quête:her fr

Die beiden vorherigen Captured-Tracks-Alben von The Lemon Twigs, "A Dream Is All We Know" (2024) und "Everything Harmony" (2023), deuteten bereits auf eine Art Neubeginn in ihrer damals fünf Alben umfassenden Karriere hin. "Es war der Beginn davon, Platten zu machen, die wir selbst anhören würden", sagt Michael D'Addario, der jüngere der Twig-Brüder, heute 26 Jahre alt. Spätestens mit "A Dream Is All We Know" und dem zukünftigen Michael-Klassiker "My Golden Years" hatte die neue Ära der Lemon Twigs wirklich begonnen. Und nun erscheint das dritte Lemon-Twigs-Album für Captured Tracks, "Look For Your Mind!", das unter seiner poppigen Oberfläche einen unterschwelligen Strom aus Paranoia und Misstrauen trägt. Der Opener, der titelgebende Track "Look For Your Mind", ein beschwingtes Stück von Michael, führt die Hörer*innen in den gitarrengetriebenen Harmonie-Sound ein, der das zentrale Thema des Albums bildet. Vieles, was auf "A Dream Is All We Know" erreicht wurde, ist auch hier präsent - nur noch fokussierter. Es sind klassische Twigs, geprägt vom goldenen Zeitalter des Gitarrenpops, aber in keiner Weise sklavisch nachempfunden. Neu auf diesem Album ist die Einbindung der Live-Mitglieder Reza Matin (Schlagzeug) und Danny Ayala (Bass) sowie Eva Chambers von Tchotchke in die Rhythmusgruppe. Während die Brüder zuvor im Studio alles selbst eingespielt hatten, zeigt dies ein neues Gefühl von Freiheit. "Gather Round" ist eine der größeren Produktionen auf "Look For Your Mind!" - ein Brian-Song mit freudigen Orchestrierungen, der wie ein Wahlkampflied aus der Jahrhundertwende wirkt. Der Songwriter sucht nach einer unverdorbenen Führungsperson, kommt aber zu dem Schluss, dass kollektives Handeln der einzige Weg nach vorn ist. Musikalisch ist er opulent und herrlich 1967, doch Stimmung und Aussage sind unverkennbar 2026. "Jedes Mal, wenn wir versuchen, etwas völlig Geradliniges zu schreiben, können wir nicht anders, als ein Element hinzuzufügen, das völlig aus dem Rahmen fällt", erklärt Brian. Brians "Fire And Gold" beginnt mit einem klingenden Power-Pop-Riff, bevor alles auf den Kopf gestellt wird. Es ist auch der erste Song des Albums, auf dem der energiegeladene Drummer Reza Matin zu hören ist, den die Brüder mit Größen wie Jody Stephens von Big Star, Jim Bonfanti von The Raspberries und Bev Bevan von The Move vergleichen. Den Abschluss der ersten Seite der Vinyl-Ausgabe bildet Michaels wunderschöne Ballade "Mean To Me", mit Gesangsparts, die The Beach Boys vor 60 Jahren gerne aufs Band gebracht hätten - eingesungen von Michael, Brian und Danny. Der Abschluss der zweiten Seite, "Your True Enemy", wirft schließlich alles über den Haufen. "Wir haben den Song zunächst als einfache Rocknummer angelegt, aber das passte nicht zur düsteren Stimmung des Textes", sagt Brian. "Also haben wir begonnen, experimenteller zu werden." Das sechste Studioalbum der Lemon Twigs mag auf den ersten Blick wie eine direkte Fortsetzung der beiden Vorgänger wirken, ist aber zugleich viel mehr: mit Verweisen auf frühere Werke, einem neu entdeckten kollektiven Geist und vor allem großartigem Songwriting.

Die chinesisch-amerikanische Band Bear kehrt 2026 mit ihrem dritten Album ,Dim Sum & Then Some" zurück, das im Mai 2026 beim britischen Kultlabel Moshi Moshi erscheint. ,Dim Sum & Then Some entstand am Tag nach der Fertigstellung unseres Albums Wah!!! aus dem Jahr 2024. Wir hatten viel Freude und waren noch immer sehr inspiriert. Das Album beschäftigt sich mit Themen, die uns am Herzen liegen - Essen, kleine Freuden, unbeschwerter Spaß, China, Liebe, Hymnen und Märchen. Es ist eine Collage unseres Lebens, destilliert zu Positivität und Unbeschwertheit." Sie werden oft so beschrieben, als hätten The Flaming Lips, Dusty Springfield und The Beach Boys ein Kind mit Care Bear gezeugt. Das Album ist voller Humor, Groove, Skurrilität und Niedlichkeit, mit melodisch reichhaltiger Instrumentierung, einem Hauch von Psychedelia, einer Prise Funk und vielen Texten darüber, sich den Bauch mit Essen zu füllen.

