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People On Sunday is an original soundtrack to the 1930 silent film variously known as Menschen am Sonntag, Les Hommes le Dimanche and People On Sunday. The film is a key work of interwar German cinema, based on a screenplay by Billy Wilder.

Like Domenique Dumont’s earlier albums, Comme Ça and Miniatures De Auto Rhythm, People On Sunday evokes a more innocent, carefree time conjured by wistful electronics full of warmth and melody. Touching on the hazy exotica that made those two records so alluring, here Dumont draws on his love of classical music, library music and early electronic experimentation to create a timeless, optimistic sound. If his past productions possessed a certain Mediterranean quality, across these 13 new pieces Dumont’s shimmering synth-pop has an enchanting simplicity.

Part documentary, part fiction, the film People On Sunday follows a group of characters going about their business in Weimar-era Berlin over one weekend and shows normal life in Germany before dictatorship.

“The film shows people and their surroundings shortly before all of it was destroyed,” says Dumont. “Ironically, watching this movie with the eyes of today, it looks more surreal than documentary. And I can’t help but think and reflect about the times we are living in now. We might have similar desires people had a hundred years ago, but we now have a completely different approach to life.”

*People On Sunday is the third album by Domenique Dumont.
*Freshly signed to The Leaf Label, having previously released two albums on Parisian electronic/dance label Antinote.
*It follows on from the cult success of synth-pop exotica albums Comme Ça (2015) and Miniatures de Auto Rhythm (2018)The album was originally conceived as a soundtrack to the classic 1930 German silent film known variously as Menschen am Sonntag, Les Hommes le Dimanche and People on Sunday.
*It was originally performed at Les Arcs Film Festival, with plans for further film festival concerts when regulations allow.
*Watch the video for first single ‘People On Sunday’ featuring excerpts from the film.
*Artwork and design by artist Edward Carvalho-Monaghan.
*Support from Pitchfork, Resident Advisor, FACT Magazine, Gorilla vs Bear, KEXP, BBC 6 Music’s Tom Ravenscroft, Mary Anne Hobbs and NTS Radio’s Charlie Bones, among others.
*Dumont recently remixed Domino’s Jaakko Eino Kalevi, and has also reworked tracks by Cola Boyy and Mark Barrott.
*Festival appearances include Mutek Montreal, Dekmantel, Nuits Sonores, Milhões de Festa and the Venice Biennale.

Sought-after cult classic instrumental LP by legendary Egyptian musician Omar El Shariyi (aka Ammar El Sherei), first released on Soutelphan in 1976, is reissued by Wewantsounds on vinyl for the first time ever.

Here, the iconic Egyptian musician and composer masterfully interprets six classic compositions by another Egyptian legend, Mohamed Abdel Wahab, in his own hypnotic way. Including "Ana Wehabieby" (aka Ana Wa Habibi), "Ya Wabour Koly" and the "Ahwak" made famous by such talents as Abdel Halim Hafez or Fairuz. Using early electronic keyboards like the Steelphon S900 or the Farfisa as seen on the album cover, El Sherei creates beautifully hypnotic instrumentals that blend together traditional melodies with modern instrumentation, adding jazz and pop elements in the mix.

Achieving cult status over the years with Arabic music collectors and vinyl diggers, 'Oriental Music' is now a sought-after album which command high prices on the international scene.

This re-issue series of Arabic music is curated by Lebanese-born Arabic music expert Mario Choueiry (Institut du Monde Arabe in Paris). As always this has been newly remastered and comes in original artwork.

Three years in the making only to be held up nearly another whole year due to COVID, this dark brooding monster of an EP by Brussels based Strapontin, aka multi-disciplinary artist Patrick Belmont, is finally seeing the light of day.

Clocking in at over 35-minutes the record is almost album length and spans a multitude of depths and moods with elements of techno, new wave, rock 'n' roll, house and tribal…...all glued together with a sleazy atmosphere reminiscent of the electronic body music pioneered by Strapontin’s Belgian forefathers Front 242 and their German peers DAF.

Add to this a heads-down-no-nonsense darkroom beast of a remix by techno maestro Sascha Funke and the package is complete.

Strapontin provides us with some insight:

“It started with a desire to move away a bit from my 'dancefloor' side and go into more undefined fields, I wanted to work with blurry sensations that I can't understand. I like mixed feelings. Dramatex 300 is made of that ambivalent mood. The voice is saying 'I'm feeling empty' and 'I'm feeling healthy' at the same time. I like that paradox. Eunuque is a song but is also a character I will develop in a short movie (which will act as the 'music video' of the song). The Eunuque is a character full of anger yet he doesn't want to fight nor has he a target to aim at. A restrained aggressivity is boiling inside him/it that has no opportunity to escape from the body and gain release. The song is the fever he feels from these inner battles. I think Le Bain d'Huile and Anti-sceptical have the same slow and angry feeling. I'm proud of these tracks because they are a bit mysterious to me and it feels like they controlled me more than I controlled them.”

Getting plays from Monika Seta & Alexis Le-Tan

Originally released in 2010, Mirage is the fourth studio album by renowned Dutch trance DJ and producer Armin van Buuren. Widely regarded as a astaple in Van Buurens impressive career, Mirage peaked at number 3 in the Dutch Album Top 100, as well as reaching the top 5 of the US Top Dance/Electronic Albums. It contains the popular single ‘Not Giving Up On Love’, featuring British singer Sophie Ellis-Bextor. As the record lasts nearly 80 minutes total, it is released as a double LP. It is pressed on red coloured 180 gram audiophile vinyl. The package includes a gatefold with spot varnish and lyrics, as well as an insert with pictures and credits.

In collaboration with Brooklyn-based artist RDO/ATK, Sophia Saze makes her long-awaited return to her Dusk & Haze imprint with four slamming cuts on a release entitled ‘Stalker’.

Born in Tbilisi and now residing in Philadelphia after years living a nomadic lifestyle, Sophia Saze began her creative journey in her formative years with classical music and dance training. With a solid and natural musical foundation, Sophia became engulfed by electronic music leading to the launch of her Dusk & Haze imprint in 2017, before dropping a remix of Heathered Pearls on Ghostly International and the release of her much lauded debut album on Kingdoms. ‘Stalker’ sees her team up with old friend RDO/ATK who has been soaking up the dancefloor since the early 90s. With much of his influence stemming from the early east coast rave and club scene, his sound maintains a homage to the past without getting stuck in it. A sucker for a dirty 303, a breakneck amen, or a crushed 909, RDO/ATK’s style spans across genres from jungle to acid to broken beat and everything in-between.

