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He cast off his old skin, fundamentally altering his studies, homeland, and life, thereby charting a new future. Recorded at Sound on Sound Studios in Montclair, New Jersey, in January, 2024, 'Ancestral' was influenced, in part, by O'Gallagher's PhD studies into the music of John Coltrane, and reunites the versatile reeds player with guitarist Ben Monder while, notably, features the first-ever recorded collaboration between master drummers Andrew Cyrille and Billy Hart. "Basically, my PhD (available on O'Gallagher's website) is an analysis where I transcribed all of Trane's solos, spelling out what he does on his late recordings 'Interstellar Space' and 'Stellar Regions'. And it shows that free music is not free, not the way people think it is.

Trane was definitely thinking about organization in those records. This research definitely gave me ideas about how to be freer within the systems that I had developed, and how to perceive them in a more organic way." O'Gallagher's latest recording marks a significant artistic evolution, following a period of considerable personal change. After leaving Brooklyn, New York, he and his wife relocated to the UK before ultimately settling in Lisbon, Portugal. This journey, coupled with dedicated study, profoundly shaped his new music. O'Gallagher, Monder, Cyrille, Hart, and Coltrane: a potent brew. In an album consisting largely of first takes, O'Gallagher's compositions vary from through- composed pieces to skeletal charts to full- blown group compositions/ improvisations.

Kurt Vile once sang that he had a freeway in mind, but Matt Kivel (Vile’s former Woodsist labelmate) literally has a freeway mind. Kivel grew up in Santa Monica, California, getting shuttled up and down the 10, the 101, PCH, and all the other freeways Angelenos lovingly affix definite articles to. He started out in music as part of the buzzy, Eagle Rock-based indie band Princeton, toured the country relentlessly, burned out, and then resurfaced with a series of bleak, hauntingly spare solo albums that garnered widespread critical acclaim.

Over the ensuing decade, Kivel collaborated closely with a growing set of brilliant, and varied musicians from across the globe, including Bonnie “Prince” Billy, Alasdair Roberts, Madi Diaz, Robin Pecknold of Fleet Foxes, Jana Horn, and Satomimagae. He moved to Austin, Texas then left for New York City for a spell and then returned to Austin where he settled down. In 2017, he started writing the songs for what would become his eighth solo album, Escape From L.A. Escape From L.A. is an autobiographical song cycle that chronicles the first thirty-three years of Kivel’s life in the City of Angels. The material was labored over, rewritten, rearranged, and rerecorded numerous times, between LA, New York, and Austin. Kivel self-effacingly refers to it as his “bootleg as hell Blood On The Tracks” with myriad alternate sequences, tempos and arrangements that will never see the light of day. It involved over twenty collaborators, a string section, pedal steel guitars, and a renewed lyrical and vocal clarity that allows the narrative vignettes to unspool in vivid detail. It’s a beautiful, grounded statement and one of Kivel’s best.

Following the release of the 7-inch "La Tua Amica Più Cara / Corteggiamento Lento" last September, Marengo is thrilled to announce Lumiero's debut LP, Il Primo Grande Disco Di Lumiero. Distributed by Four Flies Records, the album will be available starting Friday 5 December.

Featuring a timeless voice and a sophisticated touch, Lumiero sends poetic postcards from Milan and its Barona district that expertly blend auteur pop, chanson, and 60s exotica. Born in '97, Lumiero is the city's new chansonnier. Drawing inspiration from both the core and fringes of Milanese life, he offers a romantic, nuanced, yet playfully irreverent look at contemporary Italy and its profound longing for new horizons.

Marquis's compositions and arrangements provide the perfect backdrop for Lumiero's captivating melodies, acting as both canvas and frame. Meanwhile, the lyrics explore passionate romances, fleeting summer escapades, and a nation striving to reconnect with its core identity.

Moving between exotic waltzes and theatrical atmospheres, Lumiero's full-length debut is imbued with lightheartedness, underpinned by elegant songwriting and vocals that combine irony and melancholy. Living fully in the present but rooted in tradition, the album's tracks are little musical gems that bridge eras and generations, infusing the classic style of Italian songs with a modern, elegant, and cinematic quality.