Caterina Barbieri & Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound. It is at once intimate and cosmic, drawing on the challenges and possibilities of their artistic exchange, tearing down technique to access all the expansive possibilities of their sonic meeting point.



At Source is a document of the world of sound to be conjured when two artists strive for something together, discovering the expansions and limitations of performance by bodies and machines. It is not an exercise in assimilation, but in productive exchange and creative confrontation. It does not draw on outside energies or influences, but grapples with what there is to find in their respective playing. "It also reflects how natural the collaboration was," says Barbieri, "a meeting at the source which was spontaneous, graceful and natural".



Barbieri and Giske first met and were enthralled by one another's performances at Kunsthaus Glarus in 2019, a meeting that spurred conversations on the power of transitions as a compositional force. Giske later contributed a rework of Fantas for Fantas Variations (Editions Mego, 2021), an ambitious undertaking to rescore Barbieri’s work for his saxophone and voice, a challenge Giske had started undertaking two years prior as an ongoing practice of transcription. “The request came as a proof of aligned ideas”, says Giske.



Their new collaborative project then started during an artistic residency in Milan’s ICA in 2021, by invitation of swiss artist and curator Jan Vorisek, as the world was emerging from lockdown. This meeting, and the preceding closure of sites for cultural exchange, made their work together 'feel like springtime' says Barbieri. Giske, who was on the brink of releasing his sophomore album, Cracks, then joined Barbieri's light-years tour, which functioned as an inaugural incarnation of her newborn label and platform through a series of multi-artist curated shows with appearances of Lyra Pramuk, Nkisi, MFO, among other artists.



Through the tour, they continued to develop material live, and this release, laid down in the studio, is true to that ever-evolving process of creation, where live feedback stays essential to the vitality of this collaborative effort. The tracks are each named with two evocative words that contain the two poles of their sound. Theirs is both abstract and cosmic, in the synth as machine undermined by Barbieri's naturalistic playing, and in Giske's continuous exploration of the symbiosis between his instrument, voice, and body. These binaries, of body and machine, posed various challenges, notably in how the stepped patterns Barbieri uses were near-impossible to translate for Giske's body to perform, and other times where mathematical resolutions were needed to sync their playing. Explains Giske: "It forced me to go to the core of what I am and what I have to offer”. Barbieri says that it "explores the liminality between the machine and the human, and the vulnerability in this process".



At Source is testament to two divergent practices finding a whole cosmos in which to convene; music is crystalised and made utterly enveloping through the focused and critical work of two musicians working at their peak. The versions here are, temptingly, "just one of many versions" of this abundant source material Giske explains. Like the best collaborations, At Source is more than the sum of its parts – bringing more to the feast than the simple combination of two musicians, promising versions upon versions of the exquisite material captured here.

This perfectly formed EP brings together Dutch duo Fouk with a selection of collaborators across four groove-led cuts blending house, disco, and nu-disco influences.

The title track sees Fouk teaming up with The Phenomenal Handclap Band, delivering a vibrant vocal cut driven by warm basslines, uplifting melodies, and classic disco instrumentation. Importantly, both the vocal and instrumental versions appear here as extended mixes exclusive to the vinyl release.

Further collaborations with Archil & Leon and 79.5 continue the EP’s groove-heavy approach, combining soulful vocals, live instrumentation, and dancefloor-ready arrangements.

Already receiving strong support across radio, DJs, and streaming platforms, including plays from Bill Brewster (NTS Radio), Colleen Cosmo Murphy, Dom Servini, Francois K, Graeme Park, Hot Toddy, Massimiliano Pagliara, Pete Herbert, Slothboogie, Tim Zawada / Star Creature Universal Vibrations, Dave Pezzner, Nadiem Shah, Luxxury, Dj Supermarkt, Luke Solomon, Seamus Haji, Sophie Lloyd, J-Kriv, DJ Rocca, Faze Action.

The release has also landed #1 placements on Spotify’s Nu Disco editorial playlist.

With warm grooves, uplifting vocals and strong crossover appeal between disco, house and nu-disco scenes, this EP offers high playability for DJs and strong appeal for modern disco and house collectors.