The EP kicks off with a dynamic, jungle roller entitled ‘Stalker’ featuring old-school, amen breaks, stirring yet intriguing synths and hefty bass shatters balancing styles of glitch and funk together with pure class whilst ‘Fucking Crazy B’ lays focus on cold, syncopated grooves, chopped up shrieks and screams from a video of a traumatic personal incident and shimmering pads moving into ominous territories.

On the flip, ‘Talk To You In Your Brain’ delivers relentless kicks and spiralling acid squelches peppered with chilling vocal samples and frazzled fx that pulsates strikingly throughout until ‘Acid B’ rounds off proceedings with an effervescent, warehouse techno cut as the electrifying modulations bounce gracefully off the menacing percussion and slashing, 303 tones.

Altın Gün return with a masterful album that widens their critically acclaimed exploration of Anatolian rock and Turkish psychedelic stylings to include dreamy 80’s synth-pop and dancefloor excursions. Yol (Road) brings together all vectors of the AltınGün experience and delivers their most compelling and individual album to date.

Amsterdam’s Altın Gün have built a strong reputation for melding past and present to make brilliantly catchy, psychedelic pop music, as seen with their Grammy-nominated second album, Gece. They are also a renowned live band with strings of sold-out shows on three continents, who have consistently brought a muscular groove to their recordings. Yol, their third album in as many years, excitedly continues these trends; while also digging in deep to unveil a new palette of sonic surprises.

Though it draws from the rich and incredibly diverse traditions of Anatolian and Turkish folk music, Yol is not just a record that reframes traditional sounds for a contemporary audience. The album often presents a textured, avant-pop sound as evidenced by the debut single "Ordunun Dereleri.” Mysterious and atmospheric, the track is a thrilling evolution for the band. It patiently coaxes the listener into a resonant soundworld of down-tempo electro beats, majestic synths and Erdinç Ecevit's yearning vocal of unrequited love.

The album also signals a very different approach in making and recording for the band. Singer Merve Dasdemir takes up the story: “We were basically stuck at home for three months making home demos, with everybody adding their parts. The transnational feeling maybe comes from that process of swapping demos over the internet, some of the music we did in the studio, but lockdown meant we had to follow a different approach.”

Yol displays a noticeable dreaminess, maybe born from this enforced time to reflect. And select elements of late 1970s or early 1980s “Euro” synth pop also shines through. This new musical landscape was nurtured by certain instrument choices; namely the Omnichord, heard on ‘Arda Boylari’, ‘Kara Toprak’ and ‘Sevda Olmasaydi’, and the drum-machine, an instrument that is key to the gorgeous closing number, ‘Esmerim Güzelim’. Dasdemir once more: “bass player Jasper Verhulst loved the song. He said, ‘it doesn’t sound like Altın Gün, this sounds like a Turkish kindergarten music teacher from the 1980s using an 808!”

As ever, the tracks are the result of a true group effort, with ideas on Omnichord, 808 and other elements - such as field recordings and new age-esque ideas - continually kicked about between the six band members. At a safe distance of course. The record also owes something special to its production team, the band working this time with Asa Moto (the Ghent-based producer-crew, Oliver Geerts and Gilles Noë) who mixed the record. Before this Altın Gün always recorded on tape with their own sound engineer.

It would be wrong to say that what made Altın Gün such a loved and successful band has been left to one side. The pressure-cookers ‘Sevda Olmasaydı’ and ‘Maçka Yolları’ are classic cuts from the band. And their signature employment of a dizzying array of ideas and approaches can be heard with the marked Brazilian feel of ‘Kara Toprak’ and ‘Yekte’. Cosmic reggae filters through the grooves of ‘Yüce Dağ Başında’, and there is a steaming version of ‘Hey Nari’ which gives the traditional composition by Ali Ekber Çiçek a kick onto the dancefloor.

But with Yol, Altın Gün have maybe patented their own magical process of reimagining and sonic path-finding, one probably not heard since the late 1960s and early 1970s British folkrock boom. Less of a reworking than a seduction, their recordings transport the listener to a world where the original songs never previously inhabited. Merve Dasdemir again: “After we worked on them, they got a whole new life of their own. Maybe we went a little bit too far (laughs).”

On his new EP ‘Music from Organ’, producer and live musician Giulio Aldinucci offers up four tracks of layered and meticulously-crafted ambience.

In his own words: “The EP explores the interaction between the pipe organ and the sound environment, in terms of architectural space and soundscape. Every single sound of this work is created from pipe organ recordings using different techniques related to sound reflection, from granular processing to filters that “carve” the sound emulating the phonemes articulation inside the human vocal tract.”

Farron joins the EP bringing a dreamy remix. Unlike Giulio’s approach, Farron portrays a left-field dance-floor feel throughout the track with beautiful ambient pads, pulsating along a warm electronic space journey.

This new album (the tenth in their discography) was born from two ambitions: to pay tribute to Soft Machine's Third on form (4 sides / 4 titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The 4 long pieces of this double concept album were developed over 2 years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto.

Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy FoxŠ). Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times. In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon... From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this ruleŠ

Kompakt welcomes 2021 with a new member that many of you will recognise. For over 3 decades, Orlando Voorn has been a force in dance music like few others. One of the first Dutch producers to establish a connection between Detroit and Amsterdam (check “Game One” his collaboration with Juan Atkins for Metroplex). He has recorded under a trove of alias that include Fix, Frequency, Format to name a few.

Orlando Voorn brings his extensive knowledge of Techno and House to the forefront for his Kompakt debut “Internal Destination”. We offer up the title track ahead of the 3 track EP’s February 19 release date. Spacial sounds connect perfectly together – the playfulness of the track feels like each moment is caught in mid-air but the beat keeps it all moving forward without hesitation. “Ride The Wave” rounds out this EP – an electro loop is serenaded by a funked up synth melody that jams to the drum in the most soulful of ways.

