Suche:core dimension

Core Dimension team up with legendary vocalist Angie Brown to deliver a 1992 style Piano Breakbeat Hardcore Rave double Aside release.

The second solo chapter in EC13’s trajectory.

Loto Azul (EP) distills EC13’s sonic identity into four focused pieces shaped for the 12″ format: cinematic atmospheres, cosmic resonance, and meticulously crafted rhythmic structures — infused with high-energy dynamics, epic tension, and textured distortions that add depth, grit, and dramatic weight.

From the mystical tension of Astrum Nox (Phase I) to the melodic, ascending narrative of Sinfonía Tercera, the EP moves between introspection and propulsion.
Perdiendo, in both its original version and the Jupiter Rhythms reinterpretation, forms the emotional core of the release — a hybrid between electro, techno, and celestial harmonic design.

A refined work that expands EC13’s role within the Cosmic Tribe universe, reaching toward new sonic dimensions with precision and depth.

In 2026, Vreid will release The Skies Turn Black, their first studio album in five years and a powerful statement from one of Norway's most enduring metal bands. The album marks a renewed creative chapter, shaped through a challenging but ultimately transformative process in which the band reconnected with the essence of their Sognametal roots while exploring new dimensions of their sound. Throughout the album's eleven tracks, Vreid merges fragments of their past with a revitalized artistic drive. The early breakthrough came with From These Woods, written during a late-night session in a remote mountain cabin. The song captured the emotional core of the album and helped steer the band back toward the heart of their identity. The title track The Skies Turn Black also holds a central place on the album. Written by bassist and songwriter Jarle Kvåle as a tribute to Ozzy Osbourne and the music that has shaped his life, the song carries a deeply personal foundation. Kvåle's experience attending Black Sabbath's farewell concert in Birmingham, after previously helping to organize the band's final Norwegian shows along with Ozzy's, left a profound mark and sparked the creative energy that shaped the song's weight and atmosphere.

Yellow Vinyl

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

Infinity EP is Devilish Affair at its core: deep house music crafted with elegance, a soundtrack for late-night minds and uncertain times. Devilish Affair returns with its sixth vinyl chapter: Infinity EP, a deeply personal and elegant statement from Alex V.
Born in Barcelona and shaped by the late-90s deep house spirit, Alex has spent decades refining a sound that feels both timeless and intimate, music built on warmth, subtle swing, and an unmistakable sense of romance.

reActive Lab proudly unveils its first vinyl release, marking a defining moment for the label's evolution. reActive Lab Collective 001 brings together four of the label's core members - Chrivu, Dragne, Flavius, and Pattern Tusk - to craft a 12" that perfectly captures the collective's sonic DNA: deep groove, subtle minimalism, and timeless house energy. The record opens with Chrivu - "Cell Division", a vibrant house piece driven by a confident bassline and crisp percussive motion. Built with clarity and flow, it sets the tone for a journey anchored in groove and precision. Dragne - "Get Funk" follows with playful rhythm and low-end warmth - an irresistible combination of swing, bounce, and character designed for the dancefloor. On the flip side, Flavius - "The Interview" introduces a more introspective dimension - stripped-down yet immersive, balancing atmosphere with emotion through delicate textures and steady rhythm.

Closing the release, Pattern Tusk - "We Went On" blends soulful depth with minimal intricacy, offering a smooth, driving finale that resonates with both feeling and functionality. reActive Lab Collective 001 stands as more than a debut - it's a declaration of artistic identity. A 100% in-house release from reActive Lab, crafted with authenticity and intent. A promising first step in what's clearly a long-term commitment to sound, craft, and community. Short Description: reActive Lab makes its vinyl debut with reActive Lab Collective 001, a powerful VA featuring Chrivu, Dragne, Flavius & Pattern Tusk. Four deep and groovy house cuts blending energy, warmth, and minimal precision - a pure statement of the label's identity.

WRWTFWW Records is proud to present THE GENTLE PEOPLE - Soundtracks for Living (Expanded Edition), ?the ultimate Lounge/Chill Out classic from 1997, reborn! Available as a limited edition white vinyl 3LP in heavyweight 3-panel gatefold sleeve.

When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Soundtracks for Living was their defining statement: an album that "takes the lounge scene and runs away with it entirely… blissful and heavenly," as one contemporary review put it. Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's Soundtracks for Living: a record that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People - Dougee Dimensional, Laurie LeMans, Valentine Carnelian and Honeymink - began in early-90s Brixton, throwing dress-up theme parties before taking their audio-visual universe into the studio. For them, music was "a way of life": soothing to the ear, rich in pop hooks, and pitched somewhere between the playfully idiotic and the hyper-intelligent. Their debut on Rephlex was the single "Journey", later blessed with a shimmering Aphex Twin remix that pushed their sugar-coated sound even further into outer space.

This Expanded Edition of Soundtracks for Living finally gives this glambient lounge-pop milestone the treatment it has always deserved. Spread lovingly across 3LP, it features new mastering from the original sources, allowing every harp glissando, string swell and analog squiggle to float in high-fidelity widescreen. The core album is complemented by a bonus 12" of unreleased and rare material, offering a deeper dive into the Gentle world: alternate takes, lost interludes, and secret soundtrack cues for lives not yet lived.

Crucially, "Journey" appears here in its original version, Gentle Instrumental and the cult Aphex Twin remix, reuniting band and labelmate in one place and underlining the quietly radical nature of the project: this was lounge music that could sit next to braindance, acid and IDM and still steal the scene.

Pressed on limited edition white vinyl, Soundtrack for Living (Expanded Edition) invites long-time fans and new listeners alike to step back into The Gentle People's universe - a place of fondue parties, bubble chairs, star-lit elevators and endlessly rewinding sunsets, where "the pathway to the stars" is never quite out of reach.

In an era that often reduces the 90s to big-room bangers and grunge guitars, Soundtracks for Living remains a quietly subversive reminder that the decade was also about imagination, camp, softness and utopian possibility. As later writers have noted, The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.
In conjunction with this release, WRWTFWW has also unearthed The Gentle People's Peel Sessions, a 4-track EP from their 1997 BBC on-air performance, available on vinyl for the first time ever !

pdqb, the producer whose name sounds like a coded message, has surpassed the need for introduction. It emerged from nowhere, becoming omnipresent almost instantly, leaving every electronic music producer eager - if not obsessed - to work with it. Its original tracks are raw and elegant with warm synth lines, pulsing rhythms, and melodies that feel like echoes from forgotten futures. They always carry a strange magnetic pull.
Presented here are eight stunning remixes of its already-released tracks. Each one its own universe, each one remarkable in its own way, each one crafted by an expert in their field. The eight pieces twist, stretch, break apart, and rebuild the originals. They mutate into technoid creatures, melodies dissolve into vapor, and rhythms reorganize themselves into something alien and alive, yet each still holds a faint spark of pdqb's DNA, buried beneath layers of transformation.
Listeners will understand: this isn't just a remix album. It is an evolution - eight reinterpretations of the same musical core, each pushing pdqb's world into a new dimension.

Zürich-based musician Angelo Repetto returns with his new album Between Worlds: Interference, released on Subject to Restrictions Discs. The record is the result of a unique collaboration with Argentinian visual artist Clara Grabowiecki, extending their immersive live project Between Worlds into a sonic and tangible form.

«This album is a continuation of the deep conversations Clara and I had about concepts of perception that led us to question silence, time, transcendence, and the future», says Repetto. «It’s not about finding answers, but about opening spaces where sound, image, and emotion can flow freely.»

Between Worlds: Interference oscillates between hypnotic rhythms, kraut-inspired synth layers, and psychedelic atmospheres – hallmarks of Repetto’s style that listeners may recognize from earlier releases such as Sundown Explosion and Kamiokande. At its core it is an invitation into an open dimension where disciplines, experiences, and realities dissolve into one another. It is both a deeply personal statement and a collective journey into new perceptual spaces.

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

This 4 tracker dives deep into the hypnotic core of analog and modular techno. Arthur Robert sets the tone with Gluon, a precision-built trip of layered energy, while Decoder pushes forward with the kinetic drive of Running Start. On the flip, Jacom crafts Echo Bells, a resonant, minimalist journey of shifting textures, before Uväll closes the release with Dimension, a spacious exploration that balances intensity and depth. Four unique voices, one cohesive vision - pure techno for focused minds and late-night floors.

The sixth release on Les Enfants Records marks a collaboration between two established names in the house music landscape: Djebali and Miroloja.

The record opens with "Vista", a track built around crisp percussion and a steady, evolving groove. On A2, Voigtmann delivers a remix that reinterprets the original with a tighter, more angular approach, adding a new dimension while respecting its core energy.

On the B-side, "Dance With Me" brings a warm, dynamic flow aimed at the dancefloor, followed by "Leather", a deep, percussive closer with weight and restraint.

A solid addition to the Les Enfants catalogue.

Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.

Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."

Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.

If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.


Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

12" EP. Azmari is thrilled to announce the release of their fourth opus, 5-track EP 'In Oculis'. The EP is a reflection of the band's collective desire to reinvent themselves. With a more minimalistic approach, the four musicians have created an eclectic, intense, and vibrant body of work, recorded during various residencies in Belgium and abroad. The result is a fusion of genres that range from powerful grooves to cinematic jazz, from floating melodies to entrancing soundscapes.