Continuing Blueprint's 30th anniversary celebrations, James Ruskin welcomes the return of Oliver Ho, whose relationship with the label is deep-rooted.

Oliver Ho has spent the last 30 years devoting his life to creating some of the most intense and compelling electronic music out there. Debuting his signature raw sound in 1996 on Blueprint Records, he cemented himself in the underground of the '90s UK techno scene. With a plethora of aliases, he has navigated his way through many different genres. From the frenetic tribal sounds of his own Meta imprint, the off the wall house music made as Birdland and Raudive, the grinding industrial of Broken English Club and the heavily textured ambient of his Slow White Fall and Zov Zov projects. While pushing and pulling at the fringes of electronic music, at the very centre has always been the beating heart of hypnotic techno, an art form that is both brutal and bewitching; techno as ritual magic. Oliver's live shows and DJ sets showcase this expression of music as shamanic experience, metallic and relentless, pure and direct.

An integral figure in shaping Blueprint's early sound, Oliver Ho returned in 2016 for their 20th anniversary with the "Burning Heretics EP", which was followed by a remastered reissue of 1999's "Awakening The Sentient". So it's fitting that he's now back for this latest milestone with a new EP, "Our Secret Religion" dropping in May.

Kristin Diable ist ein Original aus dem Süden - ihre Stimme ist so launisch und unnachgiebig wie der Mississippi. Ihre zeitlosen Melodien und scharfsinnigen Texte fangen das Mystische im Alltäglichen ein und enthüllen den Silberstreif am Horizont ganz gewöhnlicher Momente. Das Ergebnis ist ein Sound, der sich sowohl geerdet als auch jenseitig anfühlt. Diables vorheriges Album ,Create Your Own Mythology", das in Nashville mit Produzent Dave Cobb aufgenommen wurde, wurde von NPR, American Songwriter und Southern Living als eines der besten des Jahres gelobt. Ihr kommendes Album ,Impossible Things" schreibt das nächste Kapitel. Aufgenommen in den legendären Dockside Studios im Süden Louisianas mit Produzent Ben Alleman (Dr. John, Ryan Adams, Jenny Lewis, Madi Diaz), klingt es wie ein Radio, das auf zwei Zeitachsen gleichzeitig eingestellt ist: Dream-Pop-Echos, die durch ein Shotgun-Haus schweben, die Gnade eines Sonntagmorgens, an deren Stiefeln noch der Glitzer des Samstagabends klebt. Diese Songs haben es nicht eilig. Sie ziehen einen Stuhl heran, schieben einen Kaffee über den Tisch und sagen: ,Sag die Wahrheit und zuck nicht zurück." Diable zuckt nicht zurück. Sie schrieb diese Songs in Zeiten des Umbruchs und der Neuerfindung, während sie Verluste, den Tod geliebter Menschen, häusliche Gewalt, das Leben als alleinerziehende Mutter und die Abrechnung bewältigte, die damit einhergeht, ein Leben nach eigenen Vorstellungen neu aufzubauen. Was dabei entsteht, ist ein Werk, das eine Art spirituelles Jiu-Jitsu praktiziert und Last in Anmut und Schmerz in Architektur verwandelt. Dies ist ein Album, das nahelegt, dass Transzendenz nicht auf der anderen Seite der Not wartet, sondern genau hier in der Gegenwart lebt, wenn wir nur genau genug hinhören. Wenn der Song endet, sieht die Welt vielleicht noch genauso aus, aber du vielleicht nicht mehr. So fangen unmögliche Dinge meist an.

2026 Repress

Continuing its focus on homegrown talent with international reach, Renegade Methodz proudly presents a super powerful and masterfully executed record from ANNE. One of the most commanding voices in contemporary techno, ANNE steps into the label with her 'Kinesis' EP and it feels both inevitable and essential.

Italian producer Gledd has been quietly carving out a reputation for groove-led house music that balances raw dancefloor energy with rich musicality.

Drawing on influences that span gospel, afrobeat, and classic deep house, his productions channel both heritage and forward-thinking club culture. My House Is Your Church marks his debut release on Delusions Of Grandeur - a fitting home for his expansive, souldrenched sound - and signals a bold new chapter in his evolution as an artist. The EP opens with On His Way, a percussion-heavy deep roller built for maximum dancefloor impact. Anchored by fat, heavyweight production and a massive low-end presence, the track surges forward with relentless energy. An incredible gospel vocal cuts through the mix, elevating the groove into something transcendent - equal parts spiritual and physical.

