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-3LP triple set featuring all the Prescription versions and the newly created AD II artworks by Steven Stapleton.



The booklet features all lyrics, extensive liner notes and sheds light on the interesting circumstances of the creation of this Coil release by Gary Ramon who not only instigated the sessions but also provided the haunting location for their recordings.



Has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Steven Stapleton design & layout by Oleg Galay.

-3LP triple set featuring all the Prescription versions and the newly created AD II artworks by Steven Stapleton.



The booklet features all lyrics, extensive liner notes and sheds light on the interesting circumstances of the creation of this Coil release by Gary Ramon who not only instigated the sessions but also provided the haunting location for their recordings.



Has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Steven Stapleton design & layout by Oleg Galay.

Originally released in 2012, Lord Giveth, Lord Taketh Away captures a defining early chapter in Freddie Gibbs’ rise, pairing his unfiltered street narratives with Statik Selektah’s raw, boom-bap-driven production. Stripped of excess and heavy on realism, the project reflects an era where Gibbs’ sharp lyricism and moral tension took center stage.

The original seven-track lineup features a strong cast of underground heavyweights including Slaine, Daz Dillinger, Reks, PUSH! Montana, Termanology, Fred The Godson, Trae Tha Truth, Smoke DZA, and Chace Infinite—anchoring the album firmly in the early 2010s hip-hop underground.

This limited edition vinyl reissue expands the original release with three bonus tracks: “Carry On” featuring Joey Bada$$, “Serve Or Get Served” (available on vinyl for the first time ever), and “Crushin’ Feelings.” Featuring brand new artwork by Alejandro Torrecilla and mastered for vinyl by Davide "Bassi Maestro" Bassi, this edition stands as an essential archival release for fans of Freddie Gibbs, Statik Selektah, and uncompromising hip-hop.

The highly anticipated collaborative album, GOLDFISH, sees two of contemporary hip-hop's most revered and distinct production minds, Hit-Boy and The Alchemist, finally join forces for a full-length statement. Far from a simple beat-swap, this project is a masterclass in sonic cohesion, blurring the lines between their signature sounds to forge a new, golden-hued identity. Beyond production, the duo step from behind the boards to behind the mic to trade verses throughout the project, adding a personal layer to their creative vision.

GOLDFISH is a deeply immersive listen, perfectly balancing the West Coast muscle and polished, anthemic quality of Hit-Boy's work with the dusty, abstract texture and cinematic suspense that defines The Alchemist's aesthetic.

The result is a sound that feels both street-tested and museum-worthy. A collaborative manifesto, showcasing the infinite possibilities when two generational talents decide to link up, creating an instant classic in the canon of producer/MC albums.

A 2024 remaster of the English rock group's second studio album, which debuted at #14 on the UK Albums Chart and features the single 'The Devil Takes Care of His Own'. This, along with the band's other two early albums, has been remastered for enhanced sound quality. Russell Marsden has also introduced a new lineup while teasing new music.

Das mehrfach preisgekrönte Action-Adventure »God of War« wurde erstmals 2005 veröffentlicht, entwickelte sich aber so schnell zu einem Hit, dass Santa Monica Studio sieben weitere Versionen des Spiels entwickelte. Die jüngste Version, die 2018 für die PlayStation 4 veröffentlicht wurde, konzentriert sich auf die Reise des Hauptcharakters Kratos in der griechischen Welt zusammen mit seinem Sohn Atreus, der sich auf einen Rachefeldzug begibt, weil er von den olympischen Göttern dazu verleitet wurde, seine Familie zu töten.

Der offizielle Soundtrack wurde mit einem BAFTA Award ausgezeichnet und wurde von Bear McCreary komponiert. Er basiert auf Themen, die er rund um die Hauptfiguren des Spiels geschaffen hat. Inspiriert von der Volksmusik der Wikinger, verwendete McCreary exotische Instrumente und Sprachen aus verschiedenen nordeuropäischen Volkstraditionen.