And so, as time comes full circle, we find ourselves at a new beginning.

Silva Screen Records präsentiert „Music from The Crown“, ein mitreißendes neues Album, dass die Emmy-prämierte Netflix-Serie mit frischen orchestralen Interpretationen ihrer einprägsamsten Melodien feiert. Aufgenommen vom renommierten Ensemble London Music Works und mit ausdrucksstarken Cello-Soli von Nick Squires, umfasst die Sammlung die Hauptthemen und wichtigsten musikalischen Momente aller sechs Staffeln und zeichnet die Reise der Krone von der jungen Elizabeth II. bis zum Ende ihrer Regierungszeit nach.

Diese neuen, für ein volles Orchester arrangierten und mit modernem cineastischem Glanz versehenen Versionen würdigen den musikalischen Ton von „The Crown“ und verleihen den prägnanten Themen von Hans Zimmer, Rupert Gregson-Williams und Lorne Balfe die Unmittelbarkeit eines Konzertsaals. Hans Zimmer ging das Projekt mit dem Gewicht eines Spielfilms an und erkannte die weitreichende Vision des Schöpfers Peter Morgan. Rupert Gregson-Williams erinnert sich an lange Gespräche, in denen der majestätische und doch zurückhaltende Ton des ersten Themas festgelegt wurde, während Lorne Balfe betont, wie die Filmmusik mit Königin Elizabeths Entwicklung von der Unschuldigen zur Monarchin mit gereift ist. Als Martin Phipps in Staffel 3 das Ruder übernahm, schuf er ein Gleichgewicht aus Respekt vor dem Bestehenden und einer frischen musikalischen Identität, die die neue Ära der Serie widerspiegelte.

Over two years in the making, and many more in the two musician’s shared dream, ‘Real Thing’ unites longtime collaborators Michael Collins (Drugdealer) and Natalie Mering (Weyes Blood). Recorded across continents, ‘Real Thing’ is a return, a refinement and a reminder of the deep connection that has bound these two titans of song over multiple collaborations. The journey of ‘Real Thing’ began when Collins, while on a European sojourn, crossed paths with Parisian producer Max Baby. As one does while in Paris, they found themselves in a studio owned by a member of the 1970s French prog rock band Magma. There, a chord progression long-gestating in Collins’ brain blossomed into a bonafide demo.

Collins recalls, “I realized immediately that it was the perfect thing to show Nat, who I had been wanting to collaborate with again for years.” The connection and musical camaraderie between Collins and Mering dates back to 2014 in Oakland, where a chance meeting and studio session marked the genesis of their enduring partnership. Collins reflects, “Since then, I’ve felt like she’s my musical family. I can’t really ask for more in terms of someone who inspired me to even get to this place in my songwriting.” On the B-side is ‘The News’, Drugdealer’s first collaboration with Robbie Chemical. What began as a simple harmony grew into a panoramic partnership, the musician’s voices effortlessly entwined, and a pop paragon envisioned. Inspired by generational conversations on chaos, change and connection, the track opens a new chapter - topical, personal and unmistakably Drugdealer. As Drugdealer, Michael Collins has crafted a career that blends introspective songwriting with a reverence for classic pop and R&B. A native of the East Coast, Collins’ musical adventure began with the experimental pop collages of Run DMT and Salvia Plath before evolving into the more melodic, refined songwriting heard in Drugdealer’s acclaimed albums ‘Raw Honey’ and ‘Hiding In Plain Sight’.  Natalie Mering, better known as Weyes Blood, has similarly forged a path of emotive, transcendental folk-pop that delves into themes of myth, love and existential longing.