On It’s Not That Easy, Gledd leans further into his gospel house influences. Highimpact and rhythmically rich, the track weaves together organ fills and subtle tropical flourishes, creating a vibrant, sun-soaked energy while keeping the pressure firmly on the floor.

It’s a track that feels both uplifting and commanding. Flipping to the B-side, Habibi Gospel pushes into more “outernational” territory. A wild, expressive lead vocal takes center stage, riding atop a heavy, driving groove. Organ stabs punctuate the rhythm, locking dancers into a hypnotic flow that bridges cultures and styles with effortless confidence. Closing the EP, Can You Hear My Noise? brings things to a richly textured finale. Slightly more organic in feel, it blends echoing synth stabs, percussive melodic lines, and chopped vocals into a melting pot of sound. The result is a seamless fusion of gospel, afrobeat, and classic house - deep, emotive, and undeniably danceable. With My House Is Your Church, Gledd delivers a statement of intent: music as ritual, the dancefloor as sanctuary.

The album is all acoustic and dedicated to John Lee Hooker with the line, "In Memory of John Lee Hooker. You are missed."

Not known for his acoustic work, Buddy Guy unplugs on Blues Singer for a rare album-length excursion into folk blues. The guitarist gets down and dirty with 12 tracks that sound like they were recorded after hours in his living room or on his back porch.

Guy’s stinging leads are still evident as is his emotive voice, but both are less flamboyant in the unplugged setting. Accompanied by spare stand-up bass and brushed drums, Guy sounds nearly supernatural on covers from Skip James ("Hard Time Killing Floor"), Johnny Shines ("Moanin’ and Groanin’"), Son House ("Louise McGhee"), and John Lee Hooker ("Sally Mae") among others. It’s a low-key, low-down affair made for late nights, rainy days, and the saddest of moods.

Buddy Guy is just as convincing here, arguably more so, as on his barnstorming electric albums, making Blues Singer one of the bravest and most poignant albums in his catalogue.

Blues Singer is available as a limited edition of 1500 individually numbered copies on red vinyl and includes a 4-page booklet.

Following the two EPs "Epoxy Plains" and "Wipe Clean", which were released in 2024, the debut album from the Glasgow Post Punk/Rock quartet and currently the only British band on DevilDuck is finally here... "Human Poultry" is an observation of the situations, emotions and characters the band encountered during their first two years together in Glasgow. It questions how we spend our time and how that decision is influenced by external factors. Conscious Pilot are Joe Laycock (vocals & guitar), Emmy Leishman (guitar & vocals), Jack Sharp (bass & vocals) and drummer Chris McCrory, who recorded and mixed the album together with Seth Evans (Black Midi, Shame, Geordie Greep) and Adele Phillips (Fontaines DC) at Rak Studios in London - Felix Davis (Geese, The Vaccines) then put his masterful touch on it. The artwork is by Scottish painter Keiti Forbes.

On Dreams ’24 / ’25, Scottish composer Bill Wells turns his nocturnal imagination into a sequence of delicate musical miniatures. The album brings together 24 short pieces, most of them under two minutes, unfolding in just under half an hour like a quietly drifting dream diary.

The album is split into two parts. On the Dreams 2024 side, Norman Blake lends his voice to Wells’ dream-born melodies. Blake, best known as a founding member of Teenage Fanclub, recorded the songs with Wells in a single afternoon at his home, capturing their fragile immediacy in direct and unadorned performances.

For Dreams 2025, Aby Vulliamy — one of Yorkshire’s best kept musical secrets — takes over vocal duties. In mid 2025, Wells sent her a batch of demos; Vulliamy recorded them at home and sent them back to him. The result is a second chapter that feels more introspective, intimate and gently surreal.

The songs themselves are born directly from dreams. Wells wakes from the dream, records it on his mobile and later shapes it into a brief, lyrical composition. One piece, Mackenzie’s Return, was inspired by a dream in which Elvis Costello marched through the streets of a suburban town complaining that he had run out of song ideas, a detail that perfectly captures the album’s blend of humour, strangeness and quiet melancholy.

Dreams ’24 / ’25 is not a collection of fully formed pop songs, but rather a series of fleeting emotional snapshots: soft voices, simple motifs, and melodies that appear and vanish before they can fully settle. It is an album that rewards close listening, inviting the listener into a private, half-lit space somewhere between memory and imagination.

The album is accompanied by a striking cover artwork by Annabel Wright.