»God of War« ist in einer limitierten Auflage von 1500 einzeln nummerierten Exemplaren auf türkisem Vinyl erhältlich. Dieses Paket enthält eine Beilage mit Liner Notes von Bear McCreary.

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.
Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.

Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.
Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.
Press Quotes

Camgirl proves that Crippling Alcoholism can evolve without losing their edge, and this record is a dark, irresistible bop. - Lambgoat
Elements of goth rock and melancholic vocals call back to loud rock while blending with an overall instrumental field brimming with energy. - Outside noise
Blurring the lines between outsider noise rock and dark glamorous synth-laden pop under a deceptively alluring glow… compulsively, squirmingly catchy. - The Progressive

"The multiple award-winning action-adventure game God of War was first released in 2005, but became such an instant hit, that Santa Monica Studio created seven more versions of the game. The most recent one, released in 2018 for the PlayStation 4, focusses on main character Kratos' journey in the Greek world together with his son Atreus, following a path of vengeance as a result of being tricked into killing his family by Olympian gods. God of War received universal acclaim for its story, design, graphics, combat system, characters, and music. It was awarded 'Game of the Year' by numerous media outlets and award shows. God of War (2018) performed well commercially, selling over five million copies within a month of its release. It became one of the best-selling PlayStation 4 games. The official soundtrack won a BAFTA Award and is composed by Bear McCreary. It is set up around themes he created around primary characters in the game. Inspired by Viking folk music, McCreary used exotic instrumentation and languages from various Northern European folk traditions. It resulted in a score featuring deep choirs, pounding drums, shrieking brass and features Faroese singer-songwriter Eivør (Pálsdóttir). The American composer Bear McCreary is best known for his work on TV shows like Battlestar Galactica, Outlander, The Walking Dead and won an Emmy Award for the main title of Da Vinci's Demons. God of War is available on black vinyl. This package contains a 4-page booklet with liner notes by Bear McCreary."

God Of War by Bear Mccreary, released 15 March 2024, includes the following tracks: "Witch of The Woods", "Ashes", "A Giant's Prayer", "Mimir" and more.

This version of God Of War comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Booklet.

John Andrews has spent the past few years tucked away in Red Hook, Brooklyn - a neighborhood that sits just beyond the natural drift of the city. Once shaped by maritime industry and later a haven for artists in search of vast warehouse space, its history and isolation give it a quiet magnetism. Streetsweeper, the fifth album by John Andrews & The Yawns, reflects that vantage point-tranquil, self-contained, and curious about the movements most people overlook.
Just a few cobblestone blocks from the freight-ship-lined harbor, Andrews wrote dozens of new songs at his electric piano. Nine of them found their way to Los Angeles to be recorded with Luke Temple, who played guitar and some bass. Drummer Noah Bond and bassist Kevin Louis Lareau, both longtime members of The Yawns and Cut Worms, form the rhythm section. Will Henriksen of Florry played fiddle on “Something To Be Said,” while Emily Moales of Star Moles sang harmonies recorded remotely by Kevin Basko at Historic New Jersey.
Red Hook may not be the easiest neighborhood to reach, but that distance gives it a singular glow-one Andrews sneaks into every note of Streetsweeper. The Super 8 video for “Something To Be Said,” shot by Hilla Eden, wanders through its streets like a hazy love letter. The album offers a similar invitation: step off the main road, linger a little, and notice the small, overlooked moments that make a place-and a life-rich. Andrews has swept those margins with care, leaving songs that listen, observe, and stay with you.

