist sound. The transition into 'Wanderer' continues the momentum built up by the previous tracks. The closing 'Walk With Me' is a deep-house jam that features a rhythmic shaker layered under Mental Bend's powerful vocals.
Dapayk Solo, alias Niklas Worgt, isn't afraid to try new things. With 5 aliases under his belt, he continuously strives to experiment with different styles and production techniques to create innovative sounds. Throughout the span of two decades he went from producing drum'n'bass to house to ultimately crafting the groovy, edgy techno sound that he's now known for.

With more than ten LP releases and over 70 single releases on his record, he is one of the main protagonists in the world of underground electronic music. In 2017, he released an LP titled 'Harbour' with his wife Eva Padberg under one of his many projects, Dapayk & Padberg. While that album aimed to steer away from traditional club beats, 'The Calling' sees Dapayk reassume his deep, dark, and infectious sound. While Dapayk is often categorized as a minimal producer, the LP proves that he is capable of extending beyond the scope of a single genre. 'The Calling' is just another example of why Dapayk has managed to stay in the scene for so long: he loves electronic music and he's great at
making it, too.

Past releases - Crosstown Rebels, One Records, Leftroom Limited and FFRR Party Affiliations - Circoloco, Flying Circus, Luciano & Friends Francesca Lombardo has cultivated a sound of her own, one that represents her multi-disciplinary musical background and transcends the dancefloor with ease. Creating emotional narratives via wistful soundscapes, stirring melodies, hypnotic rhythms and her own mesmerising voice distinguishes her from the crowd.

Der Regenmacher trägt Hoffnung in sich. Er kann Blüte in Zeiten der Dürre bringen, neues Leben, wo lange keines war. Er weiß, dass er scheitern kann - und dass er gerade deswegen den Glauben an seinen Erfolg aufrecht erhalten muss. Mit seiner Musik ist der Berliner Rapper Megaloh selbst zu einer Art Regenmacher geworden. Er bringt die Hoffnung auf eine neue Ära im deutschen Hip-Hop. Nun erscheint sein neues Album mit genau diesem Titel: "Regenmacher". Die Stärke des Megaloh von 2016: dass er Geschichten nicht nur erzählt, sondern sie in unmittelbar mitreißende Musik zu übersetzen weiß. Dass er so unterschiedliche Feature-Gäste wie Max Herre, Joy Denalane, MoTrip, Jan Delay, den Sänger Maxim, Tua von Die Orsons, Patrice oder den Leipziger Dancehall-Don Trettmann auf einem Album zusammenbringen kann - und dennoch einen unverwechselbaren Sound schafft.

With releases on a slur of top labels including Invisible, Critical, Metalheadz, Subtitles & Dispatch, 2014 sees Hybris release his debut album on Noisia's Invisible imprint.

Entitled 'Emergence' the new album is set to cement Hybris as one of the most forw

Acclaimed, Swedish composer, producer and live artist Sebastian Mullaert, and Georgian electronic artist Tamarma (Tamara Davitashvili), are set to release the deeply personal and genre-fluid album ‘Holds the Sky’ on the 25th September via Awesome Soundwave, the label curated by Christopher Coe and Carl Cox.

Spanning ambient, experimental and alternative electronic forms, alongside a set of dancefloor-oriented reworks that expand the project’s sonic spectrum, at its core, the album is the result of an unusual artistic convergence that traces back to 2020. Tamarma entered Mullaert’s successful In Bloom mentorship programme on a scholarship, and over a year-long deep exploration of album creation, her work revealed a rare clarity and emotional depth.

One piece in particular became the catalyst. Developed further through Mullaert’s 4 step studio process, it unfolded into a full length album collaboration. What began as a single composition has since grown into an album that documents an organic and intuitive exchange between two distinct artistic voices.

The result is less a collection of tracks than a continuous unfolding; a dialogue shaped by trust, listening and shared curiosity. Rather than aiming for a fixed genre position, the album operates as a living process: a meeting point between tradition and experimentation, between voice and synthesis, between two artists allowing something larger to emerge through their collaboration.