An instrumental counterpart to ‘Man Kill Man’ by Lone Ark meets The 18th Parallel, ‘Kanata’ marks the debut solo release of Japanese saxophonist extraordinaire Yuko Arakawa.

A member of ZIONHILL SESSION—the collective led by Mr. Saito, who also lends his trombone to this recording—Yuko Arakawa channels a deep reverence for the legacy of Count Ossie and the pioneers of Nyahbinghi instrumental reggae. Her playing moves with a spiritual intensity, echoing the meditative roots sound of Cedric 'Im' Brooks, while igniting flashes of raw, untamed energy reminiscent of Sugar Belly. The result is a living, breathing sound—both grounded in tradition and reaching beyond it.

Roberto Sánchez delivers a deep Mutron Bi-Phase dubby mix that expands the sonic horizon of the track. True to its title, ‘Kanata’ (彼方)—a Japanese word meaning ‘far beyond’ or ‘in a distant place’—invites the listener into a meditative journey, drifting across time, space, and memory.

Marcos Valle is one of those artists you simply can’t overlook if you have even a passing interest in Brazilian music. Whether your taste leans toward bossa jazz, samba, psychedelic folk, or modern soul, Valle has surely recorded a great album for you.

By the late 1960s he had already released enough outstanding records to secure a place among the greatest Brazilian artists of all time, but fortunately his career didn’t stop there. He has continued recording fabulous albums over the following decades, right up to the present day.

This second album by Marcos Valle (1965) is one of the foundational works of bossa nova. In fact, the record includes one of the most widely heard and covered Brazilian songs in history: ‘Samba de Verão.’ In addition to his work as a composer—alongside his brother Paulo Sergio—Marcos Valle also begins to reveal himself here as a great singer, with a soft, almost fragile voice, while his acoustic guitar recreates the same intimacy of the nighttime atmosphere in which he composed most of the songs.

The arrangements were co-written with Eumir Deodato, with the participation of other renowned Brazilian musicians, and they surround Valle’s compositions with elegant string orchestrations, bossa rhythms, and jazzy touches of swing. Highlights include the sophisticated beauty of songs like ‘Preciso Aprender a Ser Só,’ the rhythmic 3/4 feel of tracks such as ‘Seu Encanto,’ and the powerful ‘Deus Brasileiro.’

First vinyl reissue in over 50 years!

Die Band Touch Girl Apple Blossom aus Austin komponiert Songs, die dich direkt ins Herz treffen. Ihre selbstbetitelte Debüt-EP ist eine Sammlung von klirrend-nostalgischen Popsongs, die sich so vertraut und intim anfühlen, dass sie sofort an die zuckersüße Glückseligkeit von Künstlern wie Heavenly, Tiger Trap und Velocity Girl erinnern. Die Gitarristen Olivia Garner und John Morales lernten sich beim Spielen in einer Country-Band kennen und fanden über ihre gemeinsame Liebe zur Twee-Musik zueinander, was sie dazu inspirierte, sich zusammenzutun und ein paar Songs zu schreiben. Bassist Dustin Pilkington und Schlagzeuger Charles Powell stießen kurz darauf dazu, und die Band begann, in ihrer Heimatstadt Austin, Texas, aufzutreten. Letztes Jahr ging die Band mit Max Deems ins Studio und nahm die vier Songs, aus denen später die EP Touch Girl Apple Blossom werden sollte, auf einem 8-Spur-Recorder auf und stellte sie im August 2023 online.

Those albums that never age, that never cease to surprise with their innovative freshness—listen after listen—defying the years that go by.

Released in 2016, Heimat’s debut album is one of those records you love knowing is there on the shelf or on the turntable, like a reassuring talisman.

To mark its 10th anniversary, and such an awaited repress, we decided to honor this landmark album as it deserves: with a powerful remaster by Tioma Tchoulanov (UVB76, NzeNze) featuring enhanced dynamics, and an ultra-limited edition on blue splatter vinyl.

What a beautiful object this is, celebrating—alongside Armelle and Olivier Demeaux—ten years spent exploring the outer limits of music, in France and abroad, from SMAC venues to squats and other joyful initiatives.

Their deeply sincere music loses none of its naive tension; the emphasis is there, yet it remains restrained, contained, almost nervous, without any show of. Here, then, is something to make this fantastic album, a subtle milestone in a teeming musical landscape.

A fine achievement indeed!

Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.

