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Mikkel Metal makes a welcome return to Echocord with his new ‘Rebuild’ EP, accompanying remixes from Luke Hess and Frenk Dublin.
Copenhagen’s Mikkel Metal is a pioneering figure in dub-techno and minimal house, known for his atmospheric soundscapes and textured production. With acclaimed releases on Kompakt and Echocord, including Close Selections, Victimizer, and Peaks and Troughs he’s cemented his place as one of Denmark’s most distinctive electronic artists. Here he continues to dispay this further diving into new sonic realms with a new EP for Echocord.
Title-track ‘Rebuild’ opens, a hazy excursion through metallic, reverberations, expansive atmospherics and crisp drums before Detroit’s own Luke Hess steps in to offer his interpretation, delivering his signature groove-driven style, extracting the essence of the original and stirring it in amongst robust drums and spiralling dub echoes. ‘Bend’ is up next and displaying Mikkel’s production prowess as he blends murky bass flutters and analogue rhythms with psychedelic guitar melodies and dynamic space echoes, resulting in something that sounds uniquely his own. ‘Steam’ continues this theme with further psychedelia infused guitar tones flowing alongside breathy vocal stylings and fluttering atmospherics tucked into the depths. Rotterdam, Netherlands based artist Frenk Dublin delivers his ‘Deep Space Rework’ of ‘Stream next, reshaping the original into something entirely different with a dropped-tempo roots dub aesthetic, weaving fragments of the original into the composition alongside swaying dub drums and heavy doses of sub. ‘Midnite’ then concludes the release, another experimental sonic foray into unique effect processing, glitched out percussion, haunting vocals, plucked bass notes and expansive atmospherics

Cinematic feasts of dramatic strings and cascading pianos that will satisfy fans of Nils Frahm and Ólafur Arnalds' The Ransom Note

Hey, Hey! Kicking off the 60th anniversary of The Monkees with a first-ever compilation of all their singles released between 1966-1970. Take a deep dive into The Monkees discography with needle-drops and original artwork from the original 7" singles, along with new liner notes by Andrew Sandoval.

"Only a clarinet sings – minimal, quivering, wavering. Breathing mad notes in the cracks between notes, weaving a dazed, fuzzy kind of magic. The latest recordings by Museum of No Art are tripping – floating in suspense, somewhere out in the irrational corners of the world inhabited by the haunted elegance of Ben Bertrand or Bernhard Herrmann. But still, entirely her own – a quiet revolt of classical clichés in search of a new dawn for lunatic woodwinds. She sings through her instrument and it sings to her. It carries her, and she lets it. A distinctive timbre tumbling through tonal fog. Four freely formed compositions for dispari. One petite and tempting. Two mid-length wanderers – teetering, wobbling. And one epic piercer. All drifting in inspiring airs. Ephemeral, nebulous, fragile, like the desolate candy snowman, melting on a warm tongue, threatened with complete dissolution. Fleeting like a stolen glimpse of the intimate curve of an anonymous stranger’s neck."

A vinyl soundtrack for GQuuuuuuX (Geku Axe) is now available!

"Mobile Suit Gundam GQuuuuuuX" is a new Gundam series, a collaboration between Studio Khara, the creators of the "Evangelion" series,
and Sunrise, the creators of the Gundam series. The pre-release theatrical version was released in January of this year, becoming a huge hit,
grossing approximately 3.4 billion yen and attracting over 2.06 million viewers.
The TV broadcast began in April, and it became one of the most talked-about anime titles of the spring.
A vinyl record featuring a selection of the soundtrack from "Mobile Suit Gundam GQuuuuuuX," including the music used in the pre-release theatrical
version, is now available. The music was co-produced by Junsei Terui, known as a member of the bands "Haisui no Nasa" and "siraph" and
Masayuki Hasuo, also a member of "siraph," and composer of the anime "Jujutsu Kaisen" series and the live-action film "Showtime Seven"
The music, which includes pop, electronica, and minimal music that fits the worldview of the work, will allow you to experience a new "Gundam"
sound. The LP label side is colored vinyl (splatter disc) and it is a set of two discs!

Do you remember the last time you were breathing consciously? Either way, you are likely doing it now. On his new album Observation of Breath« for the Swiss-based Hallow Ground label, Lawrence English worked exclusively with an organ for four compositions that are exercises in »maximal minimalism,« as their creator himself notes in a nod to Charlemagne Palestine, who coined this term. While it seems somewhat fitting that those four pieces based on a steady flow of air were conceived and recorded in a situation of accelerated standstill caused by a respiratory disease, the Room40 founder is not so much concerned with capturing the zeitgeist than rather incorporating the spirit of time itself. »It is a record about presence and patience,« he explains. Exploring the unique sonic affordances of a singular instrument, »Observation of Breath« is not only devoted to the durability of sound but also to its density. That it marks his debut on Hallow Ground after having shaped its sound by mastering most of the label’s releases in recent years is just as fitting then as its release following albums by Kali Malone and FUJI|||||||||||TA, whose innovative work with organ instruments have facilitated a rediscovery of their possibilities.English’s compositions however are neither directly indebted nor responding to these musicians. His exploration of the organ’s many facets started a decade ago when the composer was given access to an instrument built in 1889 that is presently housed at The Old Museum in Brisbane. After it had already played a crucial role on his seminal albums »Wilderness Of Mirrors« and »Cruel Optimism,« last year’s self-released »Lassitude« was the first record that English entirely composed and recorded with that instrument. »During the soft lockdowns, I spent many days playing to an empty concert hall, recording the pieces that became ›Lassitude‹ and then, this album,« says English in regards to an unfortunate situation that fortunately provided him with time and space—two major themes but also key qualities of the four new compositions. In this sense, he goes on, »Observation of Breath« resolves a number of the questions originally raised by »Lassitude.