Kompakt begrüßt das neue Jahr mit einem neuen Familienmitglied, das dem ein oder anderen geläufig sein dürfte. Schon seit über 3 Jahrzehnten prägt Orlando Voorn die elektronische Tanzmusik wie wenige andere. Als erster holländischer Produzent werkelte er schon sehr früh an der Detroit - Amsterdam Achse (siehe "Game One" mit Juan Atkins oder die legendären Ghetto Brothers Releases mit Blake Baxter). Er hat unter unzähligen Pseudonymen wie Fix, Format oder Frequency Platten veröffentlicht, die heute Kultstatus haben.

Mit seinem Kompakt Debut "Internal Destination" zeigt er, dass seine Musik auch im Jahre 2021 tiefes Wissen verströmt und nichts an Relevanz eingebüßt hat. Der Titeltrack "Internal Destination" ist Groove pur. Räumliche Klänge verbinden sich perfekt miteinander - die Verspieltheit des Tracks fühlt sich an, als wäre jeder Moment in der Luft gefangen, aber der Beat hält alles ohne Zögern in Bewegung."Ride The Wave" rundet diese EP ab - ein Elektro-Loop wird von einer funkigen Synthie-Melodie begleitet, die auf gefühlvolle Art und Weise mit den Drums jammt.

Red Marbled Viny

Multi-genre industrial bass that's equally at home in the underground of Berlin and the low-end-leaning dancefloors of the US and UK. With 'Warp Crawler' on the exciting YUKU imprint, Chrizpy Chriz finds a mature groove in the bass spectrum that deviates between restrained and tearing at its own seams. A must for open-minded purveyors of exploratory electronica with teeth.

4-Track Guitar Music is the unassuming title of a cassette by Swedish composer Mats Erlandsson, which was originally released on Kali Maloneʼs and Maria W. Hornʼs XKatedral label in 2018. Composed using only, as the album title implies, a 4-track tape deck and an electric guitar, the music was later modified on the computer and re-amplified in the machine hall of Ställbergs Gruva, a disbanded Swedish iron mine.

The music is primarily composed using melodic motifs and canonical structures in which a set of pitches are transposed in octaves and delayed, creating an ever-evolving cyclical polyphony. Contrary to the albumʼs modest title, the music is a tour-de-force of exuberance and stoic catharsis, continuously bordering on a sense of ecstatic serenity, sincere contemplation and restraint.

Now Vaagner is proud to present the work on vinyl for the first time via a fully remastered reissue of 4-Track Guitar Music, with the Double LP including a bonus track titled "Cellar" by Mats Erlandsson which was not included on the original release.

As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound.Erlandsson has undergone studies in composition in Stockholm, where he received a Masterʼs degree in Composition of Electronic Music. In addition to his own artistic practice, Erlandsson holds a position as studio assistant at the world-renowned Elektronmusikstudion (EMS) in Stockholm. He presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman.Recent releases include Minnesmärke on Hallow Ground (2020), the collaboration Emmanatemade with Yair Elazar Glotman on 130701 (2020), Hypodermic Letters on Portals Editions (2018), Selective Miracles and Valentina Tereshkova on Posh Isolation (2016), and again together with Glotman, Negative Chambers on Miasmah (2017). Erlandsson has performed his work extensively, most recently at Présences Électronique hosted by the GRM in Paris, CTM 2019 and The Long Now in Berlin, Norbergfestival in Norberg, Sonica Festival in Ljubljana and in various music and arts venues around the world.

Following the release of his huge summer singles ‘Chemicals’ and the Robyn and Channel Tres collaborative smash ‘Impact’, UK songwriter, producer and multi-instrumentalist SG Lewis announces the upcoming release of his long-awaited debut album, times. The LP, out 19th February via EMI Records, finds one of modern pop’s secret weapons stepping out front and centre, as he takes listeners on a voyage through soaring electronic dance and kaleidoscopic future disco, with the help of a few friends along the way. Released on CD and a Black Heavyweight 1LP with download code.

Sons of Traders 002 is a Compilation 8 Tracks Ep of loosely knit artists that surround the duo Sons of Traders (Mike Tansella Jr. and TANS). Leading the EP, the title track “Rotten to the Core” is a slow stomper with a forceful vocal sample and some various squelches. LA’s Kosmik picks up the tempo with “Murmurs” which features a hypnotic synth loop over a 4/4 beat. On “Chomping at the Bit” C.L.A.W.S. and Tyrell trade off between claps, hi hats and short delays underneath a sinister synth tone. To close the A side of the record is Future Blondes out of Texas with “2020 ultra visions”, a cut that can only be described as a sinister barrage of slamming drums and tones. The B side launches with “The Other Side of Town” by The White Lines, a dark electro workout with vocal samples, dark synths and growling bassline. Frigio label boss Juan Pablo brings us an intricate drum pattern with layers of synths on “Night Drive in Beijing”. “Self Feral” by Chris Mitchell is something with a hip hop swing, heavy drums, various feedback and vocals. Closing the EP is Dragee, a new artist from Tel Aviv. “Them” features a hard snare that holds together the demented vocals, claps and bassline that develop throughout the track.

Repress in Pink Marbled Vinyl

'Fleischberg' is the 2nd vinyl iteration of Berlin's body focused Fleisch collective, following hot on the heels of last year's highly acclaimed release by Schwefelgelb. This 12' starts with a relentless six and a half minute assault by Australian native and Berlin based Halv Drøm, a fitting vinyl debut for the talented producer. DSX follows up with a finely tuned EBM track tactfully layered with obscure vocal samples and paired with piercing, frenetic drum programming.

The B side starts with a slightly different approach, recalling a more classic techno and electro tone without losing sight of the release's progressive focus; Privacy's catchy 'Work' recalls late 80s Chicago masterpieces without becoming overly nostalgic. Sekunde rounds out the compilation fully with a plodding and minimal piece that would be best appreciated while being blasted driving 300 km/h down a moonlit back road somewhere in the Black Forest.

We are very proud to present a special 8 track electro project on Tronic. We have always been very passionate about this genre and wanted to bring together some legendary techno producers with a deep appreciation for electro together with some established and new school leaders.

Split over 2 EPs Part 1 features heavyweights inc Sterac Electronics / The Advent & Zein Ferreira / label boss Christian Smith along side the the anonymous Client_03.