Aspen is very proud to introduce ‘Non Sonett’ by the Christian Wallumrød Ensemble. This ensemble is a pioneering Norwegian chamber group whose work on ECM and Hubro has redefined the boundaries between jazz, contemporary composition and folk music.Across seven albums, the ensemble has developed a highly distinctive l anguage built on restraint, timbral nuance and collective interplay, placing it among the most influential European ensembles of the 21st century.

Bringing together some of the finest musicians in Norway, the ensemble draws on a rare collective sensitivity, where each player contributes to a deeply integrated and texturally rich sound world.

With Non Sonett, the Christian Wallumrød Ensemble opens a new chapter that grows directly out of recent years of work in more solitary and cross-disciplinary contexts. In this period, Wallumrød has developed material for solo performance as well as for dance, allowing ideas to take shape in more fluid and exploratory formats. Some of this material now finds its way into the ensemble, where it is met by the possibilities offered by instrumentation, collective playing, and the distinct voices of the musicians. At the same time, older pieces—originating in entirely different settings— re-emerge here in new forms, reshaped by the ensemble context.

A defining aspect of Non Sonett is the way many of the pieces function less as fully determined compositions and more as open frameworks: starting points, suggestions, or “springboards” for music. These structures invite response rather than prescribe outcome, relying on the ensemble’s inherent sensitivity and capacity to realize and transform the material in performance. The result is music that feels both precise and fluid, shaped in equal measure by composition and by the interpretative presence of the players.

Central to this album is a continued deepening of Wallumrød’s long-standing interest in ambiguity and in dissolving boundaries between different musical elements and expressive worlds. By placing contrasting materials and associations side by side—sometimes subtly, sometimes more overtly—the music opens up spaces where meanings remain fluid and interconnected. On Non Sonett, this approach is taken a step further, allowing these juxtapositions to play an even more active role in shaping the music’s character and flow.

This approach connects closely with the ensemble’s broader artistic trajectory. Over time, the Christian Wallumrød Ensemble has developed a language that is immediately recognizable—marked by reduction, clarity and a deep attention to sonic detail. While each release has its own character, the underlying aesthetic remains consistent: a focus on the inner life of sound itself. Rather than foregrounding gesture or virtuosity, the music draws the listener toward the smallest elements, where meaning emerges gradually through texture, spacing and timbre.

The listening experience becomes one of concentration and proximity, where each sound carries weight, and the accumulation of detail forms a larger whole. References may be sensed—to early polyphonic music, Norwegian folk traditions, or more recent experimental practices—but these are absorbed into a singular musical language that resists categorization.

As with the ensemble’s recent work, Non Sonett also continues the integration of electronics as a fundamental part of the sound world. Each musician engages with electronic elements alongside their acoustic instruments, creating a layered and dynamic sonic environment. At times, this leads into extended, exploratory passages reminiscent of analogue musique concrète; at others, electronics operate almost imperceptibly, subtly altering and extending the acoustic textures in real time.

With Get Together III, the journey moves into its next chapter, as four artists come together once again to bring the many colors of electronic music to life.
modul808 opens the journey with deep, warm chords and a driving groove that instantly pulls the listener into the depths of its sonic landscape. In “Kamuro”, shimmering details line the explorer’s path, while the magical vocals of Igor Pose are elegantly woven into the arrangement, creating a dense and hypnotic atmosphere. With “Habits”, Heidmann continues the journey in a similarly groovy fashion, leading the way to sunlit clearings filled with memorable melodic gems. Cie effortlessly picks up the uplifting mood on the B-side, where the magnificent “Schlosshotel” unfolds with majestic chords and shimmering strings, inviting every house lover to stay for a while.
Finally, the journey home begins with Dip’s “Module”, which follows a deep path once more, uncovering sparkling sonic secrets along the way.
Together, the four tracks form another chapter in the Get Together series - a warm and timeless deep house journey shaped by four distinct artistic voices.