With compositions such as the chiming ‘Being Colours’ and hypnotic ‘Holds The Sky,’ Mullaert and Tamarma have created a body of work that resists easy categorization. The album moves through intimate, meditative passages and more rhythmically driven moments, always anchored in a sense of presence and emotional immediacy. The flickering beats of ‘Winnow’ and ambient manifestations of ‘Lost In Dimension’ and ‘Field of Us’ add a sense of tranquillity, stillness and convergence.

Tamarma’s voice carries both a personal and cultural depth throughout the album, while remaining fluid and responsive to the moment. The result is a sound that feels both intimate and spatial, where voice, texture and atmosphere are closely connected. Her Georgian musical heritage combined with Mullaert’s open-ended electronic exploration, allows something beautiful to emerge, shaped by listening, space and a sense of something larger than either artist alone.

Widely celebrated in the electronic music community, Mullaert has spent the last three decades moving beyond the boundaries of electronic music, from shaping the sound of cult duo Minilogue to creating the fully improvised global platform, Circle of Live, which has seen him perform and collaborate with artists such as Mathew Jonson, Âme, Amp Fiddler, Aurora Halal, Speedy J, Sam Barker, Dorisburg, Move D, Sleep D, Kuniyuki, Pantha du Prince, Leafar Legov, Wayne Snow, Laurence Guy, VRIL, Neel and Erika.

Initially making a name for himself in the world of techno, his performances have moved fluidly between environments, from underground spaces including Berghain’s Panorama Bar to festivals around the world, and venues including the Barbican, London, where he has appeared alongside artists including Joep Beving, Laura Misch and JakoJako. Platforms such as ARTE have featured his performances, placing his work within a broader European cultural context, while support from Resident Advisor and Boiler Room reflect his continued presence within the core of electronic music culture. He has received a Swedish Grammy and the P3 Guld award from Swedish National Radio.

His 2020 album ‘Natthall,’ developed in collaboration with Tonhalle Orchestra Zürich and performed with Subchamber Ensemble, saw Mullaert enter the world of contemporary composition, and merged electronics with chamber music and improvisation. The album was later named among the top post classical releases of the year by BBC Music Magazine.

A new documentary film by Ableton, set for release this summer, captures Mullaert’s Circle of Live project through a performance at Brighton Dome in the UK, featuring Mullaert and electronic artists Clark and Rival Consoles. The film offers a rare insight into the inner workings of collective improvisation at a high artistic level, further cementing Mullaert’s role as a leading voice in contemporary live electronic practice.

Tamara's background is rooted in the landscapes and traditions of Georgia. Raised near the Caucasus Mountains, classically trained in piano and shaped by years as a jazz vocalist, her work carries traces of Georgian polyphonic singing and a strong connection to nature and place. Her transition into electronic music is not stylistic but transformational; a recontextualisation of heritage into new sonic forms.

‘Holds The Sky’ will be available on vinyl and digitally on the 25th September via Awesome Soundwave. The digital release includes three exclusive album track reworks from Mullaert.

Label head Len Faki joins forces with Icelandic dub techno pioneer Exos for Infinity In Loop, a joint exploration into cavernous depths and shifting tonal landscapes.
Two versions of the title track fill the entire A-side, each unfolding with patient intent. Drifting across icy atmospheres and static hums, Infinity In Loop’s first incarnation slowly builds into a mesmerizing, minimalistic loop—punctuated by delicate percussion and a faint, comforting sprinkle of melodic warmth amidst the arctic chill. The second iteration leans more into a classic 90s dub techno framework, launching straight into a steady pulse anchored by echoing chord pairs and crisp, high-energy percussion.
On the B-side, the duo shifts towards raw, dancefloor-driven territory. Aurora delivers impressive tension with dry, jacking rhythms, snappy percussion, and haunting vocal fragments cut up to drive the groove forward. Closing out the EP, Circuit Flux pairs sub-heavy low-end with unpredictable rave energy. Nostalgic 90s vocal cues, pitched-up hooks, and fidgety FX swell and recede over staunch synths—creating a dynamic, deeply layered track that constantly shifts between space and peak-time momentum.