Coma World is a new collaboration between Maxwell Hallett, a.k.a. Betamax (The Comet Is Coming/Soccer96) and Pete Bennie (Speaker's Corner Quartet) bringing together their potent chemistry in an intoxifying debut LP. Betamax drives the duo with his signature 'rhythmadelic' drum rapture as Pete elegantly pummels bass tones into an assortment of wonky pockets. Both layer on a blanket of electronic dark matter to create a sonic womb-like world laid out for the brave listener to explore. This is dub and jazz reduced to the raw fundamentals of experimentation, trance and spontaneity. Inspired by a friend's recollections of being in a coma, the duo delve through the mysteries of consciousness and return with a striking array of colourful sound artefacts. From Cosmic flushes that wouldn't sound amiss on a record by Byrd Out collaborator the late, great Andrew Weatherall, through to drowsy groove meditations and explosive eruptions, the album plays by its own rules but demands attention. The two artists sling their dirty funk through cold clouds of darkness leaving psychedelic trails of bleeping fractal spillage. The sonic experimentation is distilled through analogue studio relics followed by a rugged 'all hands on deck' live mix down performance from 1/4" tape. The result is a spontaneous collection of sonic debris that will be administered to willing participants through 12" vinyl format.

Slinky and sassy, offbeat and sexy, “My Baby Just Cares For Me”, the new single by Lou Hayter, sneaks in on a cloud of off-kilter synths and airy vocals, just in time for the last few rays of this year’s Indian summer.

Already renowned as a DJ, musician in New Young Pony Club, writer and producer, London based Hayter now harnesses the full extent of her idiosyncratic pop prowess on her hotly anticipated forthcoming debut LP on Skint Records, from which “My Baby Just Cares For Me” is the first, tantalisting taste.

A glorious retro-futurist mélange of 80s Rn’B circa Jam and Lewis and starkly modern underground electronica, “My Baby Just Cares For Me” sounds quite unlike anything else out there, a delicious slice of sparkling electro-soul with a heaped teaspoon of astringent Gallic froideur, whose sweet exterior hides something darker, more melancholic within.

Eric Hilton, eine Hälfte des Washingtoner Downtempo-Duos Thievery Corporation, ist auf den Geschmack gekommen und veröffentlicht ein halbes Jahr nach seinem Solodebüt "Infinite Everywhere" schon den Nachfolger. "The Impossible Silence" ist ein elegantes Electronic-Werk, inspiriert von 1960er und 1970er Vintage-Soundtracks, dessen 13 atmosphärische Tracks einen imaginären Film in der Fantasie des Hörers ablaufen lassen. Das Finale bestreitet Hilton mit der brasilianischen Sängerin Elin Melgarejo, bekannt durch ihre Vocalperformance auf dem Thievery Corporation-Klassiker "Lebanese Blond".

SebaKaapstad is not just a band; SebaKaapstad is about showingpeople what it looks like when cultures collide - stories that come from the lives of PalesaModiga, Philip Scheibel, Ndumiso Manana, and Sebastian Schuster. If you have ever wondered what it would sound like if a South African, a Swazi and a few Germans got together and used their talents to express themselves, this is your answer. SebaKaapstad is the coming together of worlds and experiences while appreciating how alike we are as human beings. Through the global perspective of the members, SebaKaapstad are able to explore a soundscape influenced by soul, groove, electronic undertones, jazz and African music.

Hunt & Gather’s debut vinyl release comes by way of Pezzner’s cryptic moniker “The Native Language”. Written as a quasi-homeless man living off the rich in the San Juan Islands who writes music once per year to suffice his own delusions.

Walking the streets in these damp, anxious days that all run together lately, I was approached by a man who would blend right into the neighborhood, layered in flannel and sweatshirts for sleeping.

Rough, but for his shoes. (Never cheap out on anything that separates you from the ground.) “Pezzner,” he called out, from a safe distance. “What did the mangrove say to the marauding hordes.” My soul left my body for a moment and my voice responded on its own. “Petrichor.”

He caught my eye, nodded, left a padded envelope on the ground and vanished. The envelope had passed through many hands, slipped into the bed of a ferry-bound truck, passed from one fellow traveler to another, stashed under the counters of anarchist bookstores, left tucked between books at Little Free Libraries. The greenish stains suggested that at one point it had been swum across a lake. Another DAT, contents encoded here unabridged, and a letter from someone who called himself The Sentinel.

The Vessel lived out his days on Shaw Island, under a canopy of trees that gets smaller and smaller every season. His condition the same, any electricity lit his brain on fire, could only bring himself to compose one day a year, only at night, out of sight. Until he met The Angel, an eccentric with means, who built for him a device.

A Faraday Cage to block all electromagnetic emissions. Burlap walls, for atmosphere. A system of pulleys and levers, wood and rope, all running into a box that sat outside. An entirely mechanical control surface. No electrons in here. The Vessel lit fires, watched the shadows dance, closed his eyes and disappeared into the motion for hours at a time. The Sentinel came every morning to change the tapes. The Angel watched and pondered, his plans unknown.

The box sat sealed, bare except for another set of ideograms, scratched in day by day over time. Inside, the usual bedroom-producer shit. Outside, the ideograms told a story, passed from the Vessel to the Sentinel and drawn by the Angel, of a man who became another creature. Alert to the lowest frequencies, feeling music deep in the soil below their feet. Music that brings messages, from distant friends, warning of new creatures and the danger they brought. Skin alive to the world, so sensitive it can detect the landing of a single fly. A mind capable of keeping a map of the world inside. A mind that can look in a mirror and see a soul it knows well. A mind that can grieve.

After processing its contents, I filled the envelope with granola bars and walked it down to the market. The clerk gave me a knowing look as I placed it on the counter behind a stack of pork rinds from the previous century. As I walked out, a young man carrying a plastic bag and wearing impeccable shoes walked in.

Laurel Halo, Donato Dozzy and Teheran sound artist Tegh give us their "Glassforms Versions"alongside a new edit by Max Cooper. The works of Philip Glass are reflected and refracted in a myriad of ways by some of the most renowned electronic artists alive, making for a blissful, multi-dimensional listening experience.


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With "Glassforms", Max Cooper and Bruce Brubaker set out on an intimate, nuanced exploration of the works of Philip Glass. The resulting recordings, developed in a fluctuating exchange between the American pianist and the Irish scientist-artist, are an astounding testament to the innovation that artistic collaboration can achieve and what depths are yet to discover in Philip Glass' compositions. The two artists did not just rework, but fundamentally rewired the original songs using algorithmic software to process and augment the musical data it received from Brubaker's piano live on stage.