Known for her ethereal voice and evocative lyrics, Mering’s latest works, ‘Titanic Rising’ and ‘And In The Darkness, Hearts Aglow’, are nothing short of modern classics, though also feel like just the start of this artist’s undeniable ascent.  “For both artists, this is their first song since their respective 2022 albums, and what a way to come back. ‘Real Thing’ feels like uncovering a forgotten ’70s disco duet” - PASTE  “A lush and insistent folk-pop jam” - Stereogum  For fans of Mac Demarco, Kate Bollinger, Men I Trust, Toro y Moi, TOPS, Alice Phoebe Lou, Tame Impala, Thee Sacred Souls, Vacations, Allah-Las, Kurt Vile, Beach Fossils, Slow Pulp, Foxygen, Unknown Mortal Orchestra, Hand Habits, Father John Misty, Oracle Sisters, Whitney, The Lemon Twigs, Mild High Club, Khruangbin, Angel Olsen.

FONTINE’s debut full-length Good Buddy arrives October 7, 2025, marking a gritty, heartfelt turn from her folk-leaning EP. Recorded live to tape with her road-tested band, the album captures the loose, unfiltered energy of her live shows, pairing raw instrumentation with FONTINE’s powerhouse vocals and emotionally rich songwriting. It’s a rock record with a sensitive core — scrappy, cathartic, and full of heart. The title track, “Good Buddy,” uses CB radio slang for queer love as a playful, anthemic entry point into a record about identity, connection, and vulnerability. FONTINE, who identifies as Indigenous and queer, brings humour, honesty, and a deep sense of place to her writing. From personal struggle to activist fire, her lyrics are grounded and bold, wrapped in a sound that blurs the lines between alt-rock, Americana, and indie folk. With over a million streams, national CBC radio support, and a growing live presence across Canada, FONTINE is emerging as one of the most vital new voices in Canadian roots music. Her breakout charisma, fearless storytelling, and genre-fluid style make Good Buddy a debut worth turning up loud.

Claude VonStroke makes long-awaited Crosstown Rebels debut with ‘Noche Clara’, featuring Honeycomb. A full-circle moment between two house music icons finally comes to fruition, with the two-tracker out on 5th December 2025.

Two decades after label founder Damian Lazarus first booked him to play in the UK, American electronic icon Claude VonStroke finally lands on Crosstown Rebels with ‘Noche Clara’ - a release that bridges friendship, history, and the enduring spirit of the global underground. Built around hazy tones, captivating synth melodies, and sweeping atmospherics, ‘Noche Clara’ captures the playful minimalism and late-night atmosphere that defi ned his early work. On the flip, ‘Bam Bam’ layers warped vocals over a trippy off kilter sonics and a tunnelling, hypnotic groove, providing a haunting and commanding deep dive into the late-night hours. A collaboration with beatboxer, producer, DJ, and instrumentalist Honeycomb, who recently toured with The Floozies and Dirtwire, the link-up came naturally following a joint appearance between the pair at California’s infamous Zenyara, plus multiple Dirtybird festival appearances and more.

A true maverick of modern dance music, Claude VonStroke has spent over two decades shaping the sound and culture of house. From founding the iconic Dirtybird label, home to artists like Fisher, Eats Everything, and Catz ‘n Dogz, to headlining the world’s most respected clubs and festivals, his legacy is built on connection, humour, and an unfiltered love of the dancefloor. Now exploring more underground and experimental sounds, VonStroke is entering a new creative chapter ahead of his forthcoming artist album in early 2026 - a shift perfectly exemplified by this impressive debut on Crosstown.

Ston Elaióna is John Also Bennett’s first album for Shelter Press since his 2019 solo debut Erg Herbe. The American born, Athens, Greece, based flautist, synthesist, and composer weaves a strikingly singular electroacoustic excursion for bass flute and Yamaha DX7ii, largely recorded in the golden haze of the early morning hours - bending time at the otherworldly juncture of consciousness and place. Translating from Greek as “in the olive grove”, Ston Elaióna is permeated with the ambiences of the ancient and present world, guided into form by a playfully rigorous approach to sound.
Initially emerging during the mid 2000s as part of Columbus, Ohio’s noise scene, before relocating to NYC around 2010, Bennett’s diverse activities picked up an increasing sense of pace over the following decade - performing and recording as a solo artist (JAB), with the trio Forma and with CV &JAB, his prolific duo with his partner Christina Vantzou, as well as playing in Jon Gibson’s ensemble among many other multifaceted collaborations. However, since 2020 the flautist and electroacoustic composer has existed in a semi nomadic state: drifting between Brooklyn, Brussels, extensive tours, and Greece, where he finally came to rest in Athens last year.