With bands such as Hellhammer/Celtic Frost and Coroner, but also more obscure formations such as Fear Of God, Excruciation, and Infected, Switzerland has always been a fertile breeding ground for extreme metal. Messiah, originally formed in 1984, also played a major role in the development of thrash and death metal in Switzerland. They released two groundbreaking albums on Chainsaw Murder Records: “Hymn To Abramelin” in 1986 and “Extreme Cold Weather” a year later. In the early nineties, Messiah signed a contract with Karl Walterbach's label Noise Records, on which three more albums were released: “Choir Of Horrors” (1991), “Rotten Perish” (1992), and “Underground” (1994). The classic lineup of Messiah during the Noise era consisted of vocalist Andy Kaina, who passed away far too early in 2022, Steve Karrer on drums, Patrick Hersche on bass, and band founder Brögi on guitar. Many consider “Choir Of Horrors” from 1991, produced by Sven Conquest at Sky Trak Studios in Berlin, to be the pinnacle of Messiah's work. Messiah Infernal Thrashing Records (MITR) is now releasing the 35th anniversary edition of this classic on vinyl

Chris Acker’s latest collection of songs, Famous Lunch, is in his words, a “growing pains album.” When writing the record, the New Orleans' based folk musician found himself hunting for a voice that wasn’t just an imitation of the one he’d been using on the last 30 songs he’d made. “At the same time, I worked hard to find a certain voice for myself over the previous 3 records and I didn’t want to abandon that.”

While the album finds him continuing to transcribe life’s fleeting and provocative banalities with refreshing grace, the songs on Famous Lunch are intentionally more absurd, stylizing his lyricism as both poetic and disarming simultaneously— commencing with “Sh*t Surprise”—an earworm with a vernacular that stays true to its title. Inspired by George Saunders and Sasha Pearl (and wanting to make a song that sounds like Eagles saying the word “sh*t” over and over), “Sh*t Surprise” is the most Chris Acker song possible, in that its earnestness arrives in spades and comes varnished with a one-of-a-kind, spectacular gnarliness. “We’d match our breath in the upstairs room and we’d hold together ‘til I smelled like you,” Acker sings, before nose-diving into that unforgettable chorus about stepping in a smelly, disgusting pile of sh*t.

More than anything else, Famous Lunch finds Chris Acker at his most sentimental and grateful, as he sings about Bunn coffee machines, gas pumps smelling like “the underside of a fingernail” in August, “10-inching” bread, stealing country club lawn-mower motors, father-son fables, impatient buffet lines, and a broom that “hasn’t been used since the last time I used it.” Acker’s eye for detail remains, and his lexicon includes phrasings that spin out like a hypnotic wash cycle. Seeing the world through his eyes, language remains something worth falling into—growing pains and all.

WRWTFWW Records is very happy to announce the release of Interwoven, the deeply moving collaborative album from Ken-ichiro Isoda and aus (Yasuhiko Fukuzono) — now available on limited edition transparent sea green colored vinyl LP housed in a heavyweight sleeve with selective-varnish 3D print, as well as in digipack CD and digital formats.
Recorded between Hachijo Island and Tokyo, Interwoven distills two visionary voices of Japanese ambient and electronic music into a single breath of feather-light and quietly luminous meditative sound.

Isoda is a revered figure of New-age and environmental music whose work on Oscilation Circuit – Série Réflexion 1 (originally released on famed label Sound Process) has long attained mythic status. He composes, notably with harp and wind instruments, produces contemporary music and video game scores, and crafts his very own brand of ambient music from the volcanic island of Hachijo-jima. Tokyo-based electronic composer and synth master aus is known for tender, melody-driven soundscapes. From the two artists comes a dialogue suspended between land and sea, bridging the generation gap and the physical distance between them.

What began as a series of sketches — impressions of water, islands, and shifting light — gradually evolved into an exchange without explanation, a correspondence of sound that dissolved boundaries. In that anonymity, both artists discovered an uncommon freedom: a place where each could move lightly and intuitively, without expectation. The music drifts with a gentle, intuitive grace: lingering piano, soft cinematic synths, and field recordings that unfold like whispered recollections, while flute and saxophone lines pass through like occasional breezes — a human presence felt as warmth more than form.