For this new project, Azmari teamed up with a long-time collaborator, Guillaume Souffrice (alias Mosso Mosso), who had already been Azmari's guitarist in the band's early days. Souffrice's expertise as a music therapist and multi-instrumentalist, combined with his passion for cross-cultural rhythms and melodies, adds a new depth and dimension to the band's sound.

Souffrice's extensive travels have taken him from Iranian Kurdistan, where he studied the daf (a large frame drum used in Sufi ceremonies), to northern India, where he immersed himself in the modal subtleties of the shehnai (Indian oboe). His love for psychedelic guitar tones and the classic wha-wha pedal remains at the heart of his musical approach, creating a fusion of tradition and experimentation.

The EP opens with 'Night Plants Can Run,' a track that starts with a rhythmic loop on the Berimbau, a Brazilian percussion instrument traditionally used in Capoeira. The song offers a steady, groovy journey between Rio de Janeiro and Sarajevo, with a guitar theme doubled by the saxophone, all underpinned by a deep 4/4 groove. The middle part of the track introduces a lot of percussion (an Azmari signature move) that gives a sense of urgency and chase, inspired by the band's experience playing the track in the studio, imagining a pursuit through the depths of the Amazon.

Next, 'Disassembling the Matrix' takes listeners on a 9/4 march that feels both elusive and powerful. Born from a jam session where an arpeggiator loop wouldn't stop, the band decided to continue with it, highlighting the beauty of a spontaneous creation once again. 'Lizzard's Dream' is a guitar-driven trip that gradually intensifies in energy. The song surprises with a sudden groovy break - a moment that was initially the core of the track - before returning to its soft and introspective theme, closing out the A-side of the vinyl.

The fourth track, 'Eyelights,' was born from the shores of Vevey Lake in Switzerland. It reflects the result of a long period of mental observation and rhythmic exploration. Three different time signatures were used to create the song's intro, which comes together as they go along. The melody loops with a peaceful and nostalgic vibe, creating a dreamlike atmosphere. Under the direction of Frederik Segers, who produced the EP, 'Eyelights' takes on a cinematic feel, with classical upright piano sounds that are a first for Azmari.

The EP closes with "17th Tiger Print," which takes us to the banks of the Ganges. Souffrice's shehnai leads the track into a hypnotic, hallucinatory dimension, where the interplay between his instrument and the baritone saxophone creates a textured, mystical atmosphere. This track encapsulates the essence of Azmari, a sound that bridges cultures and emotions in a minimalist yet highly effective way.

'In Oculis' marks another milestone in Azmari's musical evolution, blending the band's signature style with new influences and experimentation. Whether you're a longtime fan or new to their sound, this EP promisesto take you on another ride around the world.

Embrace the golden tranquility of summer with Childhood Memories! Let yourself be enchanted by a compilation where each note softly whispers warmth, inviting the essence of summer to dance freely. Envision yourself nestled in a cozy treehouse, surrounded by lush greenery, basking in the warm sunlight as guitar melodies fill the air. Whether you're lost in a captivating book or sharing laughter with cherished friends, allow these laid-back tunes to become the soundtrack to your summer bliss.

The album’s title deftly gestures to the sheer vastness of astronomical dimensions, while simultaneously capturing the musical breadth within, where the eight planets are imagined as the eight notes of an octave. The work draws inspiration not only from earlier compositions —most notably Gustav Holst’s The Planets—but also from the rich astronomical and cultural contexts surrounding these celestial bodies. Here, the focus transcends direct citation of melodic motifs, instead embracing an intriguing conceptual approach on a meta level, unfolding in a series of vividly contrasting soundscapes. These contrasts shape a sweeping sonic journey, one that fully embraces the album format with both arms, inviting the listener to venture into realms both strange and wondrous, feeling the immensity of the interstellar space that lies between them. Contrast, after all, is the brushstroke that enriches our world.

Embarking on an auditory voyage, "Astral Guide" establishes the sonic framework that propels us into the boundless expanses of the cosmos. Its ethereal tones evoke the vastness of space, crafting a mood ripe for exploration within the realms of sci-fi. The subsequent tracks unfold like constellations, weaving a rich tapestry of sound that seamlessly marries cinematic soundscapes with pulsating, club-oriented rhythms. This album invites listeners to traverse its immersive landscapes, whether nestled in the comfort of home or dancing under the starlit sky, each note a guide through the transcendent experience of a nocturnal journey.

"Solar Flares" draws its inspiration from the awe-inspiring expanse of solar phenomena, capturing the majestic power of the sun as it reaches into the cosmos. This track resonates with the idea that energy, while vital, can also be a force of destruction when unleashed with overwhelming intensity. The composition beautifully mirrors the sun’s duality, where brilliance and devastation coexist, inviting listeners to reflect on the delicate balance between creation and annihilation. Through its rich textures and dynamic shifts, "Solar Flares" serves as both a homage to the celestial and a poignant reminder of nature's formidable power.

"Mercury – The Winged Messenger" embodies a meticulously crafted soundscape where artistry meets astronomy. The tempo of 173.6 BPM, derived from precise astronomical data, propels the composition into a vibrant realm that resonates with cosmic energy. Synthwave sound design intertwines seamlessly with the fluid rhythms of Drum’n’Bass, imbuing the piece with an uplifting dynamism that evokes the ethereal grace of Mercury itself. In this sonic exploration, listeners are invited to ascend on wings of sound, navigating the celestial tapestry of the universe with each invigorating beat.

"Venus, The Bringer of Peace" strikes a decidedly cozy note, presenting a poignant contrast to the more tempestuous themes often found in cosmic narratives. This composition evokes a nostalgic vision of an optimistic era, one in which humanity transcended borders and embraced the infinite possibilities of space exploration, where no destination felt too distant. The dense, languid atmosphere envelops the listener, creating a tangible sense of serenity that unfolds gradually, allowing for a meditative journey through sound. Each note serves as an invitation to linger in this tranquil embrace, reflecting on the harmonious potential of our collective aspirations and the beauty of connection in a vast universe.

The central theme of „Gaia, The Bringer of Life“ —originally not part of the planetary cycle— is the profound enabler of life on Earth. The arrangement delicately mirrors the slow, tentative unfolding of this potential, marked by an initially sparse orchestration that gradually builds in momentum. This progression crescendos, embodying the explosive dynamism of the Cambrian burst of life, ultimately culminating in a euphoric fanfare—a triumphant, celebratory flourish echoing life’s victorious emergence.

"Blue Moon" unfolds as a contemplative reverie on the tranquil clarity of a night sky, now seldom glimpsed in its natural purity, unclouded by the relentless haze of urban light. The listener is drawn into the vast embrace of the star-strewn firmament, a journey that sways between euphoric awe at nature’s sublime beauty and a profound melancholy for its fragile and imperiled state. Musically, this duality finds expression in the delicate interplay of modal mixtures, while an ever-shifting triplet groove, poised at the intersection of Outrun and melodic house, lends a pulse that is both nostalgic and forward-looking—echoing the beauty and transience of a world on the brink.

Rather than replicating the original composition of „Mars, The Bringer of War“, this interpretation seeks to evoke its profound, foreboding atmosphere. Cyberpunk emerges here as an ideal genre, channeling the dark, relentless march synonymous with Mars, the ancient god of war. The piece reverberates with intensity, as distorted vocalizations rise, embodying the anguish and visceral torment that shadow war’s violent crescendo. This auditory descent into conflict captures the relentless pulse of warfare, where sound itself becomes an embodiment of suffering and fury.

Majestically, "Jupiter, the Bringer of Jollity" emerges on the celestial stage, sweeping away the somber tones with its radiant vigor. Drawing inspiration from the triumphant strains of the original, and borrowing a melodic motif in the refrain, the piece expresses joy and buoyancy through a shift to a major key and the lilting sway of a danceable 12/8 meter. Spirited and exuberant, it leaps boldly from major to minor and back again, playfully shifting time signatures to capture a mood of unbridled festivity and jollity.

Here, a more conciliatory concept is chosen than in the original inspiration. „Saturn“ aligns with the number six, being the sixth planet from the Sun and bearing the iconic hexagonal pattern at its northern pole. What, then, could be more fitting than to render this piece in a 6/8 time signature? The arrangement unfolds with a multifaceted richness, mirroring the countless stones and ice fragments that form the foundations of Saturn’s majestic rings.

„Uranus“ adopts the theme of a light-footed, dancing instrumentation, giving the impression of perpetual motion, never quite settling. This musical choice harmonizes with the planet’s own orbit, as it spins with breathtaking velocity, teetering and swaying, seemingly unable to attain rest or stability.

The chill and vastness of the cosmos find expression in „Neptune, The Mystic“. At its core, an electronic soundscape envelops a classical arrangement, its unreachability intensified by an ethereal, otherworldly choir. Hovering at the outermost boundaries of the solar system, where warmth is but a distant memory, the composition lingers in a slow, contemplative tempo, evoking a realm where space for speculation stretches wide and silence reigns supreme.