Drawing upon a carefully honed attentiveness to the environments and experiences of everyday life, Ston Elaióna is a suite of nine pieces (with an additional track exclusive to physical formats), many of them composed and played live as the early morning sun touched the Parthenon, in full view from Bennett’s studio window in Athens. Bennett’s refinement and restraint, honed over his years adrift, led him to adopt a limited palette focused on his primary instrument, the bass flute, and a Yamaha DX7ii synthesizer tuned to just intonation scales. Alongside a handful of other keyboards, digital oscillators triggered by his flute, and occasional field recordings, this simple palette is reflected by the deeply emotive sense of minimalism that permeates the album’s two sides. Following two solo albums defined by outward facing temperaments - 2022’s Out there in the middle of nowhere (Poole Music), which used a lap steel guitar and generative oscillators to evoke the surreal landscapes of the South Dakota badlands, and the largely synthetic atmospheres of the 2024 anthology Music For Save Rooms 1 & 2 (Editions Basilic) - the shift in Bennett’s worldly circumstances offered an intuitive return to the calm, inward states of creative exploration that have historically defined JAB’s sound. In parallel, context provided clear sources of inspiration for many of the album’s themes, as well as sources for some of its sounds. The aura of Greece, from the ancient to the present, from its stones and olive groves to its traffic, figures heavily across Ston Elaióna’s two sides. John Also Bennett’s Ston Elaióna forms an elegantly rigorous world of electroacoustic sonority, bridging the expanse of time with the immediacies of environment and happening in the here and now: a profound sonic mediation on the countless dimensions unlocked by life in Greece.

"Ray Fernández is a name that cannot be forgotten when we talk about the new generation of Cuban singer-songwriters.
"The current moments the world is going through are reflected in his lyrics. What better for this artist than to be accompanied by the Zanja All Stars! Ray Fernández, accompanied by the Zanja All Stars under the direction of Julio Padrón, make a formidable combination. This allows us to see new shades by blending his lyrics with a selection of the best musicians in Cuba today.
"The social and political issues shaking the world right now are perfectly reflected in his work, which, like all songs, can be interpreted in different ways. Ray’s lyrics become a bridge that should foster understanding between different sides of thinking, where the most important bridges are formed by art.
"The largest of the Antilles, Cuba, is one of the few places in the world where such revolutionary music can emerge. His lyrics deserve to be heard at a time when the world needs people unafraid to express ideas and willing to give everything."

Underground mainstay and long-time melodic and progressive champion Guy Gerber is back on his own Rumors label with Every Time We Say Goodbye, a new EP that shows he continues to evolve his style without forgetting his signature.

Gerber has been a core part of the underground for years, heading the world's most revered clubs and festivals, bringing all new party concepts to Ibiza and serving up serene and synth heavy soundscape that move people physically and emotionally on labels like Cocoon, Italians Do It Better and of course Rumors.

Every Time We Say Goodbye (feat. Blanca) is light and melodic with shimmering pads and ethereal textures. Blanca’s treated vocals float effortlessly above rolling percussion and delicate synth melodies, delivering a warm, emotional energy that feels both modern and timeless.
The 18th Floor is a hypnotic journey built on dubby low-end grooves and fluid, meandering leads. Angelic, reverb-soaked vocal fragments drift through the mix, giving the track a dreamlike atmosphere that’s equally suited for peak-time or deeper, introspective moments.

On the flip is Under the same Moon, an introspective journey through deep emotion and atmospheric house. Under the same Moon is a sonic meditation, melancholic yet hopeful, with textures that evoke twilight memories and introspective dancefloor, lastly The Bigger Person takes a more laid-back approach, driven by warm guitar lines that showcase Guy’s instrumental finesse.