Groggy, engrossing new work from Ulla under their newly minted U.e. tag, riffing to the sublime on a set of (mostly) acoustic reveries that tap into the kind of smokey vapours favoured by the likes of Vincent Gallo, Voice Actor, Jonnine.

A new year, label, album and handle for Ulla, a multifaceted artist who has draped our pages with wonder, under numerous aliases and collabs, for almost a decade. On ‘Hometown Girl’ they distill transience and flux into a quiet set of chamber works subtly resembling the room recorded nuance of their ‘Jazz Plates’ side with Perila - here taken a step further into more elusive, low-lit dimensions.

In a mode that’s wistful and melancholic, listening to the album’s dozen discrete pieces feels like leafing thru a journal of hand-written notes, reflecting on the feelings that come with separation from loved ones and displacement from familiarity. Ulla performed and recorded all of the instruments themselves, lending a tangible tactility to layered arrangements of woodwind, keys, strings, drums and voice, lightly speckled with electronics and perfused with open window field recordings.

They locate a crackling frisson of personality in the voice notes and day-dreaminess of their mottled inscapes, gauzily demarcating lines between past and present selves. In that aesthetic and approach we can also hear similarities to Jonnine’s blue-skied ‘Southside Girl’ or crys cole’s poetic sensuality, often leaning into the domestic surreal.

A frayed, opening salutation ‘Good Morning’ signals a delirious half hour in Ulla’s company, variously swaying to the downstroked jazz swing of a ‘Lavender (NF)’ spritzed with clarinet, whilst ‘Froggy Explorer’ stirs the air like Jan Jelinek on a barely-there tip. The Basinski-esque fritz of degraded loops really snags the imagination along with a twinkling nightlight ‘Ball’, as the album opens out into its most fully resolved songs with a closing couplet of disarming wonders ‘Drawing of Me’, and a blurry ‘Mute’ that feels like Ulla 〜almost〜 reveals too much before retreating back into the shadows.

"Eau" is the lovely new album from aus, the solo project of Tokyo-born composer and producer Yasuhiko Fukuzono, who has gained attention, in Japan and overseas, for his thoughtfully paced and sensitively skillful music as well as his intriguing sound design for exhibitions and experimental cinema. Having worked primarily with keyboards and electronic sound up to this point, "Eau" is a slight yet fascinating shift for aus; the album, while still primarily an electronic work, revolves around the sonic world of a stringed acoustic sound source, the koto, that most characteristically Japanese of musical instruments. The very accomplished Eden Okuno provides the delicate-yet-rich koto sounds on offer here; Fukuzono, in the liner notes, acknowledges the importance of Okuno's artistry to the project.

The compositions on the album are designed to balance the sound of the koto, with its subtly variable attack and flickering resonance, with the timbre of other instruments. The delicate decay and metrical flexibility of the koto is enveloped by sustained synthesizer sounds and contrapuntally constructed piano melodies, creating a flowing ambience with absorbing undercurrents, a languid and liquid quality that reveals the suitability of the title.

Avid fans of contemporary Japanese music might hear the influence of pioneering works such as the the 1979 Hiroshi Yoshimura composition "Clouds for Alma", realized by koto player Tadao Sawai, and the 1993 album "Koto Vortex I: Works by Hiroshi Yoshimura" which featured performances of Yoshimura's works by the Japanese koto quartet Koto Vortex. These works attempted to remove the koto from its traditional context and place it within the context of ambient and techno. "Eau" is available on CD/LP/cassette/digital, with E/J liner notes by aus. "Eau" is the first collaborative release by EM Records and FLAU, the label run by Yasuhiko Fukuzono (aus).

Andrew Lloyd Webber’s The Phantom of the Opera is one of the most celebrated musicals of all time, and this original London cast recording from 1986 remains the definitive recording. Michael Crawford’s Tony Award-winning performance as The Phantom and Sarah Brightman’s portrayal of Christine Daaé helped make this the best-selling cast recording in history. Re-issued for the first time in decades, this classic album brings the unforgettable score to a new generation of listeners. From the title song to “The Music of the Night” and “All I Ask of You,” every track reflects the power and beauty that continue to make The Phantom of the Opera a global phenomenon nearly forty years after its debut. Since its premiere, The Phantom of the Opera has been seen by more than 160 million people in 195 cities and has received over 70 major theatre awards. It holds the record as the longest-running show in Broadway history and was the first British musical to debut at number one on the music charts. The recording has been certified Platinum in six countries.

