Cerca:g connection

Following the first two releases on Sea~rène, GiGi FM returns with “Virgo Space Acid”, a deeply personal and sonically assertive exploration of transformation and healing.

Rooted in the energies of 2025, the Year of the Snake, this four-track EP channels the mystery and intuition of the serpent, weaving together Virgo’s archetypal forces of the healer and the alchemist.



Across driven beats, hypnotic acid sequences, and vocal-infused textures, “Virgo Space Acid” reflects a journey of renewal, self-ownership, and inner power.

From Berghain to The Bunker New York, GiGi FM has long been known for her ability to channel movement into sound. With “Virgo Space Acid”, she refines her craft even further, working with fewer elements yet pushing them to their fullest expressive potential. She explores the full range of her voice, shaping it into textures, atmospheric layers, and even percussion, while separately reworking classic 909 drum machine sounds into something entirely her own. This EP is a statement of both discipline and liberation, where minimalism meets deep transformation.



Opener “Calibration” sets the tone with its mantra-like intention: an invitation to realign and tune into one’s own energy. Built around a driving bassline, nostalgic yet forward-moving synths, and GiGi’s own spoken word, “A breath holds time, calibrates space”, the track creates a moment of clarity before the journey begins.

“Mercury” follows, embodying the trickster, the messenger, the shapeshifter. Playful and urgent, its bouncing synth sequences move like conversations in motion, with rising tones driving the track forward, pushing toward a restless ascension that mirrors Mercury’s role as a bridge between realms, both celestial and internal.

The title track, “Virgo Space Acid”, is the wormhole: the brain battle, the transformation. With a heavyweight 303 bassline, spiraling bleeps reminiscent of birds, and powerful classic 909, it is pure tension and release, an acid-drenched trip through motion and evolution.

Closing the record, “Floresta” is a sensual and grounding moment of reflection. Named after the stage at Waking Life Festival where GiGi felt a pivotal shift in her healing journey, the track mirrors the scene with dub chord sequences, emotional rising pads, and percussive vocal elements. Like the purple and pink drapes floating above the dance floor at sunset, Floresta is both a farewell and a prelude, a misty horizon where one chapter closes and another awaits.

With “Virgo Space Acid”, GiGi FM continues to expand her sonic language, deepening her connection between body, rhythm, and transformation. More assertive, more urgent, yet deeply intuitive, this is a record of movement, clarity, and self-empowerment.



"We are Sea~rène, swimming in-between supernatural tides, forever following the emotional waves of the universe." GiGi FM

In 2022, Osàre! Editions founder Elena Colombi approached artists and musicians with a prompt: Every body, everyone needs love to flourish. In her book The Will to Change, the eminent author and social activist, Bell Hooks, invites men to excavate their innermost selves, challenging the way that patriarchal society limits their capacity for intimacy, tenderness, care and emotion. As hooks lays out, feminist thought and work requires the collective participation of all genders in order to realise a liberated world. How can we imagine cross-gender solidarity through music and art? And how can we tell sonic stories that facilitate our full potential as desiring beings? These are the questions that The Male Body Will Be Next starts out from.

The title of the record draws connections between hooks' writing, a film by Rebecca Salvadori and Peter de Potter's stunning photo series of the same name. In de Potter and Salvadori's depictions, men's bodies appear as vulnerable, naked and exposed.

Divided into two parts, the first instalment of The Male Body Will Be Next hinges on colliding energies – the melding of club dance floors and haunting ambient textures, agile techno and noisy experimentation.

'The sun on my skin… it’s so warm and gentle,’ speak-sings Olivia Salvadori on ‘Su Di Te M’Infrango’, visualising utopias. Laurel Halo crafts a dreamscape spun from golden threads of synth and strings. Pensive and reflective, Ben Bertrand’s bass clarinet roams searchingly, its piercing tonality full of longing. Yet, in between these lucid, cinematic passages and spoken word, The Male Body Will Be Next finds space to dance together. Moving in fervent, rhythmic patterns, Sepehr’s ‘Divooneh’ pivots between tension and release. Filmmaker unleashes a wave of energy and The Spy delivers a potent take on vintage electro, the track title hinting at the double-bind of gendered expectations. Propelled between these eclectic styles, the record encapsulates the full spectrum of sonic expression.