Mit Get Together III geht die Reise in ihr nächstes Kapitel: Vier Künstler kommen erneut zusammen und bringen die vielfältigen Farben elektronischer Musik zum Leuchten.
modul808 eröffnet die Reise mit tiefen, warmen Chords und einem treibenden Groove, der den Hörer sofort in die Tiefen seiner Klangwelt zieht. In „Kamuro“ säumen glitzernde Details den Weg des Entdeckers, während die magischen Vocals von Igor Pose elegant in das Arrangement verwoben sind und eine dichte, hypnotische Atmosphäre entstehen lassen. Mit „Habits“ führt Heidmann die Reise ebenso groovig fort und öffnet den Weg zu sonnendurchfluteten Lichtungen voller einprägsamer melodischer Klangperlen. Die gute Laune greift Cie auf der B-Seite mühelos auf: Vor ihm erhebt sich das prächtige „Schlosshotel“, das mit majestätischen Chords und schimmernden Strings jeden House Liebhaber zum Verweilen einlädt. Beschwingt beginnt schließlich die Heimreise mit Dip’s „Module“, das erneut einen deepen Pfad einschlägt und auf seinem Weg funkelnde klangliche Geheimnisse offenbart. So entsteht ein weiteres stimmiges Kapitel der Get Together-Reihe - vier Künstler, vier Perspektiven und eine gemeinsame Reise durch warme, zeitlose Deep-House-Landschaften.


Early DJ Feedback:
Christian Seitz / Show "Neuland" on Radio Z
A beautiful compilation that brings together deepness and dancefloor
Sebastian / f.a.r.e.s / Bass And Space
Great EP, thanks!
ed2000 / Dangerous Drums, Cashmere Radio, Face Radio, dub intervention
Very nice set of tracks, support and thanks radio and dj set plays.
Sasha / Circus Recordings, Renaissance, Global Underground
Cool from Cie
Anthony Pappa / Selador / Renaissance
Nice tunes. Thank you.
Timo Maas / Cocoon Recordings, Crosstown Rebels, Rockets and Ponies, Mobilee, Moon
Harbour, Tenampa, etc etc
Nice Heidmann
Stéphane Chambord / Radio Resonance ("DeeJay Academy" Radio Show)
repérages : Kamuro & Habits je prépare une émission spéciale avec un mix des productions du label
Cyprien Rose / Lui, Houz-Motik, Waxdoesmatter
Amazing > Modul808 - Kamuro feat. Igor Pose
Rob Zile / Brain Food Radio (Kiss FM) / Brain Food Records
Great deep tunes
John Digweed / Bedrock Records
Downloading
T. Carlita / In My House
Good Vibe
Laurent / WTM
Another wtm's playlist is coming soon…;)
Douglas Arellanes / Radio 1
Cool chilled out vibe on this record.
Valerio Vaudano
I like "Kamuro" and "Habits". Will try these warming up the dance floor. thx for sending
Stuart Bruce / Chain DLK
Downloading for possible review on ChainDK
Noah Pred / Thoughtless, Biotop, Highgrade
Some nice ones here, thanks.
Ninu / Hipodrome
I like Habits
BARRcode / Backseat Mafia
Solid release.
Carl Craig / Planet-E
dl 4 erno thx!
Ilario Alicante / Cocoon Recordings, Alphahouse, Bosconi, Prism
Downloading for Ilario Alicante, thanks for the music!
Andrew Till / Machine, Fnoob
Cool dubbed out grooves ,,,Heidmann - Habits is my pick.
Ju / Upperberry
Dope =)
Kat Davids
nice and smooth!
Como Las Grecas / Kali Modernphase, Denis Yurgens, Alejandro Club, German MT, Como Las
Grecas
Deep mind in house groove. Interesting VA of deep house.
Dole & Kom / Death By Disco, Mixmag
Really liking Modul808's and Cie's traxxx Thank you

With Get Together III, the journey moves into its next chapter, as four artists come together once again to bring the many colors of electronic music to life.
modul808 opens the journey with deep, warm chords and a driving groove that instantly pulls the listener into the depths of its sonic landscape. In “Kamuro”, shimmering details line the explorer’s path, while the magical vocals of Igor Pose are elegantly woven into the arrangement, creating a dense and hypnotic atmosphere. With “Habits”, Heidmann continues the journey in a similarly groovy fashion, leading the way to sunlit clearings filled with memorable melodic gems. Cie effortlessly picks up the uplifting mood on the B-side, where the magnificent “Schlosshotel” unfolds with majestic chords and shimmering strings, inviting every house lover to stay for a while.
Finally, the journey home begins with Dip’s “Module”, which follows a deep path once more, uncovering sparkling sonic secrets along the way.
Together, the four tracks form another chapter in the Get Together series - a warm and timeless deep house journey shaped by four distinct artistic voices.