In March 2025, "On the Love Beach" performed solo shows in Shanghai and Beijing with Toushi Naoki to great success.

2025 marks the 30th anniversary of their memorable debut album, "On the Love Beach," and the band's first three albums are being reissued on CD and vinyl!

All three albums use the original master tapes, and each has been thoroughly remastered under the supervision of Shinji Shibayama for high-quality sound!

"On the Love Beach"'s third album, released in 1999, is a two-disc masterpiece that holds a unique position in the band's history, and many fans secretly cherish
the original LP version.

Shibayama's motivation for recording this album was to explore whether the concept he experimented with with Hallelujahs—"pursuing the uniqueness and
improvisation of the performance itself within the format of a pre-written song"—would work in a fixed band format rather than a session, and what the results would be.
It was a bold (and reckless) production approach: all basic tracks, including the lead vocals, were recorded live in the studio in one take, with no re-recordings allowed,
and overdubs like the chorus were kept to a minimum.

Although there are discrepancies between the punk-inspired performances and vocals due to the unedited concept, this is a rare example of the wild energy of a
band captured so authentically with such high sound quality in Jap-rock, and, regardless of its merits or demerits, it is undeniably compelling.

The raw sound quality, capturing the irreversible, fleeting interplay, demonstrates the outstanding engineering sense of Peace Music's Nakamura Soichiro,
and the pride of the rock band "Nagisa Nite" is evident throughout.

It's also noteworthy that this "Nagisa Nite" album contains the most solo works by Masako Takeda. Naturally, it's meticulously remastered from the original
master tapes for exceptional sound quality!

Brooklyn-born David Forman was steeped in soul music and Brill Building songcraft in the early 1970s while earning his living as a Hollywood set builder. He developed a soul singing style through his friendship with Aaron Neville, with whom he used to sing and jam on his apartment rooftop. He met Jack Nitzsche through his work on the 1972 film Greaser’s Palace (for which Nitzsche created the soundtrack) and later asked Nitzsche to produce this album. Forman’s original record deal with Davis was shepherded by the critic Stephen Holden of Rolling Stone and later the New York Times, and later by Paul Nelson, also of Rolling Stone.Fun fact about Forman: He was an assistant to Phillip Petit on his daring tight rope walk between the twin towers in 1974. And Forman later became a jingle writer and wrote and sang the famous Tums theme song (“Tum tum-tum-tum, TUUUUMS."This release features remastered audio, a plethora of archival photos, and a 24-page booklet with a 5500-word essay from noted journalist and producer Joe Hagan, a staff writer at Vanity Fair and producer of the 2022 compilation 'Earl's Closet' for Light In The Attic. Hagan is also fully committed to promoting the release through his network of key media gatekeepers, as well as his personal connections with legendary musicians, writers, and other cultural tastemakers.

One of the leading Japanese alternative rock band, GEZAN’s leader, MahitoThePeople’s director debut film, i ai was released in March 2024, and it is an atypical coming-of-age film decorated with tinge of red.

　The film takes place in Akashi and Kobe, Hyogo prefecture. This film’s main characters are Ko (Kentaro Tomita), a rookie member of a band and a brother-like figure of his, Hee (Mirai Moriyama) who Ko idolizes and the story of this movie is based on their struggles with life and death. The story is also based on Mahito's real-life experiences and while reality and fiction are duplicated, the boundary between them slowly melts away. The film co-stars Honami Satoh, Kazuki Horike, Mitsuru Fukikoshi, Eita Nagayama, Kyoko Koizumi, K-BOMB, Ichi Omiya and many other unique personalities. It should also be noted that the transparent images filmed by photographer, Masafumi Sanai gives the film, a special emotional quality.

　The film is not bound by any film theory but it poses a theme common to GEZAN's recent works and Mahito's writing activities: How can we live in a crumbling society while interacting with others? We can never live alone but living with others is also never easy. How can we overcome this time of extreme division of the world?

What left quite a strong impression in this film that not only Mahito personally directed but also wrote the script and composed the soundtrack as well was the main theme song, entitled “i ai”. This new piece of GEZAN is an extension of the work that this band has continued doing over the last few years. This 12" single, contains the song, “i ai” and it will be the first time released on vinyl.

Led by soft guitar arpeggios, the song gradually builds to a fever pitch, condensing the mood of the film which encompasses both tranquillity and intensity. The chorus of ineffable, multiple voices united together sounds like a lament that has spilled out of society or a cry of joy. GEZAN's collaboration with the 15-member chorus group, Million Wish Collective has been in development of late and the cultivated sensibilities through their activities are put to use in this song.

The song can also be considered a slow, relaxed dance track that lasts 9 minutes and 8 seconds. It has something in common with organic dance tracks from South America and other regions, and it is significant that GLOCAL RECORDS which represents glocal music from around the world in Japan are releasing it as a DJ-friendly 12-inch single.