For the fourth release HNT004, hereandthere brings together a diverse group of artists across five tracks, moving between dance-floor intensity, nostalgia, and deeply emotional moments.

On Board Music returns for its sixth installment of the Various Artists EP series, but this time with a different approach. Five fresh remixes breathe new life into Point C, originally released in 2021 and consisting of tracks from Foreign Material, Hironori Takahashi, Hiver, Sylve and Alan Backdrop.

For the 2024 update, On Board enlists five of the finest deep techno practitioners to twist the originals into bold new forms. US artist Patrick Russell dives deep into his signature, tripped-out zone, with dub and half-time sensibilities grounding the remix in an eyes-down headspace. Estrato Aurora, who remixes Hiver’s cut, goes equally subterranean, perfectly setting up the nimble drumming and bright melodies of Polygonia’s contribution.

JUDDER announces the second installment of its vinyl series, bringing together a diverse selection of artists united by their passion for experimental bass music. This time, the record is fully focused on a raw, soundsystem-driven aesthetic. On Side A, French producer Amor Satyr—known for effortlessly navigating between dembow, breakbeat, and techno—ventures into dubstep territory for the first time. On 'Over', he translates his signature style onto the genre’s foundations while retaining the distinctive energy that defines his sound. The record continues with a collaborative effort from Thematic and Nattah. ‘Aurora Pulse' is a cold, restrained piece of leftfield bass at 130 BPM, where a sharp, syncopated subline forms the backbone of the groove, pulsing like the heartbeat of a northern metropolis. Opening Side B, Dawn RAzor and Mani Festo deliver 'Awared', a track where techno and breakbeat converge through layered sound design and spring-loaded drum fills. As it unfolds, the composition gradually draws the listener into a hypnotic journey, dissolving familiar genre boundaries along the way. The release closes with ‘Lockjaw'—a true soundsystem slow-burner from Kahter and Mercy System. Broken tribal rhythms and a constantly evolving arrangement keep the listener suspended in a state of mounting tension, one that intensifies with every new detail introduced. Tracklist: A1 Amor Satyr — Over A2 Thematic & Nattah — Aurora Pulse B1 Dawn RAzor & Mani Festo — Awared B2 Kahter & Mercy System — Lockjaw

Twenty years after forming in Tommy Brenneck’s Bushwick apartment, Menahan Street Band returns with Illusions, their fourth full-length album on Brenneck’s Diamond West Records. The band— Tommy Brenneck, Dave Guy, Nick Movshon, Leon Michels and Homer Steinweiss—have each pursued an array of projects in the years since. Brenneck has produced for Baby Rose, Rogê and Kirby, toured with The Budos Band and runs Diamond West Records and Studio. Guy plays trumpet with The Roots and The Tonight Show Starring Jimmy Fallon and has released his own solo album; Steinweiss has made his own solo record and, with Movshon, has worked across multiple platinum album projects; and Michels continues as El Michels Affair, runs Big Crown Records and has produced Grammy-winning and nominated albums for Clairo and Norah Jones.
Despite their many individual ventures, the group reunited with an energy Brenneck says felt like “the first time.” Recorded quickly and instinctively, Illusions blends Menahan’s signature guitar, horns and drums with arrangements by Brazilian legend Arthur Verocai, taking listeners on an instrumental travelogue that lets the mind wander. Artist Ariana Papademetropoulos contributes original artwork to the album’s otherworldly collection of music.

Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of
half-light with a clutch of earworms and affecting emotions.

Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s
distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.

Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments.

Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod.
Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

Mit The Techno Session setzt die renommierte Electronic Music Anthology-Reihe aus dem Hause Wagram ihre Reise durch die wichtigsten Strömungen elektronischer Musik fort. Nach House- und Deep-House-Ausgaben widmet sich diese neue Edition nun konsequent dem Techno - in all seinen hypnotischen, treibenden und zeitlosen Facetten. Die Auswahl stammt von FG Radio, einer der angesehensten Institutionen für elektronische Musik in Frankreich und seit Jahrzehnten eng mit der internationalen Club-Kultur verbunden. Die Compilation versammelt prägende Künstler und Produzenten, die Techno von seinen frühen, funktionalen Wurzeln bis zu modernen, melodischen und atmosphärischen Ausprägungen definieren. Pulsierende Grooves, repetitive Strukturen, reduzierte Eleganz und eine klare Fokussierung auf den Dancefloor stehen im Mittelpunkt dieser sorgfältig kuratierten Zusammenstellung. The Techno Session richtet sich gleichermaßen an DJs, Sammler und Liebhaber elektronischer Musik, die Techno nicht als kurzlebigen Trend, sondern als eigenständige, langlebige Musiksprache verstehen. Eine hochwertige Anthologie, die die Essenz des Genres einfängt - kompromisslos, fokussiert und cluberprobt.

Turn On The Sunlight is the long-running project of Texas-born, Maui-based musician and producer Jesse Peterson.

Originally formed in New York in the late 2000s, Turn On The Sunlight has evolved into a fluid, location-spanning practice rooted in collaboration, intuition and process. Now based on Maui, Peterson’s work draws together a wide network of musicians and environments, with recordings taking shape across Los Angeles, Tokyo, London, San Miguel de Allende and Haʻikū.

Loosely situated within a framework of organic, ambient-leaning jazz, 'Iseo' unfolds as a series of open, exploratory pieces, with electronics sitting subtly beneath acoustic and environmental elements. Built from layered instrumentation including synthesizers, guitar, zither, flutes, voice and field recordings, Peterson moves between grounded, tactile detail and more expansive, immersive states. A sense of warmth and permeability runs throughout: organic percussion, environmental textures and drifting rhythmic elements lend the record a gently saturated humidity, reflecting Peterson’s base in Hawaii, where the presence of nature is felt as much as it is heard.

Underlying the project is a way of working rooted in gathering, listening and tending. Instruments, ensemble sessions, field recordings and everyday environments are approached with attentiveness, shaped through collecting, refining and allowing things to settle. Relationships, landscape and lived experience shape the sound, giving 'Iseo' a tactile, almost hand-made quality.

Rather than fixed arrangements, the album feels as if it has been organically and lovingly assembled through a process of listening and response, each element finding its place within a wider, evolving whole. This approach reaches a natural centre point in the 15-minute piece 'Medianoche En La Calle Aurora', which unfolds patiently, bending through shifting environments as motifs and textures emerge and dissolve with quiet continuity.

Peterson’s role as both instigator and facilitator is central to the project. Bringing together a diverse group of collaborators including Carlos Niño, Mia Doi Todd, Laraaji, Ko Ishikawa, Luis Pérez Ixoneztli and Miles Spilsbury, he creates space for individual voices to emerge within a shared language. The result is a music defined by openness and generosity.

'Iseo' takes its title from Peterson’s son’s middle name, a word that can be understood to mean ‘one-world life’. The piece itself takes the form of a gentle lullaby, its melody loosely shaped around the syllables of his name and sung to Peterson’s son by Luis Pérez Ixoneztli, a close collaborator whose presence across the record reflects a long-standing relationship that extends beyond the music itself.
Sleeve art and design by Michael Willis.

Mit Africanism Vol. 5 kehrt das legendäre Afro-House-Kollektiv rund um Bob Sinclar zurück und präsentiert ein kraftvolles, globales Club-Statement voller Rhythmus, Identität und musikalischer Verbindung. Das Album vereint herausragende Produzenten und Artists wie DJ Gregory, Moonlight Benjamin, Boddhi Satva, Arkadyan, Jesús Fernández, Bonga u. v. a. in zwölf Tracks, die moderne House-Produktionen mit afrikanischer Energie, traditionellen Instrumenten und organischen Grooves verschmelzen lassen. Von der voodoo-getränkten Intensität von "Zanmi Kanmarad" über die angolanische Tiefenwärme von "Mulemba Xangola" bis hin zum treibenden Club-Momentum von "Block Party (Baron Remix)" oder "Salsa House" liefert Africanism Vol. 5 ein Panorama aktueller Afro-House-Kultur. Die musikalische Bandbreite reicht von haitianischer Soul-Elektronik über pan-afrikanische Percussion bis zu modernen House-Arrangements mit französischer Produktionshandschrift. Ein hochkarätiges Producer-Album, das die DNA des Africanism-Sounds konsequent fortschreibt: international, zeitgemäß, tanzbar und voller musikalischer Identität.