Though Pluto may have lost its planetary status, and its companion Charon never achieved one, this shift in classification subtly aligns with the cosmic scale invoked here—one that mirrors the musical tradition of an eight-note sequence. Fittingly, the album closes with „Kuiper Belt“, a composition emblematic of the turbulence and vitality of countless smaller

celestial bodies that, though diminutive, find their rightful place within the vast architecture of the solar system.

They say nature is the greatest composer, shaping the universe with a symphony of chaos and order, beauty and danger. It is this duality that fuels the artistic vision of Edictum—a producer who, armed with a doctorate in chemistry, delves as deeply into the mysteries of molecules as he does into the depths of sound. In the tension between the vastness of the cosmos and the microscopic processes that dictate life’s rhythm, Edictum creates sonic landscapes that dissolve the boundaries between science and art.

His music is a story of contrasts—a sonic tale where the raw forces of nature clash with the intricate structures of human culture. Opposites intertwine to form a harmonious whole: the primal rhythms of the earth meet the celestial melodies of the cosmos, the rigid laws of physics blend with the boundless freedom of art. Edictum explores these polarities with meticulous devotion, each composition an expedition into uncharted soundscapes—a quest to give voice to the unfathomable.

With over 20 years immersed in the realms of electronic music, Edictum has honed a keen sense for rhythm and movement. His driving beats compel both body and mind into a hypnotic flow. Yet beyond the pulse of dance lies a complex framework of conceptual thought. Today, his creative focus revolves around holistic album projects—self-contained worlds with overarching narratives that embrace contrast and complexity. Each track stands alone as a fragment of the whole, but together, they weave a cohesive tapestry, much like the chapters of a novel that guide the listener on an emotional and sonic journey.

Edictum’s distinctive musical signature has earned him international recognition. With over 150 releases, many on prestigious platforms like the iconic *NewRetroWave* label, and collaborations with artists such as Jan Johnston, Azumi Inoue, Powernerd, and Turbo Knight, he has solidified his place in the global electronic music scene. His latest work, *A Cosmic Scale*, marks his seventh vinyl album and is released under his own label, *Echoes of Expanse*. The label’s name is no coincidence—it captures the essence of his art: echoes of infinity, the vibrations of the universe distilled into a singular sonic experience that carries the listener ever further into the boundless expanse of sound and space.

Chalo & Vell return with Made From Moss Volume 2, marking the next step in their collaborative EP series. This four-track of club rollers explores a range of styles and tempos, each track anchored by distinctive rhythms and textures aimed squarely at the dancefloor.

Bangkok, despite being a bustling metropolis, boasts a music scene that feels as intimate and vibrant as those found in smaller European cities. It’s a place where local creatives from various disciplines come together, leaving their artistic imprint across the city. This collaborative energy resonates through Boiled Wonderland’s catalog, which features artists like DOTT, Sarayu, and Chalo—pioneers of Thailand’s burgeoning underground music movement. Both DOTT and Sarayu are co-founders of the record store and label More Rice Records, while Chalo plays a pivotal role as the mastering engineer at Thailand’s pressing plant, Resurrecc. It’s here that the Made From Moss project took root.

While Boiled Wonderland continues to champion eclectic and boundary-pushing music, its sonic direction has evolved to embrace a more dancefloor-oriented approach. This shift reflects the label’s immersion in Bangkok’s electrifying club culture and the inspiration drawn from the city’s warm, sunlit atmosphere.

The Made From Moss series emerged from a creative dialogue between Chalo and label founder Vell. Moss, with its simplicity yet dynamic nature, became the symbolic foundation for a series focused on rhythmically driven, danceable tracks. This vision also sparked the creation of Mosspit events and welcomed MetalMetal as a core contributor.

Chalo’s opener, Feeling, weaves house-inflected vocals with acid synth lines, building a steady groove that carries effortlessly to the finish. Tolerance Break follows, layering dynamic snares, tight breaks, and basslines that pulse with energy. On the B-side, Vell leads with The Ship Rolls Through, a euphoric roller balanced by flickering sound effects that keep the track grounded. Back To Normality closes the EP, leaning into progressive tones with bouncing bass lines that sizzle toward a breaking point, bringing the EP to a close.

The record is already receiving support from the likes of: Ploy, Mixtress, Raresh, Space Dimension Controller, Jennifer Cardini, Answer Code Request and many more.

2025 Repress

With Moving Pressure 02, Rene Wise allows us to dip into a psychedelic undercurrent, yet maintaining a very grounded mentality. Its an effortlessly rolling type of minimalism, but lets be clear; its a type of minimalistic spirit backed up by a rich, kaleidoscopic sound design. MP02 is an immersive batch of mystical dance floor journeys which, in four steps, navigates the realms of gaseous sound design to more subaquatic dynamics, working with a palette of serpentine rhythms that pull us into his distinctive, subtly hypnotic world.

A1 Silo Cybin opens the release with the artists unmistakable kick drum pattern, the heartbeat of his sound. Theres a trippy, swampy energy here, enhanced by robotic vocals and broken claps that weave polyrhythms into the track. The minimalist core pulses with playful energy, while detailed textural elements softly emerge like a waves bubbling foam. Up next we have Complicated, which offers a more minimalist composition, yet injected with rich rhythmic structures. Small circular modulations swirl in the background, filling the air with a delicate yet persistent energy, while his signature vocal snippets further enhance the groove. On the B side, Rough Escorts taps into a brighter psychedelic dimension, conjuring the ethos and trademark of Moving Pressure as a whole. Listen closely a fine connection to Wises previous work on MP01 shines through, maintaining the sonic coherence of the project while pushing further into a lush space. B2 Bleep Police, dives into dystopian bleep territory. Here, the artist strips techno down to its essence, intertwining bleeps with percussion into a hyper rhythmic whole.

A living organism composed of intricately layered sonic structures. A variegated interplay of texture and rhythm. Multi dimensional sound. Welcome to Moving Pressure 02.

Adiel's "Il Significato Delle Parole Remixes" EP Returns with Captivating Remix Package includes Donato Dozzy & Pinch

In the ever-evolving landscape of electronic music, where sonic landscapes morph and intertwine, Adiel's "Il Significato Delle Parole" EP stands as a testament to the power of artistic collaboration and sonic exploration. Now, this boundary-pushing release returns with a mesmerizing remix package, featuring reinterpretations by acclaimed artists Donato Dozzy, Pinch and Adihell.

Originally conceived as a collaborative effort between Adiel and musician Flavio Accorinti, "Il Significato Delle Parole" delves deep into the intersection of techno and experimental sounds. Its tracks serve as conduits for a journey through fragmented realities, weaving together elements of cyberpunk futurism and introspective dreamscapes.

Leading the remix charge is none other than Donato Dozzy, whose masterful touch breathes new life into the EP's ethereal atmospheres. His reimagining of "Nulla Resta" takes listeners on a hypnotic voyage, layering intricate textures over a pulsating rhythm, while maintaining the track's emotive core.

Joining him is Pinch, a visionary producer known for his genre-defying approach to bass music. His Remix of "Sospesa" injects the track with a sense of urgency, blending dark trip-hop aesthetics with futuristic sound design to create a truly immersive sonic experience.

The EP also includes Adihells' captivating remix of "Nulla Resta," returning after leaving an indelible mark on the original release. This rendition adds another layer of depth and intrigue to the already mesmerizing collection. It's worthnoting that Adihells isn't merely an alias but rather a darker iteration of Adiel, embodying a distinct sonic persona.

Adiel is a visionary artist whose sonic explorations defy conventions and push boundaries. With a keen ear for intricate soundscapes and a fearless approach to experimentation, she continues to captivate audiences worldwide.

With these remixes, Adiel's "Il Significato Delle Parole" EP transcends its original boundaries, inviting listeners to explore new dimensions of sound and emotion. As words continue to shape our understanding of the world, this release serves as a reminder of the transformative power of music to unite and inspire.

Embrace the journey and let the music speak for itself.

Aphrose reveals her sophomore album, 'Roses,' a captivating amalgamation of Neo-Soul and R&B, delving into the wellspring of ancestral strength and love.

Hailing from Toronto, Canada, Aphrose, also known as Joanna Mohammed, unveils her sophomore album, establishing her as one of Toronto's best-kept musical treasures. Known for her commanding vocal prowess within her hometown, this gifted songwriter and vocalist is rapidly garnering global acclaim and accolades from both fans and music critics alike. Signed to independent Soul label LRK Records, 'Roses' remains firmly rooted in Aphrose's signature style characterized by resounding R&B vocals. However, it also embraces a softer, more introspective aura that brilliantly showcases her remarkable versatility in navigating diverse genres, moods, and musical approaches with remarkable finesse.