The B-side features a remix by COMPUMA who is also closely associated with GEZAN. The song starts with an African styled percussion, with a thumb piano in the middle of the song and then returns to that memorable chorus. This song feels like a 18 minutes and 18 seconds long short movie like suite, with some dizzying changes from the beginning to the end. It is remix filled with enormous drama!

The cutting and mastering of this 12” was done by TOREI who is also active as a DJ and the artwork was created by jvnpey, a visual artist and graphic designer based in Tokyo. Their loving work also makes this 12" very special.

When I asked AI to find a synonym for the word, “division,” it displayed in succession, a series of words: “integration,” “consolidation,” “unification,” “unity”, and “reconciliation". All of these phrases are somewhat whitewashed and embarrassing but the mirage-like chorus echoing in the song, “i ai” seems to be trying to find a new word, that is a synonym for the word, "division. In this film, “i ai”, the message, “Let's live together after the end roll” was thrown out but included in this 12-inch, the message, “Let's live together after the music stops”, emerges.

Bei seinen ersten sieben Studioalben für Verve hatte der Hammond-Organist Jimmy Smith stets mit TopArrangeuren wie Oliver Nelson, Claus Ogerman und Lalo Schifrin zusammengearbeitet. Erst auf dem
1965 erschienenen Album “Organ Grinder Swing” kehrte er zur Trio-Besetzung mit Gitarre und Schlagzeug
zurück, mit der er zu Beginn seiner Karriere seine Aufnahmen für Blue Note eingespielt hatte. Mit dem
Album landete Smith die zweithöchste Chart-Platzierung seiner Karriere.

Auf seinem ersten Album für Verve Records präsentierte sich der Hammond-Organist Jimmy Smith 1962
mit zwei sehr unterschiedlichen Besetzungen: Während er die ersten vier Stücke mit einer von Oliver Nelson
arrangierten groovigen Big Band aufnahm, spielte er die übrigen Stücke mit seinem regulären Trio ein, mit
dem er zuvor schon Alben für Blue Note gemacht hatte. Die von Creed Taylor produzierten Sessions waren
ein Wendepunkt für Smiths Karriere: mit dem Titel “Walk On The Wild Side”, der Platz 21 der Billboard
Hot 100 Charts erreichte, landete er seinen bis dahin größten Hit.

Die japanische Metalcore-Band Crystal Lake wird ihr neuestes Album "The Weight of Sound" über Century Media Records veröffentlichen. Das Quintett ist seit langem ein bekannter Name in der internationalen Metalcore-Szene. Mit Einflüssen sowohl aus dem Metalcore als auch aus dem Hardcore verschmilzt ihr Sound die Intensität beider Genres zu einem einzigartig schweren und mitreißenden Stil, der besonders bei ihren elektrisierenden Live-Auftritten zum Tragen kommt. Während die Band intensiv auf Tour war, wurde das erste Stück ihres neuesten Albums, "BlüdGod" (feat. Taylor Barber), bereits im Mai 2024 veröffentlicht.

Die aus Japan stammende Band hat sich eine globale Fangemeinde aufgebaut, tourt weltweit und gewinnt durch ihre kraftvolle und energiegeladene Musik an Zugkraft. Das Quintett, das seine Musik in englischer Sprache veröffentlicht, hat es geschafft, sich im Laufe der Jahre eine internationale Fangemeinde aufzubauen und seit 2002 insgesamt 6 Alben zu veröffentlichen.

Ihr neuestes Album, "The Weight of Sound'", ist weniger von bestimmten Aspekten inspiriert als vielmehr eine Reflexion über die Reise der Band und ihre Lebensweise im Laufe ihrer Geschichte, wie Gründer YD erzählt: "Bevor ich es realisiert habe, war Crystal Lake 23 Jahre lang aktiv. Die Leute sagen oft: "Die Zeit vergeht wie im Flug", aber die Wahrheit ist, dass wir eine lange Geschichte mit Freunden, Bandkollegen und anderen Musikern aufgebaut haben, die Blut, Schweiß und unzählige Kämpfe geteilt haben, um diese Band aufzubauen. Das ist eine unbestreitbare Tatsache und mein Stolz. Jede Note, die wir spielen, wird zur Harmonie, und diese Harmonie wird zur Musik. Diese Musik gemeinsam mit Kameraden zu spielen, das macht eine Band aus. Und die Musik, die eine Band macht, kann eine neue Kultur hervorbringen. Unser neues Album 'The Weight of Sound' ist ein Spiegelbild dieser Lebensweise."