Mit Get Together III geht die Reise in ihr nächstes Kapitel: Vier Künstler kommen erneut zusammen und bringen die vielfältigen Farben elektronischer Musik zum Leuchten.
modul808 eröffnet die Reise mit tiefen, warmen Chords und einem treibenden Groove, der den Hörer sofort in die Tiefen seiner Klangwelt zieht. In „Kamuro“ säumen glitzernde Details den Weg des Entdeckers, während die magischen Vocals von Igor Pose elegant in das Arrangement verwoben sind und eine dichte, hypnotische Atmosphäre entstehen lassen. Mit „Habits“ führt Heidmann die Reise ebenso groovig fort und öffnet den Weg zu sonnendurchfluteten Lichtungen voller einprägsamer melodischer Klangperlen. Die gute Laune greift Cie auf der B-Seite mühelos auf: Vor ihm erhebt sich das prächtige „Schlosshotel“, das mit majestätischen Chords und schimmernden Strings jeden House Liebhaber zum Verweilen einlädt. Beschwingt beginnt schließlich die Heimreise mit Dip’s „Module“, das erneut einen deepen Pfad einschlägt und auf seinem Weg funkelnde klangliche Geheimnisse offenbart. So entsteht ein weiteres stimmiges Kapitel der Get Together-Reihe - vier Künstler, vier Perspektiven und eine gemeinsame Reise durch warme, zeitlose Deep-House-Landschaften.


Early DJ Feedback:
Christian Seitz / Show "Neuland" on Radio Z
A beautiful compilation that brings together deepness and dancefloor
Sebastian / f.a.r.e.s / Bass And Space
Great EP, thanks!
ed2000 / Dangerous Drums, Cashmere Radio, Face Radio, dub intervention
Very nice set of tracks, support and thanks radio and dj set plays.
Sasha / Circus Recordings, Renaissance, Global Underground
Cool from Cie
Anthony Pappa / Selador / Renaissance
Nice tunes. Thank you.
Timo Maas / Cocoon Recordings, Crosstown Rebels, Rockets and Ponies, Mobilee, Moon
Harbour, Tenampa, etc etc
Nice Heidmann
Stéphane Chambord / Radio Resonance ("DeeJay Academy" Radio Show)
repérages : Kamuro & Habits je prépare une émission spéciale avec un mix des productions du label
Cyprien Rose / Lui, Houz-Motik, Waxdoesmatter
Amazing > Modul808 - Kamuro feat. Igor Pose
Rob Zile / Brain Food Radio (Kiss FM) / Brain Food Records
Great deep tunes
John Digweed / Bedrock Records
Downloading
T. Carlita / In My House
Good Vibe
Laurent / WTM
Another wtm's playlist is coming soon…;)
Douglas Arellanes / Radio 1
Cool chilled out vibe on this record.
Valerio Vaudano
I like "Kamuro" and "Habits". Will try these warming up the dance floor. thx for sending
Stuart Bruce / Chain DLK
Downloading for possible review on ChainDK
Noah Pred / Thoughtless, Biotop, Highgrade
Some nice ones here, thanks.
Ninu / Hipodrome
I like Habits
BARRcode / Backseat Mafia
Solid release.
Carl Craig / Planet-E
dl 4 erno thx!
Ilario Alicante / Cocoon Recordings, Alphahouse, Bosconi, Prism
Downloading for Ilario Alicante, thanks for the music!
Andrew Till / Machine, Fnoob
Cool dubbed out grooves ,,,Heidmann - Habits is my pick.
Ju / Upperberry
Dope =)
Kat Davids
nice and smooth!
Como Las Grecas / Kali Modernphase, Denis Yurgens, Alejandro Club, German MT, Como Las
Grecas
Deep mind in house groove. Interesting VA of deep house.
Dole & Kom / Death By Disco, Mixmag
Really liking Modul808's and Cie's traxxx Thank you

„A Love for Strangers“ ist eine völlige Neuerfindung für Nick Murphy. Sein erstes Album als Chet Faker
seit vier Jahren erweitert seinen etablierten Sound in aufregende neue Richtungen. Mit mondbeschienenen
Saxophonen, die an legendäre Acts wie Prefab Sprout und The Blue Nile erinnern, sowie dem üppigen,
Breakbeat-lastigen Pop von David Grays Klassiker „White Ladder“. In diesen zwölf Songs sinniert Murphy
über Liebeskummer und Unsicherheit im großen Maßstab – er stellt Fragen darüber, wie wir miteinander
umgehen, untersucht, wie wir dabei scheitern, und vermittelt das notwendige Gefühl der Hoffnung, wenn
es darum geht, unsere Beziehungen zur Welt um uns herum zu reparieren.