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After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.


Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

After thirteen years of silence from the compound, during which anticipation has grown day by day, Boards of Canada finally return. Inferno retains their signature melodies and atmospheres, drawing on the esoteric influences explored in Societas X Tape (their 2019 NTS mix for Warp Records’ 30th anniversary) and the darker ambience introduced on Tomorrow’s Harvest, further deepened by an expanded role for speech soundbites.


Spanning seventy minutes, the new album is available on special edition limited red translucent 2LP vinyl in triple gatefold sleeve with a 16-page booklet, black 2LP vinyl and CD with 20-page booklet.

Nach der Veröffentlichung des neuen Albums "Tomorrow's Harvest", das von einer aufsehenerregenden Internetmarketingstrategie begleitet wurde und Boards Of Canada weltweit erstmals in die Charts katapultierte, erscheint nun - aufgrund starker Nachfrage - eine Reissue-Reihe mit all ihren bisherigen Vinylformaten. Jedes neue Vinyl enthält diesmal zusätzlich einen Downloadcode sowie einen BOC-Sticker aus der jeweiligen Zeitphase. Zuerst erscheinen die Alben "Music Has The Right To Children" (1998), "Geogaddi" (2002) und "The Campfire Headphase" (2006), im zweiten Schritt das Minialbum "Twoism" (1995) sowie die beiden EPs "In A Beautiful Place Out In The Country" (2000) und "Trans Canada Highway" (2006).

Nach der Veröffentlichung des neuen Albums "Tomorrow's Harvest", das von einer aufsehenerregenden Internetmarketingstrategie begleitet wurde und Boards Of Canada weltweit erstmals in die Charts katapultierte, erscheint nun - aufgrund starker Nachfrage - eine Reissue-Reihe mit all ihren bisherigen Vinylformaten. Jedes neue Vinyl enthält diesmal zusätzlich einen Downloadcode sowie einen BOC-Sticker aus der jeweiligen Zeitphase. Zuerst erscheinen die Alben "Music Has The Right To Children" (1998), "Geogaddi" (2002) und "The Campfire Headphase" (2006), im zweiten Schritt das Minialbum "Twoism" (1995) sowie die beiden EPs "In A Beautiful Place Out In The Country" (2000) und "Trans Canada Highway" (2006).

Nach der Veröffentlichung des neuen Albums "Tomorrow's Harvest", das von einer aufsehenerregenden Internetmarketingstrategie begleitet wurde und Boards Of Canada weltweit erstmals in die Charts katapultierte, erscheint nun - aufgrund starker Nachfrage - eine Reissue-Reihe mit all ihren bisherigen Vinylformaten. Jedes neue Vinyl enthält diesmal zusätzlich einen Downloadcode sowie einen BOC-Sticker aus der jeweiligen Zeitphase. Zuerst erscheinen die Alben "Music Has The Right To Children" (1998), "Geogaddi" (2002) und "The Campfire Headphase" (2006), im zweiten Schritt das Minialbum "Twoism" (1995) sowie die beiden EPs "In A Beautiful Place Out In The Country" (2000) und "Trans Canada Highway" (2006).

After considerable speculation since Record Store Day, it's now been revealed that the new album by Boards of Canada 'Tomorrow's Harvest' will be released on Monday 10th June 2013 on Warp Records

Canadian quartet BADBADNOTGOOD take on creating the ultimate late night' selection of tracks from their record collections, set for release on 28th July 2017. The original trio of Matthew Tavares, Alex Sowinski and Chester Hansen formed while studying music at Toronto's Humber College (they've recently added Leland Whitty to the line-up). A shared appreciation of hip hop and instrumental covers of Gucci Mane and Earl Sweatshirt suggested a worldly outlook and reciprocated love from Tyler The Creator and Ghostface Killah, which whom they made 2015's Sour Soul.

This is an international effort: Velly Joonas' Estonian version of 'Feel Like Makin' Love', Kiki Gyan, Admas and Francis Bebey representing Africa (Ghana, Ethiopia and Cameroon respectively), Les Prospection from France, Scots' Boards Of Canada and fellow Canucks River Tiber and Charlotte Day Wilson.

Finally, there's the no-small-matter of the Late Night Tales cover version, in which BADBADNOTGOOD take on Andy Shauf's 'To You' is turned into a mournful delight. while the Queen Of Siam herself, Lydia Lunch, delivers a sexual sermon involving only you, her and Jim Beam.

We were really excited to have the chance to put together a Late Night Tales compilation, it's a great organisation. We decided to use it as a vehicle to show everyone all the amazing music we have gotten to experience by touring and meeting new people. Every track on this comp was either shown to us by an incredible person or made by one of our friends. We also included a little cover of a song by one of our favourite current musicians, Andy Shauf.