When approaching his remix, Donato Dozzy also tapped into that inspiration to create something new rather than just reworking it, which is one of the core motives that emanates from "Glassforms". The Italian producer and label owner is known for his drive to explore: he develops installations for public spaces and museums, uses obscure musical instruments and collaborates with classical singers or visual artists. "I chose "Two Pages" for it's hypnotic feel in the notes repetition", he says, "but I did not want to merely sample the piano, but instead ask someone I trust and admire to carve it from scratch and even go further." So he followed the lead of Brubaker and Cooper and teamed up with the renowned Italian percussionist and jazz musician Daniele Di Gregorio to completely rewire "Two Pages" into a gorgeous piece of endlessly modulating ambient electronica.

Laurel Halo, the second remixer on "Glassforms Versions", does not need a long introduction either: the American musician is at the forefront of electronic music in 2020, a bright star today after releasing her debut "Quarantine" on Hyperdub in 2012. Her remix of "Opening" brings to mind the string section of an orchestra tuning their violins before the performance - forever. They glide in and out of tune, sometimes individually, then together, then are accompanied by keys that are most likely a ghostly representation of Brubaker's piano, sampled and pitched down, but sound almost jazzy in the context of Halo's remix. It's a blissful listening experience, calling to mind her recent collaboration with cellist Oliver Coates on "Raw Silk Uncut Wood" and showing a deep understanding of Philip Glass' work.

Sound artist Tegh is the third on the remix bill - the electronic musician from Teheran delivers his take on "ƒTwo Pages", once again showcasing how versatile, how inherently complex the works of Philip Glass are. They can be interpreted in a myriad of ways - Tegh's version is a bounding, brooding piece filled with raw energy that feels like it is performed live, just for you, every single time you listen. His version is, at first, much more focused on the underlying moods, electronic undercurrents of the original than Dozzy's version, and yet, when the piano finally does break through, it becomes clear that we are listening to Philip Glass, reflected manifold: through the piano of Bruce Brubaker, the synths of Max Cooper, and then again through the mind of the artist Tegh.

Concluding the new "Glassforms Versions" is a previously unheard edit of "Two Pages". It's difficult to edit a piece of minimalistic beauty without losing it's essence, but Max Cooper - after many efforts and close conversations with Bruce Brubaker - managed to bring these shorter edit into a satisfying, conclusive form.

‘Push’ is Maral’s debut full-length album due on Leaving Records. The album’s sonic palette includes a collage of Iranian classical and folk
samples and explores the genres of experimental electronic production, touching upon noise, punk / post-punk and dub.

Maral is an active and acclaimed musician in the electronic underground. Her debut mixtape was widely praised and she has contributed to several compilations and Richard Russell’s Crass remix project.

‘Push’ features dub legend Lee “Scratch” Perry and Penny Rimbaud of Crass.

‘Push’ is a confident step forward from Maral’s club and mixtape work into a powerful collection of original songs. The album bursts with an urgent psychedelic energy but its songs also grapple with a sombre undercurrent.

Maral says her album is intended to reflect tense US-Iranian relations: “The history of Iranian music has a lot of melancholy in it. So much of Iranian history is sad. Since ancient times, Iranians were always fighting off invasions.”

Born in Croydon, UK in 1960 and working in Switzerland for decades, Michal Turtle has led a storied career as a composer, arranger, technician and producer, consistently aligned with some
of the most exciting bands and projects within the realms of pop and experimental music. A figure as masterful in the realm of expansive ambient recordings as advertising jingles, it’s only in recent
years that Michal’s solo productions have gained acclaim and a cult following that continues to grow ever wider.
Turtle made a long-awaited return earlier in 2020 with the extended ‘On a Canvas Lived a Baby’, a one-sided twelve of new material released on Planisphere Editorial. Now, the Basel based label
invites a diverse and international cross-section of electronic musicians to reinterpret the artist’s back-catalogue, each delivering a thoughtful remix driven by the same sense of curiosity,
exploration and genre-blurring that Turtle himself helped pioneer. Each track on the remixes collection was originally recorded between 1980 and 1985, in between Turtle’s regular tours with established bands. Opening the collection, Laurel Halo adopts her LH alias for a textural and tripping revisit to ‘Phantoms of Dreamland’, transporting the haunting original to a hyper-detailed alternate dimension. Zoning back in, Neue Grafik finds typically eclectic form with ‘Men in Green’, turning the dials and blending ideas as if tuning between the emerging musical scenes that defined Turtle’s early-eighties life in Camden, London. In stark contrast, avant-garde polymath Felicia
Atkinson designs a ‘Fennel and Moon’ version, weaving between earthy field recordings and an aching piano line, conjuring an almost ritualistic atmosphere, far from the city. Radical musical turns continue to define the collection as son of Detroit, Jimmy Edgar takes
‘Rainwater Fijit’ down a dark, damp tunnel, expanding on the pitter patter of Turtle’s more outlandish studio experiments, blending vocal experiments with fresh funk. Colombian experimentalist Lucrecia Dalt pulls further bizarre shapes from a patchwork of samples, a heaving,
gasping industrial shuffle, before French producer D.K. returns a stronger rhythm, both building on Turtle’s lovingly naive tributes to the legacy of sample culture and his trusty ARP2600.

Ostgut Ton mainstay and Panorama Bar resident Nick Höppner proceeds to sensitively rewire ‘Maid Of The Mist’ into a blossoming, introspective celebration of melody and ambience, an
almost weightless experience that lends itself well as a breather before Luca Duran’s analogue, acid-tinged take on Spookie Boogie takes Turtle’s esoteric touches back into the direction of the
funk and italo records at the heart of his initial inspiration.
The Remixes final chapter continues to expand in distinct and wide-reaching sonic directions. London’s Object Blue seems to slow time itself across her sublime interpretation of ‘Ball Of Fire’.
Initially Turtle’s tribute to Howard Hawks 1941 film classic and the legacy of old Hollywood, worlds further collide into rolling, weightless bliss.