This album offers a little something for everyone, catering to enthusiasts of Neo-soul, traditional Soul, Hip Hop, and R&B. Produced by her longtime friends/collaborators at SafeSpaceship Music (Scott McCannell, Chino De Villa, Ben Macdonald), the album serves as a compelling testament to the collective creativity of Aphrose and this exceptional production trio, delivering a kaleidoscope of soundscapes, textures, rhythms, and grooves. 'Roses' weaves together both lighthearted and profound elements as Aphrose explores her life journey, delving into her familial past and present, grappling with the challenges of new motherhood, and contemplating her relationships with herself, her partner, and her friends. Across the 35-minute LP, Aphrose draws inspiration from Neo-soul icons like Jill Scott and Erykah Badu, pays homage to Soul legends such as Aretha Franklin and MJ, and infuses contemporary R&B influences from artists like Frank Ocean, SiR, and SZA. The result is a sound that distinctly bears the 'Aphrose sound,' reflecting her deep admiration for her inspirations while imparting a refreshing twist to familiar genres.

The album commences with its title track, 'Roses,' which was released as a single on August 25th. This song sets the stage, invoking the strength of Aphrose's ancestors, particularly her late Grandmother Rose. Following suit is 'YaYa,' also released as a single on July 7th. This buoyant dance track whisks listeners back to the disco era of the late 70s and early 80s. The album's third track, 'Heavenly Father,' offers a brief interlude featuring a recording of Aphrose's Grandmother Rose engaged in prayer, setting the tone for the subsequent track, 'In The Time Of Sorrow.' This contemplative, chill piece captures Aphrose's musings on navigating a world often shrouded in fakery, while craving authenticity. 'Honey (Don't) Come Back' seamlessly transitions between two distinct musical personalities, commencing with a deep, almost Trap-like bass/drum beat before transforming into a spirited Funk/Soul jam—an anthem of empowerment encouraging the listener to leave a situationship that is no longer working. 'What You Don't See' strips the production down to its core, as Aphrose and guitarist/co-writer Heather Crawford craft an intimate ode to a friendship's sad ending.

The B-side opens with the evocative 'Weapons,' featuring a five-person choir including LRK label-mate Claire Davis, Nevon Sinclair (Daniel Caesar and LOONY), Kyla Charter (Aysanabee and Alessia Cara), Lydia Persaud, and Marla Walters. The track is adorned with a stirring string arrangement courtesy of Jessica Deutsch. 'Chop The Cake' acts as a breather, interlude-style, easing the intensity. 'Soft Nuclear' channels the spirit of the early 2000s R&B movement, bearing traces of influence from Lucy Pearl. 'Good Love,' released as the first single off this body of work on May 19th, transports listeners to the 70s with its soulful resonance, drawing inspiration from the likes of Michael Jackson and Teddy Pendergrass. 'Higher' stands as Aphrose's tribute to Prince, capturing the essence of his music within its hook and production. The album's culmination arrives with 'ZAG,' an acronym derived from Aphrose's daughter's name, commencing with the sound of her daughter's heartbeat in-utero from a sonogram taken when Aphrose was pregnant. This heartfelt composition serves as a dedication to her daughter and all parents navigating the rollercoaster of parenthood, emphasizing the imperative of nurturing love to shape the future.

'Roses' stands as Aphrose's homage to her history—her Grandma Rose and the ancestral trailblazers who paved her path to the present life she enjoys; her current experiences—her self-discovery, her relationships with her partner and friends; and her aspirations for the future—her daughter and the generations to come. This album crystallizes these temporal dimensions, prompting introspection, celebration, laughter, and tears. 'Roses' is a musical odyssey that scrutinizes the multifaceted beauty of existence, inviting listeners to partake in this thing called life.

The radio world has taken notice of Aphrose's talent, with national Radio Capital's Italy Massimo Oldani spinning her latest single "YaYa" for the entire month of July on his show "Vibe." And both singles getting to number 10 in the UK soul chart.Additionally, Aphrose has received national radio play on renowned stations such as BBC in the UK, RTVE in Spain, and Radio France FIP.

Aphrose has also made CBC's Top 100 finalist list for their Searchlight competition.

Huey Morgan played "YaYa" the second track off the album on his BBC radio six show

What comprises a dream?

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

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

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

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

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

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

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

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

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

2023 repress !

After his debut on PoleGroup last year with a track 'Hate' selected for the compilation release Unknown Landscapes - EP 1, Kwartz makes a proper return to the label with Form and Void EP. Hailing from Madrid, DJ and producer Kwartz started his career in 2011 and within fairly a short time he has developed and refined his own hypnotic, dark and enveloping techno. Amongst notable releases to date is his first vinyl EP Fenomen (2013), a joint release with Pole Group artist Exium on their Nheoma imprint.

Form and Void EP features two strong originals and two equally powerful remix supports from the label mates and core members of Pole Group, Reeko and Exium. The title track 'Form and Void' kicks off with straight forward 4/4 rhythmic groove that gradually builds up layer by layer in to the darker shade to meet the mysterious break, followed by heavy brooding bass tones slashing through the kick drums, deepening the atmosphere with the hollowing echoes. Reeko's remix elevates the dark mood of original while pumping in even more energy with rolling kick/hat combo and psychedelic swirling chaos of synth that intensifies throughout the entire length of the track.

'Breakage' on the flip side possess much more hardened groove, pounding out the drums packed with blinding force. Exium's remix takes the tension-filled doomsday feel of original to another level and gives a new dimension to the heavy merciless percussion by adding haunting howling echoes that growls like that of ghosts combined with more muted drums and subtle layers of stabs of kicks and effects.

Kwartz holds nothing back with Form and Void EP, delving in to the darkest and deepest realm of subterranean pulses that fit perfectly for the dance floor with dimmed light and big sound system.

SUZI returns after the beautiful EP by Downstairs J with a new power compilation, including contributions by Beta Librae, Flørist, Dashiell, and Alfredo 92. This VA record explores modern takes on tech dimensions driven by catchy grooves.

The record debuts with an essential dancefloor killer by Dashiell, a talented musician based in Naarm/Melbourne. "Beep Beep" has a slick badass attitude driven by its frenetic core melody, accompanied by a spooky cosmic atmosphere, and makes this track an instant hit for dancefloors.

The second contribution, "Listening to the ants," comes from Beta Librae, one of NYC's most unique exports in recent years. Her signature contemporary deep-bleep-groovy sound can also be found in this composition, which has a slow and dubby feel filled with small insect-like details. A perfect symbiosis between organic and digital worlds.

On the flip side, we find "Dot Matrix," a groover by Berlin-based Flørist. Breaky tech-house with MPC-like swingy shakers channeling a balance between minimalistic details and slightly scratchy sound design. The bass-line, one of the key elements here, comes and goes over and over again, creating superb tension from beginning to end.

The final track "Bora" of the record comes from Copenhagen, by Alfredo 92. What makes this track so special is its propulsive drive without any kick drum in it. The association of wind-like groove elements combined with a subtle melody makes this beautifully crafted sonic tempest.

Curation and design by Cleveland. Mastering by Marco Pellegrino at Analog Cut. Distribution & production by One Eye Witness.

Concrete Noir is the latest project from multimedia artist and sound designer Piero Fragola, known for genre-defying ventures like We Love (BPitch Control) and ANGLE (Tiptop Audio Records). With this project, he explores a hybrid space where electronics, voice and image merge into an introspective and shadowy form. The debut album, Romance Ruins, is the first release on the newly founded Frequens Records.

Composed entirely using Tiptop Audio’s ART modular system, it unfolds as a series of layered, emotionally charged compositions. These are structured songs with a physical low-end impact.

Musically, Romance Ruins moves beyond genre boundaries to inhabit a space shaped by contrast and collision. The result is a form of modern hybridization—melancholic yet forceful, intimate yet expansive. The sonic identity is carefully constructed but deliberately raw, emphasizing emotion over precision.

The title itself captures the core of this paradox. Romanticism, in its intensity, may ultimately destroy. And yet, from that destruction, something vital emerges. The album embraces the figure of a decadent hero—a child of broken ideals who reclaims beauty from collapse. It’s a romantic vindication of decadence, a belief that clarity can rise from ruin, and meaning from fragmentation.

Moving through a broad range of tempos, the tracks explore murky, melancholic, tactile and cinematic moods. Synths intertwine with guitars (Fender and Gretsch Dobro). All vocals are performed by Piero Fragola, except on Faraway Places, where his voice is joined by that of Viktoria Lishkee—the album’s only guest appearance.Nearly every track is paired with a video, expanding the work’s audiovisual dimension. As a designer for Tiptop Audio and instructor at IED and LABA in Florence, Fragola brings a multi-sensory vision to Concrete Noir—one where medium and message, form and feeling, are inseparable. With Romance Ruins, he delivers an artistic statement. A body of work that resists categorization and embraces the beauty of decay.

Romance Ruins marks the beginning of Frequens Records. Available in a 180-gram vinyl edition.

cv313 and Federsen join forces again for the ‘Altering Dimensions Part One’ release, the initial drop in a series of collaborations which will later form together as one long player project.

Detroit-based dub techno pioneer cv313 (Stephen Hitchell of Echospace fame) and Federsen join forces on the forthcoming collaborative EP Altering Dimensions via Federsen’s own Alt Dub imprint. cv313, known for landmark releases such as Seconds to Forever and the deeply influential Dimensional Space LP, has been central to shaping the modern dub techno sound, blending immersive atmospheres with hypnotic rhythms. Federsen, celebrated for releases on Echospace Detroit, Grayscale, Synchrophone, Lempayung, Avant Roots and others. has also established himself as one of the genre’s most forward-thinking producers, bringing a meticulous, analogue driven warmth to his productions. Altering Dimensions marks a meeting of two highly respected producers in contemporary dub techno, bridging Detroit’s timeless legacy with Federsen’s cutting-edge sonic explorations.