((( O ))) is unveiling her highly anticipated fifth studio album, ((( 5 ))), marking the latest milestone in her visionary series of releases. Continuing her tradition of fusing music with the rhythms of the universe, she has introduced the concept of 'MoondropDISABLEDs,' which are individual pieces of audio-visual art released every full moon. These 'MoondropDISABLEDs' are then compiled into an annual collection called 'Sundrops,' released on her birthday. ((( 5 ))) represents the fifth installment in this series, offering a mesmerizing blend of genres and sonic landscapes that reflect ((( O )))'s deep connection with nature and the cosmos. Each track is crafted to resonate with the energies of the lunar cycle during which it was created, offering listeners an otherworldly experience. Looking ahead, ((( O ))) aims to complete a full collection of 12 'Sundrops' by the year 2032, creating an unparalleled anthology of art that spans a decade and encapsulates the cycles of the moon. Her work continues to inspire a global audience with its innovative blend of music, visual art, and spiritual exploration.
In the words of ((( O ))): “Each 'Sundrop' is a reflection of my journey through life, intimately connected with the rhythms of nature. With ((( 5 ))) being my first fully-produced album, I invite listeners to join me in sitting with the moments in between, with the simplicity of instrumentals from sounds that I used from my journeys living in the Philippines, celebrating the beauty and power of our cosmic connection. I needed it to create space versus taking up more space in an already overwhelming world we live in now.

Yuno's full-length debut, Blest, out May 16 on Sub Pop, finds the enigmatic indie-pop visionary transforming the emo-tinged suburban malaise of his 2018 Moodie EP into more expansive, widescreen pop drama - suited for big moves and bigger stages. The kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons, taking him on tour with Unknown Mortal Orchestra and Superorganism, and soundtracking various series for Netflix and HBO. Imbued with elements of dream-pop, rock, trap, and psychedelia, his eclectic songs serve as bids for love and connection, which especially in the fractured era of social media, have resonated with many listeners who find solace in his vulnerability. Yuno's superpower lies in the way he mines a multitude of genres for their pop potential and surfaces with a tapestry that feels novel and fresh. Take, for instance, "Blest," the immediate, blissful, and bright title track, which is inspired by Rich Harrison-breakbeats and Neptunes-esque jangle. Or the breezy single, "True," in which Yuno moderates a lover's quarrel with slick, trap percussion. Amid the breakbeated dream-rock of "Gimme Ocean," he introduces his guitar solo with a searing emo scream, run through an EarthQuaker Devices pedal. Don't let his sanguine aura or his sherbet pink wardrobe fool you; he can shred as hard as he wants to when he wants to. All songs on Blest were written and performed by Yuno, co-produced by Yuno and Frank Corr (Morning Silk), who also contributed keyboards, drums, and guitar throughout the record, with additional production and instrumentation by Patrick Wimberly (Chairlift) at The CRC in Brooklyn, and Nick Sanborn (Sylvan Esso) at Betty's in Durham, NC. Blest was mixed by Steve Vealey and mastered by Joe La Porta.