Fellow Swiss citizen Mehmet Aslan stirs an enchanting, percussive mystery that unfolds with great
pleasure on El Teb, while Parco Palaz conjures not one but two radically different remixes of ‘Are
You Psychic?’, demonstrating both their imaginative nous, as well as the depth of Turtle’s legacy.
Finally, an irresistible vocal contribution from Oso Leone adds even further colour and joy to ‘Maid
of The Mist’, sending off this ambitious collection on a transformative, dream-pop high.
With further details set to be revealed, there is an ongoing development focused around the
accompanying art and visuals. The Peruvian born and now Amsterdam based graphic designer
Jonathan Castro leads the art direction, along with visual artist Chris Harnan. Both artists look to
explore the intersection between sound, imagery and its reorientation, exhibited through the
musical contributors and visual translation.

“I am happy and honoured to have been the spark for this remarkable compilation.
The magnificent work done by this collection of very special people speaks for itself, so listen and
be transported. It has been half a lifetime since my original tracks were written, and I am gratified
to know that they are somehow still relevant enough to be reworked and reinvented.”

Steven Rutter aka B12 is one of techno’s most influential artists, famed for many releases on the iconic Warp Records including "Electro-Soma" that defined what is now the deep techno genre.

B12 was originally a duo before Steven Rutter took over the alias as a solo artist, but after a string of new releases on labels like Soma and Delsin, he decided to start producing under his own name.

Deciding it was time to look to the future with a new lease on life, Steven Rutter kept his sound the same, but shed the skin of B12 to mark a new point in his musical career.

Battling with personal demons, the B12 sound had become dark and introverted, and the Steven Rutter style keeps that same moody atmosphere, while adding upbeat rhythms and more jovial chord progressions without losing focus of the core sound that’s made his music so influential.

In addition to a numerous EP, “Riddle Me Sane” is the third album Steven Rutter has done under his own name, and it's in the timeless B12 style that's adored by his fans in all four corners of the world.

Cosmic melodies and sci-fi influenced textures with dystopian sound design, the thought provoking album paints pictures of alien landscapes, while its down tempo grooves also have the key elements needed for the dance floor.

Comfortingly familiar for those who love the classic B12 style, it also marks a distinct turning point in the sound that Steven Rutter has been looking to focus on.

Tracks like “Techno Prisoner” perfectly embody the style this release is aimed to purvey, but this masterpiece has been expertly programmed to play as a continuous piece of music rather than a selection of solo cuts.

Superb EP offering very very well done tunes in quiet a large range of style : Banger Hardcore meltdown Rock/Techno to Electro Techno banger like Narcosamples :)

A2 is the most impressive tune for me here... A BANGER of Drum Metal !! Outta Your Mind !!

Sound playing 45 RPM like crazy.

Mason Bee is the solo project of Benet Walsh, multi-instrumentalist producer based in the Welsh Marches, best known as long-term co-writer and touring partner with U.K. electronic duo Plaid (Warp Records). His debut album ‘Play Flights’ is a brilliant patchwork of diverse influences, from choral folk mantras to modern glitch guitar sounds and beyond. If you hear live instrumentation on a Plaid track, it’s often Benet. His writing relationship with the iconic Warp duo dates back to the early days and has spawned some of the most evocative and heartfelt electronic music of our times.

Now as Mason Bee, Benet invites us into his own sonic universe, drawing on psychedelic, electronic and folk sounds to produce something quite different. There’s a narrative feel to the songs which unfolds to reveal morphing organic forms and technicolour landscapes, realised through a rich blend of acoustic instruments, phone recordings and DIY studio techniques. Although masonry

bees are solitary by nature, this album was recorded with the help of an international cast of musicians, from Australia and Portugal to the Welsh Marches of the U.K. adding considerably to the album’s richness. The title itself refers to the first outings (or Orientation Flights) of bees, making ‘Play Flights’ a fitting name for this unique debut.

‘I envisioned the record as a journey through human expression over the course of one day,’ says Chicago composer and ONO member Jordan Reyes.
When planning the album, Reyes wanted to consider the trajectory of American music, drawing a throughline from the oral traditions enmeshed in blues, country, folk to contemporary underground music, splicing together acoustic instrumentation with an experimental, electronic sensibility. The album begins with human-constructed wind on opening song ‘The Pre-Dawn Light.’.
From there, Reyes adds acoustic guitar, electric guitar, lap-steel guitar, trombone, keyboards, and an electronic drum to the compositional mix.’I wanted to push myself compositionally,’ he says. ‘My first album Close was all eurorack synthesizer, a lot of which was automated by control voltage, but Sand Like Stardust has no modular synthesizers, seeking to channel the warmth, immediacy, and vulnerability of hand-played instruments and voice.’

Ethno-alternative lo-fi absurdism from the mind of London based multi-instrumentalist & Primordial Soup member, Samuel Huxley. Expect everything from Hindu ceremonial music to dark lounge, post-punk & avant-garde, to Kabuki theatre score & world electronica, any number of which can be found within a single track.

The Romance of Baba Loco is the union of wisdom & madness, eastern mysticism & western folly, absurdism to catch you with yer pantaloons down… Bang bang smash to perennial illumination. Cling clang for funk monkeys. The bejewelled vistas beyond, nihilism be gone… The donkey was not ill-tempered after many blows, on the ass, from the stick. He smiled like a gentleman, and kept on clip cloppin’ towards the promised land…

The Romance of Baba Loco is the latest iteration of a recording project by Samuel Huxley that originally made ambient soundscapes for psychotropics (Paradise Dose). In 2017 Samuel was curating infamous venue and scene of a multitude of glories & horrors, The Five Bells in New Cross, SE London. One of his first acts to play was Primordial Soup, at that time a 3 piece absurdist art rock band. They quickly became friends & began performing semi-improv shows as a 5 piece, and later went on to form Primordial Soup Collective who’s main focus was esoteric experimental theatre & film, and rare multidisciplinary exhibitions.

This changing focus of Soup away from sound provoked Samuel to channel his musical compulsions in to his solo project which had by then ventured far away from ambient soundscapes to shrieking Indian and Moroccan oboes over African & Indian tribal rhythms, with the desire to create the raw lo-fi atmospheres of street music. Gradually guitar styles of South East Asia & Latin America were introduced, leading to backing track solo performances & outrageous live improv freakouts with Craig Deporto (ex-Flamingods) & Luke Bell (Ex-Wild Birds of Britain).