Am 21. November erscheint das neue Album "Una Storia Importante" von Eros Ramazzotti. Es wird in verschiedenen Sonderausgaben auf CD und Vinyl erhältlich sein. Ramazzottis neues Album enthält einige der bekanntesten Hits seiner Karriere, die in einem neuen Soundgewand neu arrangiert wurden, sowie unveröffentlichte Titel und prestigeträchtige italienische und internationale Kollaborationen. Zu den schon veröffentlichten Titeln des neuen Albums gehört die Single "Il mio giorno preferito", mit der er einen absoluten Rekord aufstellte: Er war der erste Künstler im Jahr 2025, der in der Woche seiner Veröffentlichung direkt Platz 1 der italienischen EarOne Airplay erreichte, und der Song "Buona Stella" (feat. ELISA) wurde in Amsterdam uraufgeführt.

Relive three decades of Belgian clubbing history.

We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.

From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.

This is the third of the Mad Dog releases – and is often cited as the best release they did back in the day. Pure hardcore jungle flavours written in 1994 in sunny Bournemouth by Dave ‘Aquasky’ Wallace and Shaun ‘Aurora’ O’Hara.

Originally released by Olly on Underdog Recordings, who shared a house with Dave and also Brent from Aquasky. A hub of hardcore – the studio was on the ground floor, the bedrooms on the second floor and the top floor was the record label and pirate radio that ran for a while!

Around the same time this record was made, Dave was also producing as Fugitive and engineering for Kieron Aquasky’s various drum and bass tracks. On top of that he was making happy hardcore as Rebel Alliance and engineering hip hop for Brent Aquasky. A very busy guy who is still producing in 2024!

Pressed by the mighty Phil ‘The Vinylman’ East on 180g heavyweight vinyl. This release is a bespoke product as no one record is the same. Designed to look like the planet Neptune and part of a 4 vinyl Cosmik series.

OMG!

Legendary dub techno artist Paul St. Hilaire (AKA Tikiman) announces new collaborative album, marking 10 years of Kynant Records



Building on the success of Paul St. Hilaire’s landmark solo album for Richard Akingbehin’s label Kynant in 2023, w/ The Producers switches up the formula to pair St. Hilaire’s with a different producer on each track. Referencing fellow dub techno pioneers Mark Ernestus & Moritz von Oswald’s acclaimed album w/ The Artists as Rhythm & Sound, St. Hilaire flips the concept to feature as the lone vocalist.



Over the album’s nine tracks, St. Hilaire offers a range of conscious song-writing and headtop musings, such as the spoken-word dread of “What’s This” or the sparse call-to-action of “Send Them On”. The record weaves through all shades of contemporary dub evolutions, showing the vocal range and versatility of St. Hilaire. w/ The Producers is yet another essential record in St. Hilaire’s unmatched discography.



The producers were curated by label owner and DJ Richard Akingbehin to give the new album a future-facing feel and mark 10 years of Kynant Records. Akingbehin sourced beats from luminaries such as Digital Mystikz boss and dubstep trailblazer Mala or elusive Chain Reaction artist Shinichi Atobe. They sit alongside some of the most exciting names in recent electronic music - Batu, Gavsborg, Azu Tiwaline, Priori, Cousin, Russell E.L. Butler, Aurora Halal and DJ G - all of whom bring different elements of dub techno into their productions.



w/ The Producers finds Kynant Records bridging the original voice of dub techno with the genre’s new wave. It’s a statement of intent from the label, which began 10 years ago with deep, hypnotic techno and has veered gradually towards more dubwise sounds