TÖRZS, Hungary's premier instrumental post-rock band, return with the understated sonic beauty of `Menedèk', their first new music in six years. Loosely translating as `Refuge', `Menedèk' sees the freshly bolstered trio in their element; finding shelter, comfort and joy in the act of creative collaboration whilst the storm of day to day life weathers ever on. A steadfast and admirable mission statement centred on staying true to themselves in the moment, being open to growth and documenting this process as honestly as possible has led to TÖRZS building a reputation as one of Hungary's most exciting musical collectives. Three stunning albums of organic and perfectly composed contemplation, as well as the band's transcendental live shows alongside acts including contemporaries We Lost The Sea, Oh Hiroshima, Föllakzoid and more have placed TÖRZS at the forefront of a post-rock movement that prizes the shared experience of band and listener above all else. The band's previous full-length release, 2019's `Tükor', was recorded live at Aggteleki Cseppkobarlang, a UNESCO World Heritage protected cave system, 500 metres below the Aggteleki National Park. Embracing the cave's utterly unique natural reverb almost as a fourth member led to `Tükor' receiving critical acclaim, with TÖRZS were subsequently nominated for the HEMI Music Awards 2022 and invited to perform at the likes of Moscow Music Week (2020), The Budapest Showcase Hub (2021) and 2024's Changeover Festival in Belgrade, Serbia. Whilst the intervening years have seen unprecedented change on a global scale, TÖRZS too found themselves in a state of flux. The band returned to the more traditional studio setting in 2023, working alongside long-time producer György Ligeti, in order to faithfully capture the intimate energy of songs meticulously crafted together in their small rehearsal space, a far cry from 2019's subterranean setting. However, having spent countless hours writing, orchestrating and recording the pieces that have become `Menedèk', the band's founding drummer Zsombor Lehoczky stepped away from the band and music as a whole. Where this might have been catastrophic for any other band, remaining members Soma Balázs and Dániel Nyitray soon found a connection with Tamás Szijártó, who approached TÖRZS' music with the same openness to creativity in the moment; not `performing' as such, but simply working together to produce breathtaking, musical escapism away from the daily humdrum. The album's themes of shelter, refuge and support resound clearly on lead single `Otthon'. Meaning `At Home' in Hungarian, `Otthon' serves as a de facto introduction to the record. The song's lilting groove, soaring yet soft guitar palette and the band's signature delicate dynamism all combine to invite the listener to reflect; not steering one way or another yet inviting us to close our eyes and join the flow. Elsewhere, the pounding, chiming `Levegovétel' proves TÖRZS are still staying true to their mission statement of documenting the inevitable process of change. Here the band embrace elements of post-rock's harsher, heavier side with a cacophony of driving half-time drums and distorted, open-chord guitars yet still provide brief havens of space for themselves, the song and the listener alike to breathe before the euphoric swell rises anew. Whilst TÖRZS' previous full-length effort was a spectacular collision of the band's tight-knit existence and the (literal) echo chamber of the world outside, `Menedèk' is introspective, understated and refreshingly brave in its honesty. TÖRZS have opened the doors to their inner sanctum, their rehearsal space, their songwriting process, their friendship; inviting us to live in it with them, to revel in the moment together. FOR FANS OF Godspeed You! Black Emperor, Explosions In The Sky, This Will Destroy You, Caspian, MONO, Sigur Rós