Finally two days before the glorious pandemic lock down, Samuel signed to Faith & Industry, which birthed new moniker “The Romance of Baba Loco” and 3 months worth of ceaseless creation. From the Hindu Ceremonial music of the Shehnai & Nadaswaram to post-punk, absurdism & experimental art, The Romance of Baba Loco finally united two seemingly dissonant sides of his personality in a manner he had not previously achieved. The old material was cast off, and these peculiar fruits of imprisonment, can be found on his first release, “Cling Clang For Funk Monkeys”.

Tape / Cassette

"Like water drops, gently hovering, slowly bursting one by one, reassembling themselves simultaneously." An imagery that shaped this shining debut album "klondike" by hanisii - a mysteriously operating artist who has been flying under the radar for half a decade now yet scattering some highly unique re-interpretations via Soundcloud.

After a no-contact-no-contract-deal with Rico Puestel about remixing and editing his music back in 2016 and 2017 (working out both stunningly and skillfully), it took three years until this album at hand emerged out of the blue. Adapted to the circumstances, Rico Puestel constructed a way of presenting this specialty item appropriately on his large-scale project "Time In The Special Practice Of Relativity": A "slight bit" beyond the usual, showcasing the entire album on a limited cassette tape together with an exclusive SD card, carrying its digital audio version + bonus material.

As one might cynically state that God created music, the devil the ones writing about it, it feels right to keep it short and simple about the album itself here: Setting the scene itself with an intro and outro of genuine beauty (letting even an old broadcasting signal sound like those multifarious water drops of elegancy), everything in between profoundly passes through the depths of electronic onomatopoeia in nine diverse yet coherent and organic shapes, melting the groovy energy of House music with a pervasive serenity and clearness of Techno aesthetics.

While "klondike" allows itself to only raise the singular claim of wanting to get listened to, the scent of a future classic might be floating around the ether...

Feines Tier is kicking off in 2021 with a top notch EP by St. Petersburg based brothers Radial Gaze. Andrey is an electronic musician, producer and mixing engineer, resident of the club "Skotny Dvor". Stas is a sound designer, theatre director and author of music for theatrical performances. So non-trivial synthesis, new media and club vibes meet classic arts and Russian percussion! The Apollonius EP contains three original tracks plus remixes by the likes of Roe Deers and SHMLSS making this record just a perfect club music ride. Vinyl diggers are appreciating the beautiful artwork of the limited and hand numbered edition on black plastic

'Endlessly strange and formlessly mesmerising' - The Quietus. 'on the feet of a wind' is a wild assemblage of carbonated synthetic music from Powell and a sister record to 'flash across the intervals' and 'multiply the sides' - two albums already released in 2020. Recalling Xenakis, Parmegiani and Hecker but with the smile/smirk of vintage Powell, the record is released via a folder, a new music and film platform created by Powell, Michael Amstad and Marte Eknæs that bundles up music, film, image, text and other forms of madness into folders that are shared/expanded online.The release is accompanied by a 'Hi-sensitive' film directed by Amstad and Eknæs entitled 'flares, currents'. The film contains a recombined live version of 'rise, world unfold', the musical series that concludes this album. a folder is a collection of disorienting works of experimental film, ambiguous texts, and other assorted media set to the most brazenly strange and formlessly mesmerising musical structures of Powell's career. It's also a work of artistic assemblage, without fixed notions of time. Tarkovsky once described his filmmaking as "sculpting in time," and a folder exists in a similar kind of "zone;" it is a project continuously added to, subtracted from, abstracted, and injected into the glut of cyberspace like a slow moving pathogen that refuses to be defined or categorised. Shunning titles in favour of oblique category markers, films like a34 present a mosaic of images of biological forms and sublime landscapes set to super-synthetic, carbonated compositions. All of this signals an artist liberated from the confines of the narrow branding signifiers an electronic musician can find themselves in. While it is aware of its place in cyberspace, this project also connects to something primordial and awesome. "Xenakis talked about creating universes with sound," says Powell, "and we are all free to create our own worlds in life, art - whatever. This is what happened to me in a way: I have been in this world for three years or something, and I don't really want to leave. The folder is a refuge.'

Comes with download code. Limited 300. " "Où cela commence-t-il ?_x000B_Where does cultural appropriation end and procreational fusion begin?_x000B_The answer to that depends on the perceiver. For some, applying the structures of electronic music to folkloristic samples may seem de-contextualizing. Yet when considering the similarity between dancefloor compositions and the minimalism of Steve Reich and Terry Riley, the gap to traditional music begins to fade away. They remain distinct mostly by aesthetic characteristics of sound. Nicolas Sheikholeslami's premiere solo record as Çaykh is named after the French conjunction "Où" - meaning "where" - as this was the linking element during production. We witness an attempt to re-contextualize music that travelled from analog tapes - recorded in different localities along the Indian Ocean - to a hard-drive via 192kb youtube rips. The sample-based compositions were digitally arranged before regaining their warm sonic qualities in a vintage mixing studio This EP assembles three metamorphic 4th-world disco pulsations. Expect some heavily trancy and polyrhythmic analogue-fi jams. Nicolas Sheikholeslami aka Çaykh is a Hamburg-born and Berlin-based DJ and producer. He is active as drummer & percussionist for the projects Spiritczualic Enhancement Center and Circuit Diagram. Çaykh's three earlier sound-collage cassette releases have already earned him a certain fame in the 4th-world and outsider-disco realms. His collection of pre-war Somali music called "Au revoir, Mogadishu" paved the way for the Grammy-nominated "Sweet as Broken Dates" compilation, which he co-curated.