The release comprises four alternate interpretations of the title-cut and leading the way is the original mix of ‘Altering Dimensions’, a seven-and-a-half-minute excursion through weighty low-end pulsations, spiralling atmospherics and ever unfolding nuance throughout. The ‘Redesign’ follows and shifts gears into a more robust deep techno realm as cavernous reverberations and shifting echoes ebb and flow alongside murky bass and sturdy drums.

The ’Dub’ mix follows on the flip-side, as the name would suggest laying focus on a more classic dub techno style with crisp percussion, billowing spaced out delays and vacillating subs before the ‘Reduction’ mix concludes the project, as the name would suggest stripping things down to the composition core atmospherics elements alongside oscillating percussive elements and fluctuating pads.

Decades on, the time has come for Island Issues, in collaboration with Onis, to proudly dust off a selection of César de Melero & Mr. Claude’s productions that have shaped the highs of countless nights.
Side A opens with D.O.D.’s “1, 2, 3, 4”, a trusted tool for DJs worldwide since 1997. While the elusive “De Pompidou’s Mix”, previously only available on the Sónar ’99 CD compilation, makes its first appearance on vinyl, revealing a deeper, late-night dimension. On the flip, D.D.D.’s “Moovin’ (Bisexual Mix)” channels pure 1996 rave energy, turning the core sample shared with the A-side into a raw and infectious groove. Closing the record, “The Struggle” weaves a James Baldwin speech into layers of warm, old-school deepness, sustaining tension and purpose until the very last bar.
Dedicated to Pro-Zak Trax founder Alex Lamarque.

Within the nine carefully composed tracks of Young Bones, Mel D’s characteristic voice stands out in all its facets, varying from fragile to powerful, haunting to playful, but most of all soulful. With a voice that’s both extraordinarily clear and melancholic, Mel D is something surprisingly rare: a singer whose artistic expression goes beyond the mere use of her voice. On Young Bones, Mel D uses contemporary figures, rephrasing them into timeless formulas. Her unique musical language embodies references to genres like Indie or Alternative. In other moments, her sound leans baroque, then jazzy, soulful, and contemplative. Each song represents an ode to being connected: to the world, other people, and most of all to the beauty of music. Mel D draws her inspiration from struggles felt in the current world climate: “I have felt overwhelmed by the world we live in and its countless challenges,” said Mel D. “As if we’re all a bit directionless in our own lives.” Nevertheless, Mel D uses her musicality as a tool for resistance - using it to transform sadness and anger into creativity, and to give world-weariness a voice that seduces, comforts, and inspires. On Young Bones, Mel D sings us to a place where we might find hope - with songs rooted in concern, solidarity, humanness, and empowerment, inviting the listener to lean into those feelings. Bring the Witches Back, a hymn to witchcraft, is a quiet song that summons the return of witches with feminist urgency, for more love and magic to open ourselves towards each other and the world. Soft, a soulful song with a tender melody, gently lulls the listener into an in-between dimension, full of opportunities. Meanwhile, in the coming-of-age ballad, Slowly Growing, she raises questions about belonging and identity, pointing directly at our emotional core. Where Do You Look When It Hurts? speaks to the sensation of exhaustion and emptiness, offering musical warmth and a sense of community in moments of lethargy. Finally, listening to the album, one always feels in good company. Playfully working in folk and electro-pop elements, Mel D takes us on a ride toward love and a sense of belonging, particularly on the track We win. Young Bones was recorded in Zurich and Paris with two outstanding producers of our times: Renaud Letang, who has previously collaborated with Feist, Chilly Gonzales or Lianne La Havas, and Dino Brandão. The latter recognized Mel D’s artistic uniqueness during their first meeting, inviting her to a recording session in his studio and bringing her into the band of Swiss superstar, Faber. Mel D’s solo project was more a product of coincidence than planning, as she says, even though an undisputed talent and passion for music had always been apparent throughout her youth. During her studies in fine arts in Zurich, she founded the electronica-duo mischgewebe, and composed soundtracks for theater and movie productions, as well as for exhibitions. Long before forming her current artistic identity, she went by the nickname Mel D, in a humorous reference to the Spice Girls. Although her personality and musical language suggest thoughtfulness and a melancholy touch, Mel D acknowledges that an honest laugh is never out of place, making her sympathetic and approachable.

Shelter is best known for its founder and frontman, Ray Cappo, who is considered as one of the most prominent representatives of the ‘krishnacore’ scene, which mixes the elements of hardcore
with a strong spiritual message. Formed in the early 90’s, Shelter was Cappo’s second band - previously he was the frontman of Youth of Today.

Originally released in 1997, their second album Beyond Planet Earth finds Shelter moving more in a “Pop-core” direction, with songs averaging 2-3 minutes. Some pretty catchy stuff can be found on this album.

Listen to tracks: “Alone on My Birthday”, “Refusal” and “Time is Ticking Away”.

If you appreciate hardcore’s energy, but feel that the music and lyrics are too one-dimensional for your taste, chances are you’ll find those missing elements in Shelter’s music.

Beyond Planet Earth is available as a limited edition of 1000 individually numbered copies on purple coloured vinyl and contains an insert.

We feel like Frank & Tony and Smallville have been on the same musical wave-length since forever. Our musical paths have crossed back and forth over the years and we have always shared a lot of the same values- steadily putting out quality music, that stands the test of time - growing consistently - never stop following our very own way - always not-following trends forever..
Frank & Tony is the collaborative guise of Scissor & Thread co-founders Francis Harris and Anthony Collins aka Grant. Both have long been staples of the underground with material under their own names and numerous other guises shaping the musical landscape of House Techno and beyond since the turn of the millennium. Both lived together in New York and as Frank & Tony the pair have delivered multiple albums and many EP’s on their own label, Tokyo’s Mule Musiq and Pacific Rhythm- now they are warmly welcomed onto the Smallville Records roster with their latest collection of works.
‘Ways Of Mine’ leads on the A-Side and showcases the pairs signature deep hypnotic house style via soft billowing pads cascading metallic chimes psychedelic spoken word and dreamy dubbed out keys floating atop a robust bouncy rhythm
section.To open the flip-side title-track ‘After All’ lays down a subtly blooming chord sequence shuffled drums and bumpy bass stabs at its core all subtly nuanced while the latter half introduces more dynamic rhythmic elements and intertwined melodic touches. ‘Dimension’ then concludes the release diving deeper with saturated ethereal pads and bubbling resonant arpeggio lines alongside heavily swung crisp drums jazzy keys and delayed vocal chants.
After All comes with a full cover artwork by Stefan Marx.

All tracks written & produced by Francis Harris & Anthony Collins
Mastering and Vinyl cut by Helmut Erler at Lathesville

Following the hyperactive “Blood Karaoke” (2022, Reading Group), “Performing Belief” builds rhythmic thickets from gathered sounds interwoven with synths, drum machines and other samples. Having built these rhythmic nests, Krivchenia then called on two contemporary mages of the low end: electric bassist and fellow Angeleno Sam Wilkes (Wilkes/Gendel) and double bassist/multi-instrumentalist from Krivchenia’s native Chicago, Joshua Abrams (Natural Information Society). Wilkes and Abrams bring the presence of a grounding human witness to the rhythmic undergrowth, providing a centering and even at times melodic voice to the gathering. This alchemy carries a profoundly fresh sense of time, blurring the edges of the quantized grid and the generic boundaries of electronic music.

The core of the album is a lush, opulent matrix of percussion ranging from the familiar—hand claps and drum machines—to the mysteriously verdant, sampled largely from Krivchenia’s own performed field recorded collection. For years, he would record any and all of his musical encounters with natural objects: performing on a particularly resonant log on a hike, throwing rocks into a pristine pond, tap dancing in the mud. This archive of “natural” sounds became the fertile soil out of which the tracks on “Performing Belief” grew. What is gained in the process is not just a novel set of sounds, but a new rhythmic language. The particular give, the anticipatory rustle, the extra breath of a hollow log when functioning as a kickdrum provides a greenness that overtakes the rhythmic grid, giving this music a peculiar kind of stickiness. This rhythmic language, set in Krivchenia’s long-fermenting electronic musical palate, feels like a revelation, even while it calls back not only to his wonderfully elastic timekeeping behind the kit with his beloved band Big Thief, but also to his prior work in computer music as well as his deep study and love of the vast human archive of drumming. “Performing Belief” is in good company in the rank and file of the legendary Planet Mu label. From the foundational early releases of the likes of Jega and Venetian Snares, to the contemporary envelope-warping work of Jlin and hundreds of brilliant releases in between, Planet Mu has been a beacon of forward-thinking rhythmic music for decades, informing Krivchenia’s own sense of the weird metaphysics of musical time since he was a kid. Krivchenia’s contribution to this history calls to mind the principle of organic danceability that subtends Mu’s whole catalogue, while bending our sense of rhythm in new and gracious dimensions. Krivchenia brings out the loamy complexity of natural rhythms, a clearing as generous as it is inviting. Let the drummer give you some.