Das Gefühl von Gemeinschaft und Zusammengehörigkeit spiegelt sich auf dem Album auch in den verschiedenen Beiträgen wider, an denen die Band mitgearbeitet hat - vom Eröffnungstrack "Everback" feat. David Simonich von Signs of The Swarm bis hin zum düsteren, aber verführerischen "Dystopia", bei dem Jesse Leach von Killswitch Engage mitwirkt. Mit "BlüdGod" (feat. Taylor Barber), das ursprünglich im Mai 2024 veröffentlicht wurde, spiegelt das Album eine ziemlich lange Reise und einen langen Entstehungsprozess wider, der das Warten für Fans und neue Hörer gleichermaßen wert war. Gemischt und gemastert von Jeff Dune (Knocked Loose, Make Them Suffer, Currents), enthält "The Weight of Sounds" alle Elemente der Härte und bleibt dabei den rohen Emotionen, die die Band in ihren Texten ausdrückt, treu. Mit insgesamt 11 Tracks wird "The Weight of Sound" von Crystal Lake sicherlich schwer sein - musikalisch und emotional.

L. Eugene Methe is an Omaha based singer-songwriter and musician with a discography spanning over twenty years. His last two lyrical based albums were released on Grapefruit Records. As a studio musician he has contributed violin and piano on a diverse group of albums by Simon Joyner, Refrigerator, Mountain Goats, the Renderers, Naturaliste, Expensive People and many more.

Dennis Callaci from the band Refrigerator has released collaborative records with John Davis, Heimito Kunst, Simon Joyner and others as well as a myriad of solo LPs over the last 35 years. He runs the Shrimper record label. His fourth book is out in 2025 on Bamboo Dart Press.

The Last Chance Lottery is a collaborative record featuring the music of Methe and the vocals/lyrics of Callaci. Cinematic and outre in tone, the record does not forsake melody or tunesmithery, but strips much of it bare to paint it with surprising found sounds, abstraction and a balance between what these two fellas do best. The album was mastered by Al Jones as Marginal Frequency to further tightrope those two worlds. Features cover art and liner notes by Callaci.

**2010 Grammy Award Winner: Best Traditional Folk Album **

‘Marvelous…exuberant’ - Rolling Stone

Nonesuch Records releases a fifteenth anniversary edition of Carolina Chocolate Drop’s 2010 Grammy Award-winning album Genuine Negro Jig, featuring founding band members Dom Flemons, Rhiannon Giddens, and Justin Robinson. The reissue includes the original album and nine bonus tracks: seven previously unreleased tracks plus a 2025 remaster of ‘City of Refuge’ and a 2025 mix of ‘Memphis Shakedown’. This release marks the album’s first time on vinyl since its original pressing in 2010.

Genuine Negro Jig was released on February 16, 2010, reaching the top ten on the Billboard Folk chart and the top of the Bluegrass chart. It won the 2011 Grammy Award for Best Traditional Folk Album. Produced by Joe Henry, it was the first of three releases on Nonesuch followed by The Carolina Chocolate Drops/ Luminescent Orchestrii EP (2011) and the Grammy nominated album Leaving Eden (2012), produced by Buddy Miller. Widely acclaimed as one of 2010’s best, Genuine Negro Jig appeared in year-end lists of NPR, Paste, and more, and was featured in Rolling Stone’s 25 Best Country-Soul Albums in 2024.

“Genuine Negro Jig remains fresh fifteen years later not only because of the Carolina Chocolate Drops’ influence on American popular culture but also because it’s an excellent record in itself,” says Dr. Dwandalyn Reece and Dr. Steven Lewis of the Smithsonian National Museum of African American History and Culture in the album’s liner notes.

Carolina Chocolate Drops formed after band members Dom Flemons, Rhiannon Giddens, and Justin Robinson met at the Black Banjo Gathering in Boone, NC in 2005. All three trained in the Piedmont banjo and fiddle musical tradition under the tutelage of Joe Thompson, who was one of the last musicians of his era and his community to carry on the southern Black string band tradition. While old-time Southern string music is often associated with Caucasian musicians from Appalachia, Giddens pointed out in an NPR interview that “it seems that two things get left out of the history books. One, that there was string band music in the Piedmont, period. And that Black folk was such a huge part of string tradition.” Carolina Chocolate Drops sought to not only correct this misunderstanding but also to keep the centuries-old string music tradition alive and developing.

The members of Carolina Chocolate Drops, who came from diverse musical backgrounds, shared singing duties and swapped instruments throughout their sets. The band recently reunited for a single show at Rhiannon Giddens’ Biscuits and Banjos festival in Durham, North Carolina in April 2025. In celebration of the 20th Anniversary of the Black Banjo Gathering, the documentary Don’t Get Trouble In Your Mind: The Carolina Chocolate Drops’ Story by Filmmaker John Whitehead was released on Amazon Prime, Apple TV, and YouTube Free4all streaming platforms.