These artists, as well as many, many others, have infuenced us to create and kept our deep love of music alive. This mix will keep you company on a quiet night by yourself or with friends. You can check it out on the plane, the bus, a long walk, or any situation where you want a soundtrack for reflection and meditation.' - BADBADNOTGOOD May 2017

Composer, musician and producer Nils Frahm steers the new edition of Late Night Tales, set for release on 11th September. A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's Late Night Tales haunts and beguiles. It's not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted. Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's 'Mango Drive' adding to the haunting hypnosis, while choral interruptions aid Miles Davis' 'Générique' on its journey towards the light. Meanwhile, on Boards Of Canada's 'In A Beautiful Place Out In The Country', the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor. Eddy Arnold's 'You're The Only Star', a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers' 'Honey Bunch', that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from


there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs).

‘Yarrow’ is a bouquet of new music by Portland, Oregon-based musician and field recordist Patricia Wolf, marking the label’s ninth release and the third of Season Two. These works are her reflections on the life cycle of plants and their dynamic ecological relationships.

Wolf created the album in response to her artist residency at the Rocky Mountain Biological Laboratory in Gothic, Colorado, as part of the Art-Science Exchange Project in the summer of 2024. She worked closely with ecologists Dr Paul CaraDonna, Dr Amy Iler, Dr Jane Ogilvie, Dr Nickolas Waser, Dr Mary Price, and Dr Will Petry, spending weeks engaged in long-term research on plants, pollinators, and their interactions as the climate changes.

Each track on Yarrow looks at a different part of a plant’s life. The songs touch on the conditions that plants need to grow, the quiet life of roots, how flowers attract pollinators, and the strength of seeds. The first single, 'Inflorescence', the scientific name for the floral display that a plant makes in an effort to reproduce, captures this event in song. The music slowly builds layers, reflecting the album’s overall feel. The album ends with the majestic Boards of Canada-esque 'Adapted for Extreme Conditions', and the entire b-side features Patricia’s field recordings from around Gothic, Colorado, and a guided meditation by Dr Paul CaraDonna, whose research inspired the project, inviting listeners to tune into the sounds and activities of the ecosystem.

Robohands, das Projekt des Londoner Schlagzeugers/Komponisten Andy Baxter, gilt mit seiner experimentellen Erkundung des Jazz, Krautrock, Ambient und cineastischer Soundscapes als aufstrebender Name der internationalen Jazz/Ambient-Szene - mit über 10.000 verkauften LPs seiner fünf Alben und Auftritten bei den London Jazz, Montreal Jazz und Waking Life-Festivals. Die neue LP "Oranj" ist eine Hommage an die Pioniere der analogen Aufnahmetechnik mit Röhrenverstärkern, einem 1960er Fender Jazz-Bass, Fender Twin Reverb-Verstärkern und einer Vintage-Hammond-Orgel. Die Tracks vereinen die Wärme der 1960er/70er Jazz-Fusion und Soundtracks der Spät-1970er/80er mit modernen Einflüssen von Boards Of Canada bis Robert Glasper. Frenetische Uptempo-Nummern balancieren mit besinnlichen und experimentellen Momenten. Teils auf Tonband für zusätzliche Klangsättigung aufgenommen, ist es das bisher rohste und spontanste Album von Robohands.

To mark a decade as one of Ibiza's most iconic musical sanctuaries, Hostal La Torre announces 'La Torre Ibiza Volumen Cinco', a new compilation curated by long-standing residents Pete Gooding and Mark Barrott. Released June 27 on CD and double vinyl, the 15-track collection captures the spirit of the venue that has come to define the golden-hour soundtrack ofthe island's west coast.

Since opening in 2015, La Torre has established itself as a bastion of Balearic culture-set high on the cliffs overlooking the sea, where music flows with the sun rather than the clock. The fifth volume in the celebrated La Torre series is a journey through Brazilian soul, ambient electronica, classic deep house, orchestral minimalism, and dusk-lit Detroit techno-an emotional arc designed to mirror the progression of an evening at the venue.

From timeless icons like Nina Simone, Mazzy Star, Talk Talk (with their Spirit of Eden closer "Wealth"), and Boards of Canada, to boundary-pushers like Auntie Flo, Eden Burns, and µ-Ziq (aka Mike Paradinas), Volumen Cinco weaves together deep-rooted classics and leftfield discoveries. Mark Barrott contributes a brand-new exclusive, 'When Devils Become Gods', while the compilation closes on a rare gem from Yellow Magic Orchestra's Yukihiro Takahashi. Also includedis Software's 'Present Voice', a quietly powerful tribute to the late José Padilla, the spiritual architect of Ibiza's sunset sound.