TÖRZS, Hungary's premier instrumental post-rock band, return with the understated sonic beauty of `Menedèk', their first new music in six years. Loosely translating as `Refuge', `Menedèk' sees the freshly bolstered trio in their element; finding shelter, comfort and joy in the act of creative collaboration whilst the storm of day to day life weathers ever on. A steadfast and admirable mission statement centred on staying true to themselves in the moment, being open to growth and documenting this process as honestly as possible has led to TÖRZS building a reputation as one of Hungary's most exciting musical collectives. Three stunning albums of organic and perfectly composed contemplation, as well as the band's transcendental live shows alongside acts including contemporaries We Lost The Sea, Oh Hiroshima, Föllakzoid and more have placed TÖRZS at the forefront of a post-rock movement that prizes the shared experience of band and listener above all else. The band's previous full-length release, 2019's `Tükor', was recorded live at Aggteleki Cseppkobarlang, a UNESCO World Heritage protected cave system, 500 metres below the Aggteleki National Park. Embracing the cave's utterly unique natural reverb almost as a fourth member led to `Tükor' receiving critical acclaim, with TÖRZS were subsequently nominated for the HEMI Music Awards 2022 and invited to perform at the likes of Moscow Music Week (2020), The Budapest Showcase Hub (2021) and 2024's Changeover Festival in Belgrade, Serbia. Whilst the intervening years have seen unprecedented change on a global scale, TÖRZS too found themselves in a state of flux. The band returned to the more traditional studio setting in 2023, working alongside long-time producer György Ligeti, in order to faithfully capture the intimate energy of songs meticulously crafted together in their small rehearsal space, a far cry from 2019's subterranean setting. However, having spent countless hours writing, orchestrating and recording the pieces that have become `Menedèk', the band's founding drummer Zsombor Lehoczky stepped away from the band and music as a whole. Where this might have been catastrophic for any other band, remaining members Soma Balázs and Dániel Nyitray soon found a connection with Tamás Szijártó, who approached TÖRZS' music with the same openness to creativity in the moment; not `performing' as such, but simply working together to produce breathtaking, musical escapism away from the daily humdrum. The album's themes of shelter, refuge and support resound clearly on lead single `Otthon'. Meaning `At Home' in Hungarian, `Otthon' serves as a de facto introduction to the record. The song's lilting groove, soaring yet soft guitar palette and the band's signature delicate dynamism all combine to invite the listener to reflect; not steering one way or another yet inviting us to close our eyes and join the flow. Elsewhere, the pounding, chiming `Levegovétel' proves TÖRZS are still staying true to their mission statement of documenting the inevitable process of change. Here the band embrace elements of post-rock's harsher, heavier side with a cacophony of driving half-time drums and distorted, open-chord guitars yet still provide brief havens of space for themselves, the song and the listener alike to breathe before the euphoric swell rises anew. Whilst TÖRZS' previous full-length effort was a spectacular collision of the band's tight-knit existence and the (literal) echo chamber of the world outside, `Menedèk' is introspective, understated and refreshingly brave in its honesty. TÖRZS have opened the doors to their inner sanctum, their rehearsal space, their songwriting process, their friendship; inviting us to live in it with them, to revel in the moment together. FOR FANS OF Godspeed You! Black Emperor, Explosions In The Sky, This Will Destroy You, Caspian, MONO, Sigur Rós

A special Japan connection for the next release on DJ Nobu's Bitta label. Osaka-based Erik Luebs joins the roster with an EP of iconic, tranceinfluenced techno melancholia. Having released most of his work through his own DIY channels, Luebs' sounds have reached many dancefloors worldwide. He now teams up with Bitta for something special. On Nontemporal Void, Luebs delivers four tracks that perfectly showcase his diverse sound palette. Each track hits a different box of energy--all while injecting a healthy dose of hypnotism. With a keen eye for detail, the EP moves from slowly built-up tension to eyes-closed techno grooves and synth-heavy euphoria, showcasing the many sides of a magnificent sound designer and creative artist.

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Album was released in three versions: classic with black vinyl, limited edition with solid green vinyl (hand numbered 100 copies) and special Japan edition (with OBI and transparent green vinyl). All versions have 180g vinyl.

Ljóstillífun is the latest album by musician/sound artist Pan Thorarensen. The album is inspired by Iceland's flóra, its plant kingdom, and the country's mysterious natural landscapes. The title, Ljóstillífun, translates to Photosynthesis in English.

Pan extensively incorporated field recordings of nature using specialized microphones during the album's production. He combined these with various handcrafted electronic instruments, synthesizers, and sound design techniques to create a truly unique sonic environment.

"The music will guide the listener into a meditative state, immersing them in Iceland's flóra, stillness, and the breathtaking beauty of its nature."

For this project, Pan collaborated with several esteemed artists, including:
• Italian composer and guitarist Eraldo Bernocchi
• Venetian ambient producer and composer Gigi Masin
• Portland-based sound designer and field recordist Patricia Wolf
• Japanese ambient artist Moshimoss
• Berlin-based Japanese violinist Hoshiko Yamane (Tangerine Dream)

Beyond his solo work, Pan has composed music for short films and documentaries and has released numerous albums under various stage names. One of his projects is the ambient trio Stereo Hypnosis, in which he collaborates with his father, Óskar Thorarensen, and composer/guitarist Þorkell Atlason.

For the past 16 years, Pan has traveled the world exhibiting his art and performing at numerous music festivals. Throughout these journeys, he has formed deep connections with musicians, visual artists, agents, journalists, and event organizers.