The Final Album recorded by Nikki Sudden release posthumously by friends o Now after consultation with all band members and producer John Rivers the album has been re assembled re mixed and re mastered to create the best sound it's ever been o Lavishly designed by Dave Twist includes notes by band members and photos from the sessions o The Lp comes in de luxe gatefold sleeve with printed inner bags o Contains bonus tracks and has been reordered to the last email nikki sent on the subject

Neues Album des US-Gitarristen im Stile eines Stevie Ray Vaughan - ist auf der Ruf Records Blues Caravan-Tour im Januar 2026

».​.​.​ihm ist zu attestieren, dass ONE FOR THE RIDE mehr als ansprechend seine Liebe zum Geschichtenerzählen über sein Leben unterwegs einfängt, dass er die musikalischen Einflüsse, die ihn geprägt haben, mit einer eigenständigen Note zusammenbindet.​« (GoodTimes, Februar/März 2026)

“There's a clarity here that feels hard-won. Honing ideas first explored with his Organic Music series, Tiago Sousa unlocks the final puzzle pieces on Sustained Tones Vol 1. This music is enchanted, the way each layer moves in conjunction with the others: complex structures that feel less constructed than discovered, like stumbling upon ancient mechanisms still whirring beneath the earth. "Readily Reliance" opens as an effervescent sea, waves gilded in neon creating an enveloping sense of eternal motion. Bright organ timbres throw silhouettes and cast Sousa as the deft puppeteer keeping everything moving with an effortless precision. These evolving shapes suspend listeners somewhere between the physical and the cosmic, held in place by nothing but intention and sound.

Drones build rippling foundations in other places, using slower tempos to construct immersive, off-kilter sound worlds where minimalism becomes emotive, almost poignant. The fluctuating tones have a gossamer sheen, creating this interesting sonic dichotomy: a solid surface with fragile rotations beneath. It's music that commands attention; it is so much more than simply aural furniture. Sousa writes these beautiful sequences that are all interconnected, intricate sonic architecture that pulls us further into some kind of unknowable ether.

On the piano pieces, "Smooth Flow Into It" and "Swirling Mist and Thin Dust," Sousa shines sunlight through all the cracks. Washes of melody are effervescent, clouds clearing to reveal the day has not gone. Not yet. Positioned in the middle of Sustained Tones Vol 1, these pieces ground the album in something transcendent yet still earthen: moments of breath inside all that cosmic drift. Darkness finds its way through on "Restlessness," where Sousa smears sinuous electronics into a ghostly sonic mesh that seeps through the skin. It feels like a slow inhale, time suspended long enough to take note of where we are and how we feel before moving forward. Expressive, almost sparkling synth arrangements return to send us back into reality on closer "Becoming a Landscape." Its title hints at larger concepts at play throughout this album, where lines between our physical beings and the wider environment are blurred. The tones that echo throughout these six pieces mirror the echoes inside our bodies, from heartbeats and voices to something quieter, something much smaller and more elemental. By immersing us inside these mesmerising, beautiful soundscapes, Sousa immerses us within ourselves.’’

Brad Rose, 2025

Second LP of duets by these longtime VHF family staples, here delivering 2 side-long epics of “minimalist” bliss. Both sides feature Daniel on piano and Richard on zither, with rippling waves of sound recalling classics like Charlemagne Palestine’s “Strumming Music” (Dan is a frequent collaborator with C.P.) and Richard’s “Advent.” “Persian Carpets I” is a real-humans performance full of tiny variants in rhythm and attack, rising and falling in intensity – sometimes a rush of sound, sometimes a cloud of soft overtones and phantom notes. “Persian Carpets II” is more spare, with quiet and careful piano alongside Richard’s subdued accompaniment – a gorgeous bath of pointillist sound that rewards close listening.

“Allergic” was born on a sweltering July afternoon in a half-empty flat in Paris’ 11th arrondissement. With the apartment mid-move and only one bare room left to work in, B.McQueen and Priori turned the stripped-back space into a studio. Mid-session, a friend sent a voice note casually mentioning she was “allergic to wasps”. A moment that felt too good not to sample, giving the track both its title and its playful edge. The result is a chugger with subtle wobbles woven throughout.

“Get Weavin’” took shape in the haze following a heavy night celebrating fabric’s 25th anniversary, an evening where Ben Klock b2b Marcel Dettmann indirectly sparked the creation of the B. McQueen alias itself. Fueled by that post-club momentum, the track later found its signature psychedelic tinge through flute samples contributed by Raphael Weikart.

At the end of the Sixties, the production of soundtracks for small and big classics of Italian cinema is now joined by another business which has proved to be less profitable but more creative and, in best case, free from the constraints imposed by clients on duty: the composition of music libraries. Almost all of the artists for the eighth art have finalized at least one or more music libraries. Names famous and not, old and young composers, real outsiders and meteors, usually hidden behind pseudonyms: this is the case, for example, of Braen and Peymont. The first needs no introduction, it was the one adopted by the former arranger, multi- instrumentalist, singer and composer Alessandro Alessandroni. The second is closely linked to the mysterious American composer, but resident in Italy, David Hoyt Kimball. The two are authors in different measure of an interesting album with an experimental background, “Paese Sotto Inchiesta” (1971), originally published by Flirt Records.