Audio alchemist Damian Lazarus continues to redefine the boundaries of electronic music with his fifth studio album, ‘Magickal’.

Renowned for his unparalleled ability to craft transformative sonic journeys, Damian Lazarus is a master of rhythm, melody, and vibration—a true pioneer among his generation’s visionary artists. Damian’s broad depth of experience encompasses a variety of disciplines: tastemaker, selector, label owner, A&R and a Grammy-nominated artist in his own right - each informed by his unique ear for sound. He is chief wizard of the hugely influential and culture-defining Crosstown Rebels label, a globally renowned DJ with a penchant for exotic outdoor locations and a highly regarded recording artist with four albums and a plethora of solo cuts, collaborations and remixes in his sprawling discography.

With his fifth album, ‘Magickal’, Damian steps into his next evolutionary phase, combining his newly found sobriety with a more mature outlook while still pushing boundaries and creating unforgettable moments. At the root of it all is the magical power of togetherness and human connection that only music can facilitate. Driven by this core ethos, Damian continues on his mission to share his heartfelt music, taking the dance floor into unexplored realms of experience, facilitating moments of transcendence, bliss and pure, unadulterated magic.

Damian Lazarus, the avant-garde architect of spiritually nourishing sounds, is joined by a stellar lineup of collaborators on his latest excursion. It’s imaginative and mystical, rhythmically captivating and daring in its own way, as is typical of Damian’s approach. Taking consideration of his past, the album references his previous work to create a tapestry of compositions that tap into the energy of key moments from his discography. Drawing on his existing catalogue creates cohesive through lines and thematically serves as a continuation of previous stories. November’s single, ‘Sunrise Generation’, for instance, works as a companion to ‘Vermillion’, which was recorded by Damian with his band The Ancient Moons and vocalist Moses Sumney back in 2015. ‘Sunrise Generation’, featuring the beautiful vocals of Fink, was Damian’s first major release since his Grammy-nominated 2021 collaboration ‘Don’t Be Afraid’ with Diplo and Jungle, and continues to take inspiration from global gatherings at solstice and those moments of collective awe at sunrise.

Indeed, the album’s themes of mental elevation and psychedelic sonic journeys are evident throughout. Damian channels this energy through tracks like the soulful ‘So Low’, featuring the incredible Zoe Kypri, and the luminous ‘Searchin’, with Jem Cooke, whose collaboration with Damian dates back to ‘Flourish’ (2020) and lead single ‘Into The Sun’. Uplifting is the operative word here, as Damian aims straight for our hearts and inner selves, stripping away the layers to take us on a trip inwards, and out into the ether all at once. There’s a clear nod to Damian’s appreciation of amapiano when he teams up with Ghanaian interdisciplinary healer Jojo Abot on ‘Warrior Dance’. Old friend and inspirer Mathew Jonson brings his virtuoso touch to ‘Are You Dreaming?’, while TEED and A-Trak form an awesome alliance for ‘Falling Down’ with its heartrending vocals. ‘Alive’ features the Bloom Twins, and also additional production from acclaimed producer Mark Ralph, who incidentally worked on Damian’s debut album ‘Smoke The Monster Out’ in 2009 and forms another throughline to the past. ‘Alive’ blends pop sensibilities and song structure with Damian’s inimitable sound - and could become one of Damian’s biggest moments to date. ‘La Hija De Juan Simon’ delves into the Latin energy synonymous with vibrancy and self-expression as Damian teams up with acclaimed Spanish flamenco-influenced duo Mëstiza. On a solo tip, he rolls out with the eight-minute-plus soulful funk flex ‘Why Don’t U’.

In a suitably aligned instance of serendipity, the arrival of ‘Magickal’ comes at a pivotal period in Damian’s life, just as it has been with previous album concepts. Albums made and released during big shifts in his life speak to the correlation between growth, personal evolution, creativity, catharsis and sharing that process musically. The last album ‘Flourish’, for instance, was recorded and released in the space of a few months during the first summer of the global pandemic. As a result, there’s a kind of vulnerability in the music, a subtle story that’s being told with emotional touchpoints that will be relevant to anyone listening. The universal human experience and spectrum of emotions are things almost everyone can relate to. With the enhanced clarity of his sobriety, Damian’s compositions embody the uplifting nature of simply being alive, connected and unified in our love for music and one another.

Day Zero, Damian’s iconic annual festival, is intrinsically linked to ‘Magickal’. It’s the setting for his imagination when producing the music, it’s the launchpad for each year’s kaleidoscopic adventures around the world, and this year’s edition will be the backdrop to the release of ‘Magickal’. As the pinnacle of Damian’s annual experiences, Day Zero marks a vital milestone for his artistry, an extension of his inner realm, carefully curated and created for his global family of lovers and dancers to revel in the awe-inspiring beauty of Mother Nature. Central to the ethos of Day Zero is its sustainability practices and deep consideration for the locality within which it is held. Connections with local elders embolden its depth, cultivating a strongly aligned purpose with the ritual, customs and energy of the land and its people.

‘Magickal’ will be released in the same week as Day Zero, tying the two projects together in a neat dovetail. 12 years since it started, Day Zero continues to play a significant role in the music Damian makes, curates and plays. For him, it’s the epitome of his vision: a stunning natural setting, the very best party people from around the world, an unparalleled lineup of friends and family, high production values, eco-centric policies and music from another dimension. With these interdimensional transmissions, Damian channels his inner alchemist, which, in turn, permeates into the vibrational framework of ‘Magickal’.

Never one to adhere to convention, Damian has opted for a disruptive album release. ‘Magickal’ is to be kept under wraps and then announced and released on Crosstown Rebels on 8th January 2025, bypassing the modern trend of prolonged single drops and ‘tombstone’ album releases. ‘Magickal’ is the embodiment of Damian and his intentional, against-the-grain approach and reinforces the album as a complete artistic statement, offering listeners the full cohesive experience from the very beginning. This is a return to the album as the pinnacle moment and not the afterthought. Singles, edits and remixes will follow the ‘Magickal album’ release, and, of course, there will be a world tour to promote the album (including Glastonbury and Coachella) and a chance to present the album in exciting, innovative and unique ways.

Forever dreaming, a sincere student of magic, new and old, social sorcerer, lover of nature and master of musical wizardry, Damian Lazarus is a potent force. With ‘Magickal’, he reaffirms his place as one of electronic music’s most influential figures, taking listeners on a profound journey into sound, spirit, and connection.

Belgian duo Borokov Borokov present their new EP on Magma Records. Inspired by a surreal, feverish dream by one of its members, World War captures the raw energy of the band's live performances.
Incorporating live musicians, including the voices of Lara Chedraoui (Intergalactic Lovers) and Frankie Traandruppel, and co-produced with Youniss Ahamad, the EP showcases Borokov Borokov's distinctive blend of chaos and artistry while venturing into new dimensions of their sound. Departing from their signature DIY approach, the band enlisted Youniss Ahamad as a co-producer to bring out a visceral, live feel. Drums, bass guitars, and brass instruments layer over their electronic foundation, with guest vocalists adding depth to each track's unique intensity.

World War is a molten blend of sounds and emotions-a dance between chaos and order, built to radiate heat that pulls listeners into its burning core. Balancing raw analog sequences, mesmerizing chants, distorted effects and hypnotic synth loops, their new output embodies the sounds of a post-apocalyptic dream, influenced by DFA-inspired Electro Funk, echoes of the Italo Disco era, angular post-punk, and trippy Acid House.

Designed for the eccentrics of the dancefloor, the EP is slated for release on February 28 on vinyl and all digital platforms via Magma Records.

The Tonarium is an idiosyncratic instrument comprising of two sets of modular synthesizers: Serge by Random Source, and another one by Bugbrand, both of which operate alongside a mixer constructed by Piotr Ceglarek and Jan Dybała. This intertwinement facilitates precise control over audio and CV signals and integrates technology with analog sound, offering the artists a distinctive sonic palette to delve into.

The present record unfolds in two parts, each exploring the fluctuating nature of sound. Both equally contribute to the work’s immersive imaging characterized by sound intensity, continuity and endless flow. Within its sonic tapestry lies a space for listeners to uncover subtle nuances, pulsations, and moments of harmony flickering through each chord’s firm surface.

In Part I, a formidable force consisting of chord progressions pierced by abrupt shifts and transitions unfolds. This deliberate disruption of harmonic continuity invites listeners to immerse themselves fully in each musical entity, uncovering the intricate details of the chords’ overtonal structure, drifting and steadily glimmering inside their glowing cores.

Part II, on the other hand, presents a more closed form—a recurring four-chord motif that evolves and transforms with each iteration until it finally fades out into whisper-like serenity. Here, the bass pulsates with greater intensity, like a wave enveloping the listener in a froth of feelings, which prevails and swells throughout the composition. In contrast to Part I, it exudes a sense of warmth and intimacy, inviting listeners to reflect over the dimensions of their own inner landscapes.