Volumen Cinco is more than just a listening experience-it's a tribute to La Torre's ethos: open-hearted, genre-fluid, rooted in place and time. Each track is carefully sequenced to evoke a feeling, a shift in light, or a shared memory beneath the fading sun.

Over the years, La Torre has welcomed some of the most influential names in Balearic and electronic music, from José Padilla, Alfredo, and Jon Sa Trinxa to DJ Harvey, David Holmes, Lovefingers, Heidi Lawden, Wolf Müller, Don Carlos, and Phil Mison. With each summer season and each release, the venue continues to build a musical legacy that has earned critical acclaim from Resident Advisor, Phonica Records, Juno, and Piccadilly Records, regularly featuring in their year-end lists.

As Test Pressing once wrote, "La Torre is not a party, it's a place of pilgrimage. It feels almost sacred." That spirit resonates deeply in this anniversary compilation-a celebration of music, community, and connection that spans a decade.

La Torre Ibiza Volumen Cinco is dedicated to the artists, friends, collaborators, and guests who've shaped its story so far-and to everyone who continues to gather, listen, and lose track of time as the sun slips beneath the horizon.

2023 Repress

DJ Koze - with his friendly and sometimes slightly melancholic take on the world - is one of the greatest auteurs of club music today, and one of the few internationally active DJs who dares to make music that has relevance beyond the dance floor. During the 70-minute journey on his DJ Kicks - the 50th edition - Kosi
Kos manages to establish a uniform color even though genres alternate in a way that is rarely heard on a mix CD: the stripped down hip hop of Madlib, brutalist Berghain techno, timeless songwriting, floating indie-pop and outlier numbers that oscillate between absurdity andmelancholy. Koze's disregard for the stylistic yoke presents him with an immense challenge. Hence, almost all the tracks are more or less edited, and one is fully rhymed (Session Victim: Hyuwee).Koze rambles on here himself: "I didn't want to kick around ophisticated knowledge, but rather try and weave together some good gems that would make sense to anyone, even people who aren't necessarily music nerds". But this is blabbing that you can count on, also because he approaches the term "mix" from a different angle and doesn't even try to make something fit that doesn't fit: "During the day, I don't need to hear anything that's mixed on the beat. I put the focus on making sure that it works harmoniously - the idea is more to create the impression of a radio show, like people such as John Peel did so uniquely. There is a giant cosmos of music and it runs through my filter".

New full-length LP from Toronto producer, DJ and recording artist Tony Price on his Maximum Exposure label. Tony Price is a multi-time Juno and Polaris Prize nominated producer, having worked on a wide variety of records on labels like 4AD, DFA, Slumberland and more. Host of “The Maximum Exposure Power Hour” on NTS Radio

“Requiem For The Ontario Science Centre” is Tony’s ninth full-length LP since 2017, following a series of acclaimed records on labels like L.I.E.S. Records and Telephone Explosion which received coverage and reviews from established outlets like Pitchfork and Resident Advisor. “Requiem For The Ontario Science Centre” pays homage to the beloved 1960’s Canadian landmark and renowned brutalist architectural marvel, which was abruptly closed in the summer of 2024.

The album features longtime collaborator and Caribou touring band member Colin Fisher on Saxophone. The music is Rich with kaleidoscopic saxophone loops, surrealist sound collages, and retro-futuristic synthesizer mirages and will surely resonate with fans of Boards of Canada, Terry Riley and Don Cherry’s “Brown Rice”

Debut LP from House On The Strand whose production sensibilities fall somewhere akin to Boards of Canada, Toxe, Fourtet, Khotin & Croatian Amor.

House on the Strand’s debut full length release is a playful, wide eyed and vivid collection of songs that echo the simplicity and nostalgia of 00’s childhood. A collection of colourful and vivid synth tones, fragmented beats and samples across 35mins dance like shapes and colours behind closed eye lids or like imperfect early digital camera footage of summers lost to memory. Sonically, 'Heroine’'s tones and production sensibilities fall somewhere akin to Boards of Canada, Toxe, Fourtet, Khotin & Croatian Amor.