A key figure in Iceland's electronic music scene, Pan is widely respected for his artistic contributions. Fifteen years ago, he founded and has since organized Extreme Chill, an annual electronic music festival that attracts both local and international electronic music enthusiasts, drawing them into the ethereal embrace of Iceland's natural beauty.


The album is released by the renowned Polish independent label U Know Me Records, which celebrates its 15th anniversary this year. After more than 125 releases this is the very first one without Polish artists involved in the recordings. UKM starts a new chapter...

Trash Mountain, Lily Seabird’s new LP out April 04, 2025, via Lame-O Records, is her most searching and immediate effort to date. Over nine delicate but sturdy tracks of intimate folk rock, she pares her songwriting down to its most resonant essen- tials.

There’s not a second wasted as she sings
of loss, growing up, and finding your center when things get overwhelming. It’s an album of unwel- come exits and uncertain futures, but there’s resil- iency and hope at its core. Recorded with producer Kevin Copeland (Hannah Frances, Lightning Bug, Allegra Krieger), it’s a testament to finding joy and connection in life’s chaos and confusion.

"JUJU" drops on May 17th (WERF Records) and is programmed at Gent Jazz Festival (July 11th)



Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert.Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before.



Everything is connected. Not just in the grand scheme of things - politically, culturally, socially,... - but also in the colourful universe of Karen Willems. A lifelong quest for profound experiences through organizing sound led to the crucial Terre Sol-series, four tapes released in 2020. Out of that fertile well, Grichte (2022) was born. A double LP that presented Willems as an original explorer as well as a committed bandleader, it was her boldest statement to date.

While the first (solo) album halfalready received a follow-up in K A A P M I J (2023), another tape release that suggested there's still a lot of ground left to uncover, Juju continues the work done on the second album half, with the Terre Sol Four quartet: Willems' voice, drums, percussion objects, keyboards and field recordings accompanied by the saxes of Marc De Maeseneer, Vincent Brijs and John Snauwaert. It was already something to behold on Grichte, swerving from introspective exploration to expressionist riff rock and semi-Dadaist avant-garde.

On Juju, the four-piece digs even deeper and the results are utterly spellbinding. One of the many attractions of Willems' recent work is that it combines relentless artistic experimentation with a commitment to broader socio-political issues. In essence, the artist tries to set up a discussion with her surroundings, sending out musical invitations to connect and participate, reminding ourselves of responsibilities that are too easily forgotten in these hectic, self-centered times. The refugee crisis is one, ecology awareness another, and it's hard not to consider "Voor De Stranden Verdrinken" ("Before The Beaches Drown") a caustic warning. Things need to change.

As said earlier, the music on Juju remains as adventurous as before, but this time around, the playing feels even more confident, diverse and punchy. If the album opener accentuates its urgency with a throbbing pulse and reed sirens, "Tako Deli" continues with rich vocal arrangements, roaring saxes and sweeping melodies. What follows strikes with vigor and consistency: "Nuuki" is as dense as it is infectious, while "Fuzzy Williams" manages to combine Ellingtonian abundance with Swans-like preaching.

And there's more, much more. Eccentricity and playfulness ("The Woo Woo Room, Dance Back In Style", "In Open Veld") go hand in hand with smoldering exercises in tension and release ("Koortsdromen") and a ridiculously infectious call for connection in antisocial times ("Come Vai"). Guest contributions by Nabou Claerhout, Kapinga Gysel, Esther Lybeert and Filip Wauters enrich the band's sound considerably. By the time you reach album closer "When Daytime Lands", Willems takes you on a short trip through that eerie soundscape-land she previously explored.

In short: Juju fits perfectly in Willems' output. Also: in the coherent oeuvre it has become, it is perhaps her most consistent release yet. It's infectious as hell, carefully crafted, packs a punch and more accessible than ever before. It's the sound of an artist at the peak of her powers, not just expanding her range, but digging deeper with obvious glee. It's not just intriguing; it's inspiring to witness..