Produziert vom kreativen Kopf der The Clash, Mick Jones, und mit einem Gesangsbeitrag von Kate Moss, fängt Down In Albion die Atmosphäre seiner Ära ein - die Gerüche, die Stimmungen, den Zeitgeist - und blickt zugleich nach vorn. Das Ergebnis ist ein zeitloses Werk, das die menschliche Erfahrung sowohl dokumentiert als auch tröstet. Neben den ursprünglichen 16 Songs enthält die Jubiläumsausgabe fünf ausgewählte Stücke aus dem Archiv der Band, von denen einige - trotz ihrer Bootleg-Bekanntheit unter Fans - hier erstmals offiziell veröffentlicht werden. "Gang Of Gin" und "352 Days" entstanden in derselben Phase wie das Album und waren ursprünglich als mögliche B-Seiten gedacht, wurden jedoch nie veröffentlicht. "Why Did You Break My Heart/Piracy" erschien damals auf der B-Seite der Single Albion. Die Songs "Do You Know Me" und "My Darling Clementine" stammen aus der von Fans geliebten BBC Radio 1 Session mit Zane Lowe vom Oktober 2004, die den kreativen Grundstein für Down In Albion legte. Babyshambles wurde 2003 gegründet, als Pete Doherty vorübergehend aus The Libertines ausgeschlossen war. Schnell entwickelte sich das Projekt zu einem alternativen kreativen Ventil, das ihm erlaubte, neue Themen in einer spontanen, offenen musikalischen Umgebung zu erforschen. In Zusammenarbeit mit Bassist Drew McConnell, Drummer Adam Ficek und Gitarrist Patrick Walden gelang es der Band, die elektrische Energie einer Gruppe einzufangen, die immer am Limit segelte - künstlerisch, kulturell und persönlich. Down In Albion ist erfüllt von klarem, zeitlosem Songwriting, das zwischen intensiven Emotionen und lebendigen Erzählungen wechselt. Diese Jubiläumsausgabe würdigt nicht nur die rohe Mischung aus persönlichen Erfahrungen und gesellschaftlichen Beobachtungen, sondern ehrt auch Patrick Walden, der Anfang des Jahres verstorben ist. Sein unverkennbares Gitarrenspiel prägt das Album tief - und sein Porträt, fotografiert von Hedi Slimane, wurde in das neue Cover mit einem speziellen UV-Glanzdruck integriert. Von dem scheinbar nihilistischen, in Wahrheit aber hoffnungsvollen "Fuck Forever", über die chaotische Energie von "Pipedown" und "8 Dead Boys", den Witz von "What Katie Did Next", die Romantik von "In Love With A Feeling", bis hin zur melancholischen Hymne "Albion" - das Debüt von Babyshambles bleibt ein mitreißendes, emotionales und kreatives Meisterwerk.

'The creation of the band African Fiesta, founded in 1963 by three well-known musicians, Nicolas Kasanda, Tabu Ley Rochereau and Roger Izeidi, and the contributions of the VITA label, established by Roger Izeidi, occupy an exciting chapter in the history of Congolese popular music. During the mid-1960s, African Fiesta consistently reached the top of the hit parade. The band, which back in the day positioned itself as a competitor to a current called ‘Fiesta Cubana’, breathed new life into Congolese Rumba, continuing the tradition of the African Jazz school started by Joseph Kabasele.
'The VITA label, with African Fiesta as their sole provider, besides four songs of Eduardo De Veracruz Vinagre et Son Orchestre, ran between May 1963 and early 1966. It created a spectacular legacy and back catalog full of tasteful sentiments and sensual melodies, deeply rooted in the Afro-Latin sound.
'This new compilation offers a few of the classic African Fiesta songs and complements them with an eclectic and original selection, divided into four thematic sides: Showcase, Rumba Lingala, Cha Cha Cha & Bolero. This double LP album comes with a 16-page booklet featuring the history of VITA and African Fiesta, song commentary by Congolese journalist Herman Bangi Bayo, and a written catalog of the VITA label. The heirs of Roger Izeidi kindly gave permission in Kinshasa to release this album of African Fiesta on Planet Ilunga.'