Interwoven is music for those who cherish stillness and the delicate beauty of the everyday. It’s music for admirers of Satoshi Ashikawa, Midori Takada, Satsuki Shibano, Hiroshi Yoshimura, Takashi Kokubo, Brian Eno, and all who seek a quiet refuge in sound.

Incl. Remixes by Red Axes, Roman Flügel & Abe Duque

What does it mean to exist in sound?

It does not begin with a beat, but with a choice. With the moment when someone decides not merely to inhabit the space, but to shape it – and in doing so, makes themselves visible.

Roman Flügel stands as a constant in the background. Not as an authority, but as a collective consciousness. Since the 1990s, he has moved through club music like a seeker, never content with the first answer. House, techno, experimentation – these are not genres, but states of being. His remix thinks, hesitates, opens, strikes like a surging acid wave, warping reality and demanding true presence.

New York taught him that club music is never neutral. It is body, friction, attitude. Abe Duque’s remix carries a strangely enchanting relentlessness, a resistance to smoothness – as if the dancefloor were a place where freedom is not claimed, but fought for.

Red Axes do not enter this space; they conjure it. Their sound is raw, repetitive, circular, as if deliberately refusing linearity. House, dub, and acid elements become material for a movement that is more trance than structure. Their remix does not ask where it is going; it asks why one should ever stand still.

And then there is Tim Paris. Not at the center, but as a narrator. As someone who knows that the voice is an attitude. “That Boy” is not a pose, but a mirror, ironic, direct, vulnerable. Paris moves between new wave house and club, always aware that identity is never fixed, but formed in the moment.

This remix record is not a gathering of names. It is a situation, four perspectives on the same question:

What does it mean to exist in sound?

Yet sound alone does not tell the full story: like music, the visual is a space to be shaped, felt, and deciphered. The cover of Tim Paris feat. Foremost Poets – That Boy, created by Konstantin Fürchtegott Kipfmüller, a visual artist at the Hochschule für Gestaltung in Offenbach under Heiner Blum, embodies this principle. Drawing inspiration from the urban environment, Kipfmüller transforms traces of decay, weather, and time into abstract narratives that, like the music of Tim Paris, Roman Flügel, Abe Duque and Red Axes, unfold meaning layer by layer. The result is no mere adornment, but a mirror of the sonic landscape: every line, every surface an echo of the question of what it means to exist – fully, in the moment, in sound.

John Andrews has spent the past few years tucked away in Red Hook, Brooklyn - a neighborhood that sits just beyond the natural drift of the city. Once shaped by maritime industry and later a haven for artists in search of vast warehouse space, its history and isolation give it a quiet magnetism. Streetsweeper, the fifth album by John Andrews & The Yawns, reflects that vantage point-tranquil, self-contained, and curious about the movements most people overlook.
Just a few cobblestone blocks from the freight-ship-lined harbor, Andrews wrote dozens of new songs at his electric piano. Nine of them found their way to Los Angeles to be recorded with Luke Temple, who played guitar and some bass. Drummer Noah Bond and bassist Kevin Louis Lareau, both longtime members of The Yawns and Cut Worms, form the rhythm section. Will Henriksen of Florry played fiddle on “Something To Be Said,” while Emily Moales of Star Moles sang harmonies recorded remotely by Kevin Basko at Historic New Jersey.
Red Hook may not be the easiest neighborhood to reach, but that distance gives it a singular glow-one Andrews sneaks into every note of Streetsweeper. The Super 8 video for “Something To Be Said,” shot by Hilla Eden, wanders through its streets like a hazy love letter. The album offers a similar invitation: step off the main road, linger a little, and notice the small, overlooked moments that make a place-and a life-rich. Andrews has swept those margins with care, leaving songs that listen, observe, and stay with you.