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

On their debut album Seven Dances to Embrace the Hollow, Zurich-based artists Magda Drozd and Nicola Genovese, as Sopraterra, offer exactly what’s announced: seven compositions which, as they unhurriedly flow into each other, mark potential entry points to discover what might be lying underneath. By choosing Sopraterra, which translates to “above the earth” in Italian, as their shared project’s name, Drozd and Genovese indicate their own position in this archeological-looking endeavor, hinting at the potential for sonic explorations to produce deeply submerged discoveries.
Sopraterra’s object of inquiry isn’t easily grasped, traversing histories and blending influences alike. In a time-line-bending manner, musical signifiers from the past, along with specific tonal scales lifted from baroque and medieval music, get digitally synthesized. As sonic matter, the result is distinctly of today: a collection of electro-acoustic compositions that remain experimental at their core, referencing genres like post-rock, shoegaze, or psychedelic, while evoking aural memories of ancient times. Seven Dances to Embrace the Hollow pulls backward and pushes forward alike. Without ever forcing a didactic listening experience, musical motifs and archetypes are thoroughly investigated. But there is no scientific ambition at play here. Rather, the harmonies of late medieval Ars Nova or the transcendent elegance of Baroque chamber music lend their emotional qualities to perceived ideas of old times.
Oscillating between ambient and drone, the album’s seven brooding compositions bring primal connections to a universally shared past to the surface. In its multi-directional positioning, Seven Dances to Embrace the Hollow makes the case for embracing the confusion of warped time and paying attention to all that’s rather felt than seen.

Teal’s debut LP, Original Watercolour, is an album that feels like a canvas come to life. A sonic blend of street-soul, digi-dub, and downtempo. Original Watercolour explores the complexities of love, oneness, and intuition — themes that resonate deeply within the context of the history women have shared with what was once known as the “ladies’ medium.”

The bi-coastal family trio—Ashleigh and Melissa Ball, better known as the Ball Sisters, alongside producer N1_SOUND—bring a fresh, genre-defying sound to the table with their latest 6-track album. Running just under 30 minutes, this immersive collection weaves together skipping beats, addictive bass lines, three-dimensional flute textures & emotional vocal melodies. This musical portrait is as ethereal as it is powerful, inviting the listener to get lost in its depths while celebrating the beauty of self-expression.

The opening track, “Original Watercolour,” takes you on a psychedelic trip-hop journey. From the first reverberous snare hit, you’re whisked away to a sonic wetland — lush and euphoric. The soft yet poignant soundscapes set the tone for the album, inviting us into a world where the boundaries between earth and music, reality and imagination, automatically seem to blur.

“Locked In 2 Love” offers a boogie-fueled bassline that pushes Teal into dance-floor territory with soaring flutes and rhythmic intricacies that make it impossible not to move — it’s a track that exemplifies the magic of Teal’s ability to craft both intimate and expansive musical landscapes. And then, there’s the hypnotic flow of “One In The Same,” where stacked vocal harmonies and mantra-esque lyrics transport you to a place that could easily be mistaken for a lost Soulquarians demo. It’s gentle yet unrelenting in its depth.

The second side of the album opens with “Sleep on It,” a track that immediately grabs attention with its dancehall-driven rhythm. Ashleigh Ball's vocals set the stage for a song that’s both introspective and emotionally charged, yet unmistakably rooted in groove. The phased-out bassline creates an almost hypnotic atmosphere. Pulling the listener into a mood of contemplation—matching the restless, sleepless night that Ball describes. As the song progresses, this groove builds in intensity, culminating in an explosive ending that mirrors the emotional release of a long-held frustration.

Original Watercolour is more than just an album — it’s a meditation on the interconnectedness of life and art. “Frog Kingdom,” the longest and only instrumental track creates a contemplative space that builds upon the themes introduced earlier. It feels like a sequel to their earlier work, Frog Legacy from their debut Bluish Green 2024 12”, expanding on the familiar sound with even more complex layers.