The Tonarium is to serve as a conduit for expression—a vessel through which the artist Aleksandra Slyz is enabled to channel her creativity and emotion into the music. Both Part I and II of the work have the capacity to drag listeners into a sonic odyssey that transcends time and space, therefore leaving an indelible impression on one’s trembling soul.

Performed & recorded on December 18-19th 2023 while in residence at The New Media Laboratory in Katowice, Poland.

Organized by The Soundscape Foundation

Composed & produced by Aleksandra Słyż

Mastered by Rashad Becker

Photographies by Kacper Krzętowski

Design by Maks Posio

Executive production by Christian Di Vito

Hello Everybody,

In recent years, the introductory texts for the Pop Ambient compilation series, which is released every year on Kompakt as the last release before the Christmas break, often began with the sentence "Every year again...".

“Every year again”, a quiet, almost unnoticed maxim of self-evidentness. Because this is already the 25th issue to be published this year.

25 years in increasingly fast-moving times in the even faster-moving music business is an eternity that doesn't just feel like it. It is all the more remarkable how I, as someone who is always restless and often driven by this fast pace himself, pleasantly almost haven’t realised how - in pop-ambient contexts - time does not pass (or passes differently) in the best sense.

When compiling the 25th edition I was asked, among other things, what it was like that I was still doing this and whether I had a favorite track. In the spirit of bringing all the tracks together I don't have a favorite track, or all of them. But I have a favorite part (moment) that I played. In this case it was a broad chord in a change of key at minute 2:55 in the piece Circles by Max Würden. A moment of majesty and familiarity that, at that moment, contains the entire Pop Ambient cosmos, that just works and doesn't explain anything - and I said: “...that's the reason why I'm still doing this.. .”

Pop Ambient is a statement without demands. Is promise without expectation. Is a path without a destination. Every year again.

Wolfgang Voigt, October 2024

And so to the facts:

01. Leandro Fresco / Thore Pfeiffer – Goldwasserfluss

The intercontinental collaboration between the two long-standing Pop Ambient artists Leandro Fresco from Argentina and Thore Pfeiffer from Mainz is a regular part of the series. They open this year's anniversary edition with the usual filigree.

02. Pass Into Silence – Mirage

The Japanese artist Tetsuo Sakae aka Pass into Silence returns to Kompakt 20 years after his legendary album “Calm Like A Millpond”. A master of tones that are as fine as they are stoic and crystal clear.

03. Tamarma & Sebastian Mullaert – Follow Me

For the first time, the well-known Swedish producer and DJ Sebastian Mullaert will be performing on Pop Ambient in cooperation with the Georgian sound artist Tamara Davitashvili. Their piece “Follow Me” fits confidently into the intimate, familiar sound cosmos.

04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht

Sono Kollektiv is now a fixture on Pop Ambient, this time with Nathalie Brum. In particular, Luis Reich's characteristic flugelhorn always gives their sound that special jazzy touch.

05. Thore Pfeiffer – Phase Locked Loop 1

Thore Pfeiffer is a master of shimmering surfaces and hypnotically meandering loops.

06. Andrew Thomas feat. Julia Parr – Sunshine Night

An old friend from New Zealand is back with spherical sounds. Andrew Thomas, in collaboration with Julia Parr, sprinkles finely placed piano tones into distant soundscapes and even more distant voices.

07. Segensklang – Artifacts of Synthesis

We are pleased that Segensklang will be there again this year after his brilliant Pop Ambient debut last year. Deep and beautiful.

08. Ümit Han – Im Delirium

The Cologne producer Ümit Han is back for the third time. While he has so far explored the more emotional, soundscape aspects of the Pop Ambient universe, this year's piece "Im Delirium" rises to a pulsating mountain of sound with pearly, clear, effervescent sound crystals.

09. Würden & Schäfer – Analysis Of Variance II

In their track Analysis Of Variance II, Max Würden and Lukas Schäfer embed a finely placed beat impulse in a soft bed of modulating soundscapes and pleasant psychedelic spaceyness.

10. Max Würden– Circles

Max Würden once again shows his special feeling for one of the core statements of the Pop Ambient style spectrum. The abstract chord and soundscape movement between formal construction and emotional touchability, which seems like “pop music” under the microscope.

11. Blank Gloss – Jennifer’s Convertible

The Californian guitar-ambient duo takes us into their sublimely beautiful sound cosmos with their usual aplomb. Maximum condensed transparency. Lightness - heavy as gold.

12. Hendrik Meyer – Grün War Die Klamm

Another new addition is Hendrik Meyer. The versatile musician, also known for his MYR project distributed by Kompakt, leads us with a glistening, beautiful “wall of sound” determination into the eternity of a sunset that is only ended by the following track. Filmy Music.

13. Triola – Zum Renngraben

Jörg Burger aka Triola combines his typical “handmade” impulses and accents with a multi-dimensional, digital sound scenario in a pleasantly smoky, blurred stonewashed aesthetic.

As always, the indispensable final mastering by Jörg Burger ensures that everything is brought together and the sound is fine-tuned.

And like every year, the 25th edition is of course wrapped in an abstract, floral magic creation by Veronika Unland. Over the years, the grace of her imagery has increasingly merged with the musical aura to form an unmistakable magical symbiosis.

Hallo Leute,

In den vergangenen Jahren begannen die Anmoderationstexte zur Pop Ambient Kompilation-Reihe, die jedes Jahr als letzte Veröffentlichung vor der Weihnachtspause auf Kompakt erscheint, sinnigerweise immer mal wieder mit dem Satz “Alle Jahre wieder...".

„Alle Jahre wieder”, eine leise, fast unbemerkt zur Formel gewordene Maxime der Selbstverständlichkeit. Denn in diesem Jahr erscheint bereits die 25ste Ausgabe.

25 Jahre in zunehmend schnelllebigen Zeiten im noch schnelllebigeren Musikgeschäft, sind gerne mal eine nicht nur gefühlte Ewigkeit. Umso bemerkenswerter wie mir, als ewig Rastlosem und oft selbst von dieser Schnelllebigkeit Getriebenem, auf angenehme Weise fast entgangen ist wie sehr, in pop ambienten Zusammenhängen (gedacht), die Zeit im besten Sinne nicht (oder anders) vergeht.

Beim Kompilieren der 25sten Ausgabe wurde ich u.a. gefragt, wie es ist, dass ich das immer noch mache und ob ich ein Lieblingsstück hätte. Im Sinne des Zusammenbringens von allen Stücken habe ich kein Lieblingsstück, oder alle. Aber ich habe eine Lieblingsstelle, die ich dann gespielt habe. In dem Fall war es ein breit gesetzter Akkord in einen Tonartwechsel bei Minute 2:55 im Stück Circles von Max Würden. Ein Moment der Erhabenheit und Vertrautheit, der in diesem Moment den gesamten Pop Ambient Kosmos in sich trägt, der einfach nur wirkt und nichts erklärt - und ich habe gesagt: „...das ist der Grund, warum ich das immer noch mache...“

Pop Ambient ist Statement ohne Forderung. Ist Verheißung ohne Erwartung. Ist Weg ohne Ziel. Alle Jahre wieder.

Wolfgang Voigt, Oktober 2024

Und damit zu den Fakten:

01. Leandro Fresco / Thore Pfeiffer – Goldwasserfluss

Die interkontinentale Kollaboration der beiden langjährigen Pop Ambient Stamm-Künstler Leandro Fresco aus Argentinien und Thore Pfeiffer aus Mainz, ist regelmäßiger Bestandteil der Serie. Gewohnt filigran eröffnen sie die diesjährige Jubiläumsausgabe.

02. Pass Into Silence – Mirage

Der japanische Künstler Tetsuo Sakae aka Pass into Silence meldet sich 20 Jahre nach seinem sagenhaften Album „Calm Like A Millpond“ auf Kompakt zurück. Ein Meister der ebenso feinen wie stoisch-glasklaren Töne.

03. Tamarma & Sebastian Mullaert – Follow Me

Zum ersten Mal gibt sich der bekannte, schwedische Produzent und DJ Sebastian Mullaert in Kooperation mit der georgischen Klangkünstlerin Tamara Davitashvili auf Pop Ambient die Ehre. Ihr Stück „Follow Me“ fügt sich souverän in den intim-vertrauten Klangkosmos ein.

04. Sono Kollektiv feat. Nathalie Brum – Periadriatische Naht

Mittlerweile eine feste Größe auf Pop Ambient ist das Sono Kollektiv, diesmal mit Nathalie Brum. Insbesondere das charakteristische Flügelhorn von Luis Reich gibt ihrem Sound immer wieder diesen besonderen jazzigen Touch.

05. Thore Pfeiffer – Phase Locked Loop 1 Thore Pfeiffer ist ein Meister der flirrenden Flächen und hypnotisch mäandernden Loops.

06. Andrew Thomas feat. Julia Parr – Sunshine Night

Ein alter Bekannter aus Neuseeland meldet sich mit sphärischen Klängen zurück. Andrew Thomas, in Kooperation mit Julia Parr, sprenkelt fein gesetzte Klaviertöne in weit entfernte Flächen und noch entferntere Stimmen.