LP Ltd edition PINK Vinyl (300 copies) + BONUS Fire Records Compilation CD. A Powys trio whose free-spirited invention and exuberant intensity flows through experimental pop: hypnotic, exhilarating and defiantly unique. The Welsh band Islet return with the release of their long-awaited new album, and now available on Ltd edition Pink Vinyl. Eyelet was recorded at home tucked away in the hills of rural Mid Wales. It took form the months following the birth of band members Emma and Mark Daman Thomas' second child and the death of fellow band member Alex Williams' mother. Alex came to live with Emma and Mark, and the band enlisted Rob Jones (Pictish Trail, Charles Watson) to produce. 'Caterpillar' described by Emma as "a song for my unborn child". It's followed by syncopated lullaby 'Good Grief' with its haunting keyboard hook and icy percussion thawed by Emma's yearning vocals about the quiet strength of generations of women. With nods towards Arthur Russell and Jenny Hval, 'Geese' is a mini symphony of driven electronica inspired by Welsh cultural theorist Raymond Williams' novel People Of The Black Mountains. Young Fathers inflected rhythm can be heard on 'Radel 10' that accompanies the multi-tracked variations of Emma and defiant lyrics that were inspired in part by The Good Immigrant - the landmark anthology of essays on race and immigration by BAME writers. "One of the best albums to come out of the UK in years" Louder Than War // "Unhinged, euphoric, wonderful." Pitchfork // "They create an ideology that fuels creativity" The Quietus // "They invigorate life on the margins with this whirlwind of psychedelic pop" The Guardian // "Full of reflective, explorative psych wonderment" ???? The Line Of Best Fit // Short listed for Welsh Music Prize 2020 // ????? The Vinyl District // ????? Buzz // ????? God Is In The TV // ???? AllMusic // Track

During an unprecedented yet poignant global situation, Bobhowla’s debut album EVERYTHING’S WRONG, BUT
IT’S ALRIGHT serves to soundtrack our daily challenges we all face since the start of the pandemic.
Recorded and produced by Rod Jones at Post Electric Studio, this 11-track strong collection of songs bring
together a wider scope of influences than usually found in any particular group’s output. Years of solo acoustic
performances around the north west have honed an acoustic base into more gritted tones, alongside folk,
electronica and dream-pop influences.
The single Million $ Man is as direct as a song can be, with crunchy guitars harking back to simpler times of loud
choruses and powerful anthems. Their debut album is the culmination of recording sessions with Rod Jones
(Idlewild) at Post Electric Studio. Working together to form 11 tracks, an accumulation of songwriting ideas
spanning years. Million § Man is the album’s example of taking a staple live favourite and letting the studio process
completely re-map the track’s direction. The once folky-skiffle ditty is now a hard-hitting, anthemic call to arms,
complete with a crafty hook and chorus to match.
Behind the music, hides deeper meaning. In what singer Howard Doupé believes to be first - a track dealing with
the emotional complexities of a life, delicately touched with health-laden ‘survivor’s guilt.’ Like so many songs
before, Million $ Man is an upbeat indie-pop tune that masks a sobering and very rarely explored subject matter.
It’s an honest and frank perception that attempts to deal with issues that will resonate with a particular section of
our community. In a daringly brave move, Doupé expresses a personal narrative with the track, firmly cementing
the album’s themes in real life matters.

What is a shlundee is probably the first thing you’ll ask yourself when you hear this.
In short, it’s a mixture of every music genre that you could imagine, brought to you by Indy Erens. The one-man project Shlundee finds the balance between house, hip-hop & electro. "Himawari" explains that Asia always had a big influence on Shlundee, it's a classic samurai anime. Influenced by club music and the Baltimore / Jersey culture, Shlundee made this EP during lockdown. He had this idea of making something really vibey and different than what people usually expect of him. 'Wait, What?' perfectly represents how Shlundee can expand his boundaries and trying out other stuff. Shlundee is massively influenced by Anz, Lefto, Young Marco, Park Hye Jin, Jamz Supernova & Acemo...

Sound Tribe Sector 9 (STS9) is an instrumental band whose sound is based heavily on instrumental rock and electronic music, funk, jazz, drum and bass, psychedelia, and hip hop, originating in Georgia, United States.

Chicago-area native Josh Johnson’s vital presence in the vanguard of new jazz music is evident by his features on countless critically-acclaimed
projects like Jeff Parker’s Suite for Max Brown and Makaya McCraven’s Universal Beings.
When he moved to L.A. eight years ago, he thought his stay would be temporary. The saxophonist and keyboardist would spend enough time there to learn from his heroes Herbie Hancock and Wayne Shorter, but not a complete geographic pivot. But eight years later, Johnson is still in L.A., where he recorded his debut album Freedom Exercise with three ‘musically omnivorous’ friends (the very quality that inspired him to stay on the West Coast).
The songs on Freedom Exercise reflect this idea of genreless exploration ‘ a fluid combination of jazz, post-rock and electronic music. Ultimately, Johnson’s compositions are concise yet expansive, like an intimate gathering in a sprawling city.

Jupiter, the gas giant in our Solar System, with thunderstorms a thousand times more powerful than on Earth, rainfalls of diamonds in the atmosphere, temperatures below -100°C, plenty of hydrogen, 79 moons and a South pole that looks like an abstract painting, has just the kind of environment this music seems to emanate from.

Jupiter and Beyond, the second collaborative effort of composer/performer Rafael Toral and percussionist João Pais Filipe as a duo (after Saturn in 2016), is definitely not quite a record of Earth music. On the contrary, Jupiter and Beyond, is indeed gas music, unfolding over two long movements without solid body or any tangible outline, between ambient and noise. A music of sheer volume and beauty, icy, massive, in which the elements of Toral's signature, in particular his use of jazz-inspired electronics and feedback, dissolve to become a labile, nebulous, expansive material, occasionally struck by abyssal depressions and masterful densities, magnified by the return, after 17 years of silence, of the electric guitar in Rafael Toral's instrumentarium.

Towards the end of Beyond, the second piece on the record, lurking behind the volutes of feedback, a bell and a bass drum, one can detect from the distance... a barking dog, as a surreptitious and prosaic reminder of where we are here and now, a calling back to Earth. Between sadness and joy, anger and peace, movement and stillness, Jupiter and Beyond is indeed a mirror held out to us, music reflecting our times and that emotionally speaks first of all about us.

"While João Pais Filipe was drummer in the Space Quartet, we played a live duo set. During soundcheck we were jamming for a while on bowed gongs and feedback and lost track of time, it just flowed so well. I joked "we could make a whole record with this!". But later we took the idea seriously and set to record an improvised session at his cymbalsmith workshop (he made the gong on the cover and it was used in the recording). When we listened to the first take the mass of sound was amazing. At some point it reminded me of the complex clusters of sound in Ligeti's music as it appears on Kubrick's 2001 scene "Jupiter and Beyond the Infinite". In the end the title felt like an apt choice for Saturn's successor. Back at my studio I felt the need for some more layers of density in some sections. I thought of using trombones, but ended up picking up the electric guitar, which I hadn't used since 2003.” Rafael Toral