Yet the real emotional power of the record lies in its closing track, “Can’t Shake the Feeling.” Simple in structure but profound in impact, this song captures a deep yearning and understanding — that everything, from the ecosystems we inhabit to the relationships we nurture and the art we create, is fundamentally interconnected. As the track crescendos in a falsetto peak, it becomes clear that the album is a reflection of both the world around us and the personal journey each member of the band has embarked upon to get to this point.

Just as the medium of watercolor has been traditionally linked to women artists, Teal carries this legacy into the modern musical landscape, blending the richness of history with a unique forward-thinking perspective. The album feels like both a celebration of the past and a bold declaration of a path forward — one that welcomes anyone ready to join in and shape the future of the art form.

The beauty of Teal’s work is that it feels familiar, while simultaneously offering something new and refreshing. Original Watercolour doesn’t just push musical boundaries; it redefines them, offering a lush and textured soundtrack for those willing to listen closely.

In a world that often feels over-saturated, Original Watercolour stands as a reminder of the power of simplicity, intuition, and connection. Teal’s debut album invites you to experience something both deeply personal and universally understood. The landscapes they create are vivid, yet soft, grounding yet expansive. With each track, Teal’s music reflects the interconnectedness of all things — a truly unique piece of work in the world of experimental soul and dub adjacent electronic music.

Rising and falling. We all live in the same pond. Peace to all.

Kermit der Frosch hatte 1955 seinen ersten Fernsehauftritt. Siebzig Jahre später feiern wir ihn und die Muppets in ihren sieben Jahrzehnten voller Gesang, Tanz und Freude!

Zu diesem Jubiläum ist „Die Muppets: Das grüne Album“ jetzt erstmals auf grünem Vinyl erhältlich – mit einer besonderen Botschaft von Kermit dem Frosch.

2025 Repress

As a trained dancer, movement has always guided GiGi FM’s work, whether through developing movement based instruments, or questing to make you move via sound-systems across the world. These ephemeral moments of altered sleep patterns and dance are now present in the music of ‘Sea~rène’, sounds for a trip in the mind held with a desire to dance.

A sense of brightness prevails in ‘Movimiento’, the feeling of white light rising from the dark of your mind as you lay with closed eyes.



Opener ‘Gabriella’ takes you by the hand to spin you across the ballroom floor, dancing in a dusky glow. Piano twinkles along with your step; a gradual ascension as a graceful dance can be. Lost in thoughtful yet thoughtless drift to the rumble of sound, we can confront parts of ourselves and our connection to others, the spirit of B side opener ’Awakening The World’s Heart’.



Place is important to movement also, as heard in the kinetic motion of ‘Tempelhof’, reminiscent of the feld in Berlin (GiGi’s home) itself. Blurred lines of people weaving their way through, either high speed on skates or on a leisurely stroll. It's summer in the city, where the nighttime shortens and daylight extends, yet the simulated night of the club never ends. Eventually reaching slumber, ‘Lucid Dreaming’ is the record's swan-song, a final lift of propulsion to remind that the dream of dance is a physical act, belonging to the imagined and the real. Digi bonus ‘Raspberry Pie’ is a sweet treat at the end of the dance, a familiar taste and a reminder of joy, ready for the next ‘Movimiento’.

Function Records has been blessed by the bassline talents of IP, John and Fiona Cunningham, showcasing their impressive skills. I had the pleasure of meeting IP at an education and bass feedback session at Planet Wax.
Choosing the first four tracks for their debut EP was challenging because they have so many bangers!
1) Nowadays, many track names suggest a connection to Jungle or reggae/dub sound systems, but they often deliver squeaky noises when the track drops. That's not the case with "Foundation Ting"; it hits you with all the elements you'd expect from Jungle music and continues to evolve impressively throughout the arrangement.
2) "Look Around" has garnered significant attention because it's one of those warm tracks that always gets a rewind. The bassline tells a story, and the breakdown and second drop are genuinely next-level.
3) "One Step" is the first track I received from IP. It's a heavy, dubbed-out jungle tune that builds into a midsection reminiscent of Spirit.
4 "Can't' Know That" is 8 minutes 37 of dirt. What a journey!