2024 Repress

Straight in the wake of their eponymous debut LP released on the label back in 2016, Weval return to Kompakt this year with their sophomore album, 'The Weight', breaking their pop-mellow, nostalgia-friendly facet further out in the open as they arrive "at this place again were everything felt spontaneous, new and exciting, like we had in the beginning". Orbiting around that ever luminous yet wistful melodic halo that surrounds their music, this second full-length effort sweeps an extra-wide and languidly woven palette of emotions and moods, making for a uniquely ambitious and generously coloured mosaic of sound. If the recording sessions "often started grumpy and emotionless" by Harm and Merijn's own admission, the pair was "surprised by the joy it gave us, which can be compared to the emotions we felt back in the first days of making music together"; subsequently reconnecting with that fresh, naïve feeling of "absolute creative freedom" they were after. The album is also the fruit of a whole new working process for them - more playful and unpredictable - which saw them switch from "guitars lying around to piano, onto our own synths and the most cheap quirky toys synths you can imagine", and involved "recording all of our own samples, voice and almost every instrument out of the box - which for us was a totally new way of working". "We've always wanted a narrative for the album, and finding the right order perhaps took the most effort" they explain; "we felt anxious, felt insanely positive, felt heartbroken again, felt in love again, and there was death, and even suicide around us. It was quite chaotic. As a whole, 'The Weight' breathes with that transformative richness, free of limits and rules, except perhaps to "do quick and not think too much". Amidst this collection of songs and instrumentals that live by Weval's singularly positive take on music - one that can "lift you up, and make you feel hopeful without being necessarily straight out 'happy'" as they define it, the title-track and lead single stays true to the duo's dynamic approach, putting on a fine balance of floor and dream inducing adaptability that sound engineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.) subtly made palpable. There's heavy showers of funk drops pouring from endless bars of thunderstorm clouds and laid-back riffs beating a restrained poolside-party kind of pulse, but also sensual vocals rising from beneath the sheets and rueful polaroid-filtered ambiences to soundtrack all possible moments in life - from the most euphoric to those when music seems the only viable healing potion. More on the post-KLF, BoC-inflected electronica side of things, 'Are You Even Real' takes its listener for a round-trip across the star-studded dome and beyond, before songs like 'Someday' and 'Same Little Thing' head back down to a state of pulsating, earthly organicity, tense and mercurial as get. An arpeggiated slice of piano-strewn kosmische, 'Heaven' is another invitation to an epic-scale odyssey from the inner-spheres into the distant fringes of the outer-world. Weightless and airy, yet texturally dense and widely magnetic overall, Weval second LP is a synthesis of the duo's multi-angle take on electronics: blissed-out, heartening and infinitely free.
Nur zweieinhalb Jahre nach der Veröffentlichung ihres selbstbetitelten Debutalbums finden sich WEVAL zurück "an jenem Ort, an dem sich alles spontan, neu und aufregend anfühlt - so wie als wir anfingen zusammen Musik zu schreiben". An diesem Ort entstand "The Weight", ihr zweiter Longplayer, auf dem Weval sich ganz den Pop-verliebten, Nostalgie-freundlichen Facetten ihres Sounds öffnen. Stetig um den sehnsuchtsvollen Strahlenkranz ihrer Melodien tanzend, legt diese Platte noch vielschichtigere, mit feinster Präzision gewobene Gefühlswelten frei.

Obwohl die Aufnahmesessions nach eigenem Bekunden oftmals "miesepetrig und emotionsarm" begannen, so war das Duo überrascht darüber, wie schnell sich bei der Arbeit jene Freude einstellte, die sie aus ihren künstlerischen Anfangstagen kannten, eine Woge des frischen, naiven Gefühls der "absoluten kreativen Freiheit". Dieses Album ist die Frucht eines verspielteren und unvorhersehbareren Arbeitsprozesses innerhalb der Band, in welchem alles zum Einsatz kam, was ihnen in die Finger kam - von der ollen Gitarre, die in der Studioecke stand, über ein Piano und den bandeigenen Sythesizern und den sonderbarsten Spielzeuginstrumenten, die man sich vorstellen kann. All dies sowie zahlreiche Vocalaufnahmen dienten als alleinige Samplequelle - "was für uns eine völlig neue Arbeitsweise war". "Es war uns wichtig für das Album den perfekten Erzählbogen zu spannen. Die richtige Reihenfolge zu finden war ein extrem aufwendiger Vorgang", erklären Harm und Merjin. "Uns war bange, wir fühlten uns total selbstsicher, uns zerbrach das Herz und wir verliebten uns erneut. Wir waren sogar von Tod und Selbstmord umgeben. Alles war Chaos. Insgesamt atmet "The Weight" die Reichhaltigkeit dieser sich ständig verändernden Gefühlslagen, frei von Einschränkungen und Regeln - außer vielleicht "mach es schnell und zerdenke die Dinge nicht." Inmitten dieser Ansammlung von Songs und Instrumentals, die aus Wevals einzigartiger, von Zuversicht geprägter Herangehensweise entstanden sind - "Musik, die dich hochzieht und Hoffnung spendet, ohne dich notwendigerweise happy zu machen. Der Titeltrack "The Weight" steht exemplarisch für Wevals ambivalenten Ansatz, die feine Balance zwischen Dancefloor und Traumzuständen, perfekt in Szene gesetzt von Soundengineer David Wrench (Frank Ocean, The XX, FKA Twigs, Caribou… etc.).