One of the first punk bands to set up an "indie" label, they were also pioneers of "alternative" music, mixing punk with experimental sounds. Swell Maps released four singles and two albums in a brief but eventful career, in partnership with Rough Trade, topping UK indie charts and influencing acts including Sonic Youth, Nirvana, Stereolab, and Blur. The original line-up split in 1980, but still their studio albums, A Trip to Marineville and Jane From Occupied Europe, attract new generations of enthusiasts. In 2021, Jowe organised performances
with ten musicians to play a diverse selection of Maps material over two consecutive nights at London's Cafe Oto, and did it again at the Rough Trade launch for Jowe's book on Swell Maps in 2022. Concerts followed across the UK and Europe, with more planned. This ongoing project has resulted in a new studio album, C21, released through Tiny Global Productions. The material was composed at various times between 1979 and the present, including older songs never recorded professionally, a remake of Soundtracks' astonishing Jelly Babies and plenty of surprises. C21 offers memorable melodies, wild riffs with super hooks, yet never veers from their adventurous spirit, radical ideas and eccentric musical shapes. The current collective of musicians features: Jowe Head, David Callahan of Wolfhounds / Moonshake / solo fame, Jeff Bloom out from Television Personalities, Alternative TV's Lee McFadden, Lucie Rejchrtova (Crazy World Of Arthur Brown), Chloe Herington from chamber rock faves Chrome Hoof, and Luke Haines, who led Auteurs and Black Box Recorder and plays with REM's Peter Buck. SWELL MAPS will be performing throughout 2026 across the UK and Europe and are proud to present this stellar document, which maintains the group's devotion to D-I-Y ideals and impulses. The vinyl album covers were hand-screened and stamped by a feminist cooperative in Valencia, Spain and are offered in three randomly picked variants. The Guardian is going to run a 1400-word piece on the release.

Chris Liebing's first full solo techno LP, 'Evolver' is released on 27th March 2026, via his own CLR imprint. The German techno don's LP features a host of collaborators across music, images, and artwork. Luke Slater, Charlotte De Witte, Speedy J, The Advent, Terence Fixmer, Pascal Gabriel, Daniel Miller contribute to the music, while long-time collaborators Studio Bergfors deliver design, and legendary photographer Anton Corbijn shot Liebing for the project.

The Evolver LP is the sum total of Chris Liebing's three decades at the beating heart of techno. It's the record only someone whose first break as a techno DJ was playing five hours at Sven Väth's infamous Omen in Frankfurt - and who has ridden out every twist and turn of life and subcultures since, while remaining rooted in the true school, dark, sweaty techno sweat pits of the world - could have made. It's the result of deep introspection, but it's about utter immediacy. It's the sound of someone previously driven along by compulsion and happenstance at last finding the confidence to be utterly intentional about their practice, allowing them to take the most classic, familiar, proven elements from the past and render them completely new.

Evolver is also Liebing's first completely solo album. There are collaborations, yes: with old friends from the OG techno generation, Luke Slater, Speedy J, and The Advent, all on uncompromising form, and with new generation figurehead Charlotte De Witte, who provides a thrilling narration of total surrender to the moment on acid clarion call "Symphonie des Seins". But unlike all Liebing's albums to date, there's no co-pilot. Every structure, every mixdown, every choice serves his singular vision of how his untold immersion in the surging currents of the world's greatest clubs should sound. The elements are all those forged in the white heat of Omen and Tresor in the mid 90s - brutal repetition, titanium kick drums, industrial atmospherics, but also dark rave euphoria, ever present surging acid lines just on the cusp of trance, and just enough human voices to remind you of bodies on the dance floor - but rendered with all the extraordinary accumulated skill and technological developments since then.

It's Chris's vision entirely, his musings on sound, technology, and life birthing tracks like "Roy Batty." Inspired by thoughts of AI becoming sentient and hungering for more life like Rutger Hauer's titular Blade Runner character, it was one of the first tracks to emerge and a foundation stone for the album. And in pursuit of that vision, it's built like a "proper album". The anticipation and menace of intro "Unfold" tip over into the glowing hot high drama psychedelia of "Symphonie…" then the breathless headlong rush of The Advent collab and on through an unfolding narrative that goes deep, goes dark, opens out into grand vistas, takes strange turns before finally landing on the alien landscape of… well… "Endtrack".