Oi Va Voi verbinden Dance-Grooves, Singer/Songwriter-Sensibilitäten und kosmopolitische Rhythmen aus Osteuropa und Nahost. Trotz (oder gerade wegen) der zerrissenen Zeiten strahlt ihr neues Album "The Water's Edge" Optimismus aus und weckt Erinnerungen an ihr bahnbrechendes Debüt "Laughter Through Tears" (BBC World Music Award, NYT Top 10 Alben 2003). Oi Va Voi sind bekannt für prominente Kollaborationen wie mit KT Tunstall, Bridgette Amofah (Rudimental) oder der Violinistin Anna Phoebe. "The Water's Edge" wurde zum Teil von Mike Spencer (Rudimental, Tom Walker, Ellie Goulding) produziert und erscheint auf dem eigenen Label Parallel Skies. Es ignoriert Kategorisierungen zugunsten dauerhafter musikalischer und sozialer Werte und ist ein Ausdruck der Notwendigkeit, Spaltungen hinter sich zu lassen und eine gemeinsame Menschlichkeit zu finden.

Oi Va Voi fuse dance grooves, singer-songwriter sensitivity and a rock’n’roll sensibility with the group’s Jewish cultural heritage and a cosmopolitan rhythmic inspiration drawn from Eastern Europe, the Middle East and beyond. Despite the fractured times we are living in, a theme of optimism through pain is there throughout Oi Va Voi’s new album ‘The Waters Edge’.

We’re reminded of the title of the breakthrough first album, Laughter Through Tears. The Bacon & Quarmby-produced debut won a BBC World Music Award, was listed as a New York Times Top Ten Album Of The Year, and launched the career of a young KT Tunstall. The tradition of world-class musicianship continued with Bridgette Amofah (Rudimental) as the featured vocalist on Travelling the Face of The Globe, and noted violinist Anna Phoebe, who recorded and performed with the band for over a decade.

Every member evolves the Oi Va Voi sound; but through each change, the core themes and vision have remained constant. 2018’s album, Memory Drop, introduced the unique voice of Zohara Niddam, and it’s Zohara who returns here on The Water’s Edge, featuring on ‘Shine A Light’, ‘Lay Your Head’ and ‘Wave’. Also featuring across the new album is composer, violinist and singer Sarah Anderson, who co-wrote seven tracks on the album, with her emotionally poignant lyrics, evocative layered vocals and uplifting violin parts. Guitarist John Matts and Trumpeter David Orchant also return, with Orchant bringing deep colour and expression to the stirring waltz ‘Oceans’.

The album opener ‘Sad Dance’ was written after the devastating earthquake that struck Turkey and Syria in early 2023 impacting many of the band’s friends, fans and colleagues. Finding themselves in the studio the day after the tragedy, the band searched for ways to respond. Sarah’’s mournful, pulsating violins create an ever evolving soundscape on top of which her own vocal, and Steve’s earthy clarinet express sorrow and hope. Says Sarah - “It’s about human connection - a metaphorical hand held through trauma, and the preservation of ‘old worlds’ through relics, reminding us of where we came from”.

‘Shine a Light’ was also a chance to welcome back producer Mike Spencer (Rudimental, Tom Walker, Ellie Goulding), who produced their second album. Here his Pop experience can be felt in the hooky dance loop, which you can hear becoming one of Oi Va Voi’s trademark live encores. Along with the melodic pop sheen of ‘Lay Your Head’, this song shows the band in an uplifting mood, pointing at the years of high-energy tours which have become their signature. These tracks, and the poignant ‘Josephine’, offer a release - a more escapist mood and a sign of the hope underneath everything.

Oi Va Voi have never been easy to categorise, and they’ve made a point of ignoring genre in favour of more enduring musical and social values. The Water’s Edge is the first album to be released on the band’s own Parallel Skies label, which will sign artists from a diversity of cultures, nations and musics in the coming years. The album title refers to an old custom from the Jewish New Year of going down to the waterside - casting off the baggage of the past, and letting it wash away on the tide. As the first release on this label it’s an expression of the need to put divisions behind us, and find a shared humanity.