Strolling through the world by Biboul Darouiche & The Bantu Jazz Connection marks the first vinyl release on Crispy Water and is a vibrant fusion of African rhythms, jazz improvisation, and soulful storytelling, blending ancestral rhythm with contemporary jazz expression. Recorded with an ensemble of outstanding musicians, the album moves effortlessly between groove, spirit, and freedom — connecting continents through sound.

BIBOUL DAROUICHE is a singer, percussionist, composer and head of the ensemble. By playing the conga, djembe, calimba and - the African treetrunk drum (also called nkul or tam-tam, which by the way should not be missing at any concert!) Darouiche brings a very special color to his music. He works mainly in Europe, but his engagements also take him to the Middle East, the countries of the CIS, Brazil and the USA. Since1995 he has been a member of Klaus Doldinger's Passport. He has also worked with musicians such as Al Di Meola, Pee Wee Ellis, Roy Ayers, Graham Haynes, Paquito D'Rivera and the Jazz Baltica Ensemble.

The Austrian multi-instrumentalist and producer MICHAEL HORNEK, who is part of the permanent cast of Klaus Doldinger's Passport as a keyboardist, plays keyboards, percussion and sings. His free-jazzy percussive playing inspires every listener. Hornek's keyboard skills can be heard on over 750 music productions, and the trend is of course increasing!

Mauritian bassist LINLEY MARTHE is one of the world's best bassists. He was a long time permanent member of the band Joe Zawinul Syndicate,worked with musicians like Dave Liebmann, Richard Galliano, Omar Hakimand many more. Zawinul said of Linley Marthe in an interview: “Linley is a phenomenon. I don't know if anyone can match him in terms of bass playing."

ROGER BIWANDU, french musician born and raised in Bordeaux/France, with roots from Congo (DRC) is an artist resident at l'Apollo bar in Bordeaux since june 1997, he plays there one time per month. He played with a lot of great musicians all over the world, with some heavy weights too, like Joe Zawinul, Salif Keita, Marcus Miller, Lee Ritenour, John Beasley, Dee Dee Bridgewater, Franck McComb, to name a few.

Barcelona-based label Raru Cultural Movement continues its mission of curating forward-thinking underground sounds with its fourth vinyl release, Mad Riz, by Ukrainian producer Silat Beksi. Known for his refined minimalism and deep rhythmic sense, Beksi delivers an EP that moves between precision and warmth, layered grooves, subtle textures, and hypnotic energy that unfold naturally across each track.
Rooted in Raru’s philosophy of craftsmanship and cultural connection, Mad Riz reflects both the label’s dedication to high-quality vinyl culture and Beksi’s unique approach to sound design. A pure expression of the contemporary underground — timeless, detailed, and built for lasting resonance.

When the ghost in the machine meets the breath in the reed, expect sparks. Electronic sound artist Robin Rimbaud – Scanner joins forces with acclaimed British bass clarinetist Gareth Davis to create an album where circuitry hums, wood vibrates, and the air between notes crackles with possibility.

This is no polite meeting of minds — it’s an elegant collision. Scanner’s intricate electronic textures weave around Davis’s deep, resonant tones, blurring the boundary between acoustic breath and digital pulse. The result is a sound world that’s at once intimate and expansive, familiar yet thrillingly unpredictable.

Think late-night conversations in abandoned buildings. Think fog rolling over neon. Think sound that slips through your fingers even as it takes hold of you.

The songlines in question , memories and distorted images of travels across various continents, form an imagined biography of places that might or might not have been but somehow seem to exist . Landscapes of blurred statements , lost words and echoes of meandering structures.

"If Miles Davis had been raised on shortwave radio static and midnight phone calls, it might have sounded like this."