Not everything is pummelling on Evolver - the dazzling title track feels like you've been welcomed into the courtly dance of a higher dimension civilisation, and the audacious Speedy J collab "Shaping Frequencies" is a beatless flow that tests the boundaries between signal and noise. But for all its complexity, conceptualism, and stylistic branching out, every last part unmistakably powered by that dark techno-cavern energy above all else. All of it positively radiates the qualities of Liebing's greatest work and sets to date - but somehow even more so than before. Whether you're listening for aesthetic inspiration, cerebral stimulation or just that raw physical power, this album will sweep you up into its momentum and won't let go of you until it's done.

The latest in Field Records' run of essential vinyl pressings revisits Stephen Hitchell's 2009 masterpiece under his Variant alias, The Setting Sun. As part of Echospace and also celebrated for his productions as Intrusion and Soultek, Hitchell is considered a leading light in dub techno, with the versatility in his sound to range from rhythmic, physical pulses to purely tonal, abyssal drone. His work as Variant, which debuted with The Setting Sun, capitalises on this scope to deliver a compelling ambient-with-teeth set richly deserving of a proper vinyl pressing.

The Setting Sun first emerged on Echospace as a download-only release. Hitchell was at pains to map out the tools that went into the sound on the album — field recordings of storms in Berlin, Germany and train rides in Narita, Japan, outboard synths and samplers. Crucially, he declared no computers were used, and it shows. When The Setting Sun was recorded, in-the-box production was largely dominating electronic music and the technology had yet to replicate the warmth and character of analogue equipment. Hitchell's looming chords come baked with harmonic overtones, surface noise becomes another essential layer and fragments of distortion add to the narrative of these glacial, monumental pieces.

Hitchell threads his dub techno tendencies in subtle ways, from the kick pattering underneath 'As Time Stood Still' to the quintessential metallic delay ripples that define 'A Silent Storm'. 'Someplace Else' has a defined, albeit delicate, rhythm section guiding its lighter shades of pads and chords. However, drums are never a dominant aspect of the music, simply another layer in an intentionally coagulated whole. At times, flickering tones hint at space where percussion once stood, since muted to leave the wet signal setting a new course for the sound, somewhere far beyond drum duties. The hushed ceremony of tracks like 'Adrift' are the perfect scenario in which to absorb these microfibres of detail, where the genius of Hitchell can truly be savoured.

In line with the limitations of record pressing and Hitchell's proclivity for long-form tracks, 'The Setting Sun' is reserved for the digital edition of this reissue. It's a logical move, as the sound palette widens to encompass tangible, organic instrumentation evolving over the best part of half an hour. The presence of piano keys feels stark in the Variant sound world, but Hitchell ably folds these coded elements into his process bathed in the same curious luminosity that lingers around all his work. Evolving at a painstaking pace, the plaintive humanity in the cascading keys and plucked guitar strings renders one of the most personal expressions in Hitchell's considerable canon — a unique piece that holds its own space comfortably, while also adding to the overall weight of The Setting Sun as a profound benchmark in a stellar discography.

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that’s the story.

In truth, Edward Blankman’s Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder.

A tender, wistful follow up to 2020’s To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder’s characteristic arrangements are crafted to reflect the past, without losing the innovative quality of his modern ear.

Eder created Blankman’s story to channel his own grief, with bittersweet tenderness. Read the liner notes, and you’ll be transported to the quiet shores of Cape Cod, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer.

The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward’s cottage. Eder spent over a year rendering the compositions and charts according to his vision.

Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder’s ensemble, and Edward Blankman (Brendan) on the Wurlitzer.

The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen, Fleet Foxes) at famed Electro-Vox Recording Studios. To create realism for Edward’s story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on pristine vintage equipment including the legendary Neve-8028 console.