Der schwer aus gewaltigen Gewitterwolken tropfende Funk, die eine verhaltene Poolparty suggerierenden Riffs, die sinnlichen, geisterhaften Vocals und ein verwaschenes Ambiente, das wie ein Album alter Polaroidaufnahmen alle erdenklichen Momente des Lebens festhält - von den euphorischsten bis hin zu jenen, in denen Musik der einzige Trank ist, der Linderung verheißt. Das post-KLF und Boards of Canada evozierende "Are You Even Real" führt den Hörer auf einen imaginären Flug ins Sternenzelt, während organisch-klingende Songs wie "Someday" oder "Same Little Thing" wie Quecksilber am Boden haften. "Heaven" ist eines jener "kosmische" Stücke mit wilden Arpeggios und Pianosprengseln, die Weval in den vergangenen zwei Jahren zu einer Live-Sensation werden liessen. Wevals Musik ist schwerelos und luftig, aber gleichermassen von dichter Struktur und von einer magnetischen Anziehungskraft. Ihr zweites Album "The Weight" ist eine Synthese aus dem multi-perspektivischem, kaleidoskopischen Verständnis von elektronischer Musik: Herzerwärmend, alles umschmeichelnd und unendlich frei.

“Pulses and Resonances” is Rene Lorenzo’s debut album on Subtempo. This album represents a culmination of more than 20 years of electronic music exposure as a DJ and a clear point of view. We can hear influences of broken beat, techno, drum & bass, all through the unique lens that Rene brings to the table, deeply steeped in ambient, deep techno and downtempo. Even though this isn’t a dance record, it’s filled with energy and drive. It is an out-of-the-ordinary album, with intricate shifts and turns with well-crafted kick drums, round bass lines and enveloping subs. A record filled with warm sounds, head-nodding rhythms, and rich textured spaces. It’s all woven into an easy-listening experience, without demanding the listener’s full attention, but creating a landscape that is unique and varied throughout. We can hear references to artists like Boards of Canada, Jan Jenilek, Synkro and the like.

“In this record, every track has a different pulse or rhythm, and I use different resonators in the sound design process to achieve these tones. I started by leaving the space open with the ambient pads and hardly any rhythm, and I’d let myself be carried away by my sense of rhythm slowly building the compositions. I am obsessive with audio processing and I almost never leave a sound in its initial form. I like to add some subtle effect that sounds like something different and give new sounds to the elements I use.”

“Pulses and Resonances” is out via Subtempo on vinyl and digital on February 2nd.

Following up last year’s Acrobatic Thoughts album, Panoram delves even deeper into his own musical universe with Keep Looking Where The Light Comes From. We find the producer in confident form, exploring the fuzzy fringes of beauty and chaos. The result is an album that sounds even more like himself and yet surprising at each turn.


Opening track Feathers sounds like only Panoram can, buzzy arpeggiated distortion takes flight somewhere in the direction of a distant multiverse where Animal Collective and Boards of Canada soundtracked Koyaanisqatsi. But the psychedelic drift is all Panoram’s own, conjuring a stark sense of the uncanny with the repeated phrases. The digital guitar and vocal loops of I Can Only Repeat Your Love are practically on the brink of collapsing in on themselves, to the point where the structure begins to shift like a collapsing monument. Flat Stones nods towards ASMR, as flute and woodwind tones caress the ears and a whispered voice teases out an altered state.


It’s this dreamlike mood that pervades the whole album, a maximal effect that’s wrung from minimalist compositions. The Wide House picks up the baton from Laurie Anderson to trip gently through different states of awareness, while the piano patterns of Blank Sheep float through the synth ambience like ideas entering an empty dream. There Is A Hole Here is another mutant loop that unravels as it proceeds - the rhythms turn into a pulse, and despite what the lyrics say, it does indeed mess around with your brain.


Panoram balances dance tropes, classical composition, ambient drones and a washed out, fuzzy twist on avant garde pop, and manages to transform it all into a uniform whole that fits all those puzzle pieces together. Yet such is the assuredness of Panoram’s production that it sounds effortless. At this point, the music is more like a midwife, manifesting your future self‘s enlightened consciousness with surreal effect.