The titles of the tracks appear in connection with the socio-cultural climate of Italy after 1968 and can be relocated as a background for journalistic-like images. The latter is a hypothesis not supported by facts, but some titles seem to be referred to the perception of a subsisting economic backwardness of the southern regions compared to the other ones; to a situation of collective tension, thanks to the global revolutions; in addition to the new concerns with an ecological background. Overall, the seventeen tracks on the album are mostly 'dirty', characterized by an even atonal setting, with long repetitions in a noisy key, more fundamental reverbs and echoes for the different keyboard instruments. In a few words, abstract sounds, some guitar notes, echoes of Gruppo Di Improvvisazione Nuova Consonanza, flute melodies and proto- ambient intuitions. Composers like Alessandro Alessandroni and David Hoyt Kimball deserve to be rediscovered.

*Following the essence of the work, for this press, MPI release a 100% recycled vinyl that reduce waste, minimize environmental impact and support the planet*

In 2023 Ace Records released the album “28 Little Bangers From Richard Hawley’s Jukebox” where the acclaimed Sheffield musician, singer and songwriter compiled together some of his favourite records. These were instrumentals and vocals records that he had collected over the years and found musically addictive. The album received fantastic reviews and allowed his
extensive fanbase to discover and enjoy tracks like Ronny Kae’s ‘Swinging Drums’ and King Curtis’ ‘Hot-Rod’ that were on the juke box in his home.

Now, three years later, Richard has lifted the lid, taken those 7” out and replaced them with another favoured selection. One again, this second version of “Little Bangers” is full of cracking records such as Chet Atkins ‘Boo Boo Stick Beat’, Frank Minion’s ‘Watermelon’, Johnny Todd’s ‘Pink Cadillac’, Sunshine Theatre’s ‘Mountain’, Jet Harris’ ‘Man From Nowhere’, Tracy Rogers ‘Baby’ and the Ventures ‘Fuzzy And Wild’.

A with the first album there are 28 tracks spread across two albums or shoehorned onto one CD. The extensive liner notes see Richard discussing each and every track and what the record or artist meant to him. As he states himself in the introduction, “the record you hold in your hand is the result of a lifetime obsession.”
Listen for yourself and you will discover that this was time well spent.

"Dialogues and Shadows" by Goncalo Almeida & Pierre Bastien invites you on a transcendental musical journey, rising above mere notes and timbres. With mechanical instruments and rich harmonics, their music sparks a conversation where listeners may actively participate. Surprises unfold as melodic phrases emerge from diverse sources, including Pierre Bastien's pocket trumpet and Goncalo Almeida's double bass, along with custom-made instruments.

Futura Resistenza is pleased to present the latest release from the prolific, restlessly creative composer-performer Anthony Pateras, two side-long pieces - one performed by Callum G'Froerer on double-bell trumpet, the other sung by Clara La Licata - in which soloists are accompanied by numerous pre-recorded tracks of their own instrument or voice, creating acoustic halls of mirrors where the distinction between live performer and recorded accompaniment becomes difficult to perceive. Palimpsest Geometry (2020) for double-bell trumpet & tape works with rapidly pulsed single trumpet notes, at brisk tempos that hover at the perceptual threshold between rhythm and tremolo. The interaction between different rates of pulse produces skittering echoes, as if G'Froerer's layers of trumpets were really a single sound bouncing around the sonic space. There Is A Danger Only Our Mistakes Are New (2021) for voice & tape goes to work on a see-sawing two-note melodic cell, insistently transposed and transposed again, hummed or sung with open vowels, contracting to a semitone and expanding to a minor third. More than anything in the canon of Western art music, the piece calls up the criss-crossing repeated figures of Inuit vocal games or the interlocking repetitions of Banda-Linda music, where rhythmic and harmonic displacements of repeated motifs fuse together individual parts into the illusion of an impossibly rich and multi-faceted unitary sonic organism. Essentially homogeneous in texture yet built up from constantly changing details, broadly static yet always moving and shifting, these pieces exemplify Pateras' recent work while also pushing it into a new, strikingly immediate direction. Here, form grows organically out of the material itself; the results are sparkling, immersive, and quietly uncompromising. (Francis Plagne)

It's taken over two decades, but at last, the wait is over: Sevan Mater has unleashed the first- ever vinyl pressing of Live Damage , the iconic live performance by DARK TRANQUILLITY, captured during their "Damage Done" era. Pressed on Gold and Black swirl vinyl, limited to just 500 copies, and housed in a stunning gatefold cover, this reissue is nothing short of melodic death metal heaven. Originally released in 2003 as a DVD, Live Damage immortalized one of DT 's most intense and electric live shows - recorded in Krakow, Poland. Now, for the first time ever, that raw energy, that iconic Swedish aggression, and that perfectly balanced blend of melody and brutality has been etched into vinyl grooves for audiophiles and collectors alike. From the soaring leads of The Treason Wall to the punishing drive of Final Resistance, every track explodes with clarity and presence on wax.

The vinyl mastering brings new warmth and immediacy to the performance, giving fans the closest thing to being there, without the sweat and flying beer. And the packaging? Absolutely elite. Sevan Mater delivers a luxurious gatefold, featuring rare tour photos, liner notes, and an aesthetic drenched in cold, melancholic elegance. If you're a fan of At The Gates, In Flames, or if Damage Done was the soundtrack to your early 2000s fury, this release is a must-own. More than just a live album - it's a time capsule of melodic death metal at its peak.