Composed by John Williams for George Lucas’s 2005 film "Star Wars: Episode III – Revenge of the Sith," this soundtrack captures the tragic
fall of Anakin Skywalker—his fear of losing Padmé, his desire for recognition, and his growing arrogance lead him down the dark path to
become Darth Vader, an agent of fear across the galaxy. Yet, even within the darkness, traces of light remain. Alongside the series’ iconic themes,
Williams introduces powerful new compositions such as "Battle of the Heroes" and "Anakin vs. Obi-Wan." The album concludes by returning to
the beginning of the saga with "A New Hope and End Credits."

Joel Shearer’s Listening Immerses Itself in Ambient Guitar, Restraint, and the Beauty of Repetition

With guitarist and ambient composer Joel Shearer’s new album, Listening, he took the path of repetition, subtle movement, and pure sound rather than conventional songwriting. What began as a disciplined experiment — limiting himself to just electric guitar — soon expanded. At various points, he introduced piano, cello, and trumpet, allowing the record to evolve organically. "I didn’t know I was making another record,” Shearer says. “I was experimenting, wanting to do something beyond just the electric guitar. So, I started these other tracks, and that’s how Listening came about.”

Unlike albums built around hooks or dramatic shifts, Listening unfolds gradually, moving with patience and restraint. There are no choruses, no obvious climaxes — just sound evolving over time. “Instead of a traditional song structure with a verse, chorus, or B section, it’s one continuous movement that grows and dissolves,” Shearer explains. “It’s not about anticipating the next moment—it’s about sitting inside the sound, getting comfortable with patience.” A Topanga-based session musician, composer, and producer, Shearer’s previous solo albums, Morning Loops and Hours, explored the manipulation of only the electric guitar, using texture and repetition to push beyond conventions. Listening continues that journey, offering music that resists distraction and rewards deep attention.

Shearer recorded Listening without a click track, working in long, freeform takes. His shimmering, clean guitar tones—often unrecognizable, processed through looping pedals and effects—became a foundation, with layers of sound building around it. “I love making the guitar sound like anything but a guitar,” he says. “I might play for just a minute, but once the sound enters the effects chain, it takes on a life of its own. The music keeps evolving, stretching time in ways I couldn’t predict.”

The opening piece, “Big Sur,” is an 11-minute meditation that drifts in slow, hypnotic waves, its layered guitar textures sparkling like light over water. The piece moves without urgency, subtly transforming as it pulls the listener deeper into its atmosphere. “Threshold” features a delicate piano melody that gradually unfurls, allowing its essence to fully settle before the next emerges. Subtle layers of ambient guitar weave around the piano, stretching and dissolving into the background, creating a sense of stillness and slow expansion.

At nearly 15-minutes, “The Clear Light of the Void” is a slow-burning study in sustain and resonance. Layers of guitar stretch and dissolve into an open, drifting soundscape, each note lingering and shifting like a breath held in suspension. Subtle tonal variations emerge over time, creating a sense of vastness—an expanse where sound is less about movement and more about presence.

“The world is noisy—so much information, so much distraction,” Shearer says. “I wanted to create something that allows people to just be present with the sound, without expectation.” It’s an album that demands nothing from the listener but offers space — to focus, to drift, to listen without waiting for what comes next.

Diggers Society Records announces its fourth release by Giuseppe Angeloro. Giuseppe has quickly made his mark for his ability to move effortlessly between house and techno, enriching each track with trance-tinged textures, complemented by subtle minimalist and hermetic influences. Created entirely on analog machines — with no computers or digital sound — the EP emerged from spontaneous jam sessions, allowing him to follow the flow and draw inspiration directly from his synthesizers. The mix was also carried out on an analog console, a deliberate choice to preserve the pure, raw character of the machines’ sound. Using a Yamaha DX7, Yamaha TG500, Jomox Xbase 999, Alesis SR16, Roland JU06A, Behringer Crave, and Behringer TD-3, along with a Mackie 32.8 mixer, Alesis 3630 compressor, Lexicon MX200 effects unit, and RME Fireface 800 interface, Giuseppe shaped a sonic palette that feels both timeless and forward-thinking.