07. Segensklang – Artifacts of Synthese

Wir freuen uns, dass auch Segensklang nach seinem fulminanten Pop Ambient Debut im letzten Jahr auch dieses Jahr wieder mit dabei ist. Deep and beautiful.

08. Ümit Han – Im Delirium

Zum dritten Mal dabei ist der Kölner Produzent Ümit Han. Hat er bisher eher die emotional-flächigen Aspekte des Pop Ambienten Universums ausgelotet, schwingt sich sein diesjähriges Stück „Im Delirium“ mit perlend-klaren, sprudelnden Soundkristallen zu einem pulsierenden Klanggebirge auf.

09. Würden & Schäfer – Analysis Of Variance II

Max Würden und Lukas Schäfer betten in ihrem Stück Analysis Of Variance II einen fein gesetzten Beat-Impuls in ein weiches Bett aus modulierenden Flächen und angenehmer psychedelischer Spaceyness.

10. Max Würden – Circles

Max Würden zeigt einmal mehr sein besonderes Gefühl für eine der Kernaussagen des Pop Ambient Stilspektrums. Die wie „Popmusik“ unter dem Mikroskop anmutende, abstrakte Akkord- und Flächenbewegung zwischen formaler Konstruktion und emotionaler Berührbarkeit.

11. Blank Gloss – Jennifer’s Convertible

Das kalifornische Gitarren-Ambient Duo entführt uns mit gewohnter Souveränität in ihren erhaben-schönen Soundkosmos. Maximal verdichtete Transparenz. Leichtigkeit - schwer wie Gold.

12. Hendrik Meyer – Grün War Die Klamm

Ein weiterer Neuzugang ist Hendrik Meyer. Der vielseitige Musiker, u.a. auch bekannt durch sein über Kompakt vertriebenes MYR Projekt, führt uns mit gleißend-schöner „wall of sound“ Entschlossenheit in die Ewigkeit eines nur vom nachfolgenden Stück beendeten Sonnenuntergang. Film(Musik)reif.

13. Triola – Zum Renngraben

Jörg Burger aka Triola kombiniert die für ihn typischen „handmade“ Impulse und Akzente mit mehrdimensionalem, digitalen Soundszenario in angenehm rauchig-verwischter Stonewashed Ästhetik.

Für den alles zusammenführenden, klanglichen Feinschliff sorgt, wie immer, das unverzichtbare, finale Mastering von Jörg Burger.

Und wie in jedem Jahr ist auch die 25ste Ausgabe natürlich in ein abstrakt-florales Zaubergebilde von Veronika Unland gehüllt. Die Anmut ihrer Bildsprache ist über die Jahre immer mehr mit der musikalischen Aura zu einer unverkennbaren magischen Symbiose verschmolzen.

DJ Marky, Makoto & Nookie reboot Adam F’s revisited rework of 1997 hit, ‘Music In My Mind’

Adam F enlists jungle royalty to modernise his 1997 track, ‘Music In My Mind’, from his anticipated forthcoming rework album, ‘Colours Revisited’

Legendary drum ‘n’ bass producer Adam F announces the ‘Music In My Mind Revisited Reboots’ EP, out digitally on 20th September via 181 Recordings, featuring reworks of his acclaimed 1997 track by DJ Marky & Makoto and Nookie.

Further launching this underground dance classic into new dimensions is Brazil’s DJ Marky and expertly selected Japanese producer Makoto. Together, they effortlessly bring the jazz-infused track to the attention of today’s ravers with re-jigged, amplified drums. Certified 90s jungle veteran Nookie goes more liquid with his version, heightening the vibes and setting the scene with immense violin strings.

‘Music In My Mind’ was originally featured on Adam F’s 1997 album, ‘Colours’. Now, as part of the Liverpool-born producer’s much-anticipated ‘Colours Revisited’ album, out in 2025, the jazzy, vocoder-loaded track inspired by Bob James, Lalo Schifrin and Chick Corea, has been given a modern reshape. 

“‘Music In My Mind’ speaks to the power of music to transport, heal, and uplift our spirits,” says Adam F. “This song resonates with those who find solace and freedom in the melodies and rhythms that exist in their own minds and bring back memories of a time when I felt an overwhelming connection to music.”

“This song holds a special place in my heart, and I believe it carries a deeper meaning that resonates with anyone who can relate to finding consolation and liberation in the power of music.”

There’s no better time to keep an eye on Adam F, as he uncovers yet more gold from his elegant and timeless back catalogue. Adam F is as fertile and contemporary as ever with more new production ready to launch unto the legions of listeners hungry for great music as his creativity flows brighter than ever.

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

Following up on last years debut release, Chontane returns with Manx, the second EP on his label, TANE. This five-track collection continues his exploration of sound design, moving into fresh territory while retaining the distinctive energy that marked TANE001.

With TANE002, Chontane invites listeners into a diverse sonic landscape, emphasizing mood, texture, and the subtle intricacies of rhythm.
Manx marks a significant progression in Chontanes artistry, expanding on the
foundation set by TANE001, which echoed the nostalgia of 90s and early 2000s rave culture. While his first EP blended old-school, rave-inspired techno, atmospheric tracks, and a touch of jungle, TANE002 boldly ventures into new, uncharted territories. It challenges traditional genre boundaries, delving deep into the potential of sound design, and offering a forward-thinking perspective that feels attuned to the future.

The EP highlights Chontanes dedication to capturing a wide spectrum of moods and textures within a single record. The title track, Manx sets the stage with a dark, hypnotic presence. Rich in layered textures and atmospheric undertones, the track fuses a powerful kick with resonant toms, deep subs, and eerie pads. Haunting, glitchy vocal snippets add an extra dimension, making Manx a compelling, immersive experience.

On Gazebo, the EPs A2 track, Chontane shifts the energy, delivering a composition that balances driving rhythms with a melodic core. The combination of dynamic drums with an epic, mystical theme creates a piece thats both uplifting and introspective, standing out for its ability to evoke grandeur while maintaining a sense of optimism.

The B-side leans into a more shadowy atmosphere, with Oolean blending metallic
percussion and a throbbing bassline. The tracks ominous pads and powerful kick drum propel it forward, creating a narrative thats intense and captivating.
B2 offers a fitting conclusion to the vinyl release, presenting a track that blends dreamy, atmospheric melodies with a robust kick and driving sub-line. The mystical qualities of this composition make it an evocative and memorable closer.
The digital-only track, Thumb Print, rounds out the EP with a relentless, peak-time experience. Its hypnotic rhythm and expansive sense of scale make it a standout track, perfect for igniting dance floors and capturing listeners attention.

Nina Ryser's music has always inhabited its own world; a singular and cohesive collection of Keyboard-centric home recordings that marry her undeniable pop sensibilities with a truly bizarre dreamlike aesthetic. With a solo career spanning 7 releases as well as her work in the highly influential art-punk trio Palberta, Nina's artistic voice has been a staple in the American underground for over a decade, her distinctive and consistent sound earning a cult following. Her latest effort Water Giants signifies a departure in both sound and artistic practice - her first solo release recorded outside of her home studio, with a myriad of first time collaborators, it's Nina's most lavish and expansive offering to date, honing in on the heartfelt songwriting at the core of her work. After completing her usual process of demoing the songs for Water Giants, Nina felt that she wanted to try something new, escaping the confines of her minimal studio setup and the limitations of working alone. At the recommendation of several friends, she began working with Lucas Knapp, a Philly based producer who has contributed work to many Dear Life releases (including Florry's The Holey Bible, Hour's Ease the Work, and Joey Nebulous's Joey Spumoni Creamy Dreamy Party All the Time ). Lucas and Nina's recording sensibilities aligned quite seamlessly, breathing new energy into the songs in what she describes as an "effortless collaboration". The result is some of her most pristine experimental pop offerings to date, centering Nina as a dynamic performer and lyricist without foregoing the surreal qualities of her previous work. The album features contributions from many of her peers in the Philly music community, including Jill Ryan (Great Time), Victoria Rose and Nino Soberon (@, Brittle Brian), Eli Kleinsmith (The Knee Jerk Reaction), and her husband Gabe Adels, whom she frequently collaborates with in the synth-pop duo Data. Even the cover art is a departure for Nina, who has previously crafted it herself or with longtime friend/visual artist Izzy Kross, this time assembling a collage of photographs taken by Eve Alpert (Palm) fit for the album's newfound dimensionality. Lyrically, Water Giants stands as Nina's most personal work to date. Taking a cue from her previous release, I Miss My Dog, which was written as Nina was processing the imminent loss of her and Gabe's dog Billy, Nina approached the writing process with unbridled honesty and chose not to edit or overthink her words as she had in the past. The result is a number of candid, heartfelt reflections on love, illness, addiction, anxiety, and the beautiful absurdity of a trash pile on the street. Interspersed throughout the album are Nina's signature woozy instrumentals, which add some escapism to the grounded nature of the material. By putting faith in a newfound collaboration without straying from her natural instincts, Nina has crafted the most dynamic album in her discography, an exciting testament to her songwriting prowess and what can be accomplished by stepping out of your comfort zone as an artist.