Mandrake Handshake announce new remix version of lead single Hypersonic SuperAsterid from W.H.Lung's Tom Sharkett released 24th November and the Special Limited Eco- Green Vinyl Edition of their critically acclaimed debut LP 'Earth- Sized Worlds', set for release 12th December via cult indie label Tip Top Recordings The concept tying together every last note and lyric of 'Earth- Sized Worlds' - the debut album from the London/ Oxford self- dubbed 'Flowerkraut' collective Mandrake Handshake - is an awfully simple one: 'Welcome to Space Beach' .Varying anywhere between 7-10 members - including a dedicated, flamboyant tambourine shaker - their pristine, multi-limbed spectacle of a live show has journeyed up and down the UK and EU in recent times. With multiple headline tours to their name, including a sold- out show at London's iconic 100 Club earlier this year, the group have already ticked off slots at the likes of Wide Awake, Green Man and Manchester Psych Fest, as well as shows with psych-figureheads W.H Lung, Pale Blue Eyes, Triptides and Sugar Candy Mountain, and Del Amitri as their profile soars.

„Weihnachten ist wirklich die schönste Zeit des Jahres“! „Im Laufe der Jahre habe ich viele originelle Weihnachtslieder geschrieben und ich hatte das Gefühl, dass es jetzt an der Zeit ist, die besten davon auf einem Album zu bündeln. Und hier ist es: Ein wundervolles Weihnachtsalbum mit einer Vielzahl von Liedern, von denen jedes ein wesentliches Element der Weihnachtsstimmung enthält, jetzt in einer Deluxe-Edition. 15 Songs, die ich sorgfältig ausgewählt habe. Ich habe 9 der 11 Originale mit den Amerikanern Jeff Franzel und Maria Christensen geschrieben und die anderen 2 Originalsongs mit den niederländischen Songwritern Simon Gitsels und Karel Schepers. Die Cover auf diesem Album sind Songs, die ich so sehr liebe, dass ich ihnen meine eigene Note geben und ihnen einen Platz auf dem Album geben wollte.“ Vier erfolgreiche Studioalben, mehreren Theatertourneen in den Niederlanden und erste internationale Shows, die allesamt ausverkauft waren. Es folgten bereits zahlreiche Auszeichnungen, darunter eine Goldene Schallplatte und bereits zweimal der renommierte Edison Jazz Award (der Holländische Grammy). Keine alltägliche Errungenschaft im Jazzbereich oder wie „Crooner“ Dennis es lieber nennt, im Swing, einem Stil, der für ihn unvergleichlich ist.

Sir Colin Davis wählte die Musik von Sibelius, um eines seiner Konzerte als erster Gastdirigent des BSO im
Oktober 1972 zu eröffnen. Es war ein entscheidender Moment: Davis hatte die Bostoner Sibelius-Tradition
wiederbelebt. Dieses Album mit den Sinfonien Nr. 5 und 7 war sowohl die erste Veröffentlichung des
mittlerweile legendären Davis/Boston-Sibelius-Zyklus als auch eine der letzten Quadrophonie-Aufnahmen
bei Philips. „Niemand, der Colin Davis’ Zyklus der Sibelius-Sinfonien hört, wird daran zweifeln, dass er ein
geborener Sibelius-Interpret ist.“ – Gramophone Magazin
Erstmals als Doppel-LP konnte der Klang des Albums weiter verbessert und außerdem ”Tapiola” von
Sibelius inkludiert werden.
Die vollständig analoge Vinyl-Serie DECCA PURE ANALOGUE punktet mit einigen der legendärsten Aufnahmen aus den Archiven von Decca & Philips. Die Serie wird von Rainer Maillard gemastert und von
Sidney C. Meyer in den renommierten Emil Berliner Studios geschnitten, bei Pallas auf 180-Gramm-Vinyl
gepresst und in luxuriösen Gatefolds in handnummerierten, limitierten Auflagen präsentiert.
Es werden ausschließlich originale analoge Quellen verwendet, in diesem Fall vierspurige QuadrophonieBänder.
Jedes Album enthält das Original-Artwork und die Original-Liner Notes, Archivfotos und Faksimiles der
Original-Aufnahmeprotokolle sowie neu verfasste Anmerkungen, die die Geschichte der Aufnahme, den
technischen Hintergrund und den Mastering-Prozess detailliert beschreiben

Als Sir Georg Solti im Herbst 1969 sein Amt als Musikdirektor antrat, verglich er die Stadt Chicago und
ihr berühmtes Orchester einmal mit dem „Dornröschen“-Schlaf. Doch fünf Jahre später war es ein anderes
Ballett – Strawinskys „Le Sacre du Printemps“ –, das zeigte, wie explosiv diese neue Beziehung geworden
war, in einer Aufnahme, die auch ein halbes Jahrhundert nach ihrer Entstehung noch immer aus den Lautsprechern dröhnt. „Glamourös und kraftvoll.“ – Gramophone
Deccas vollständig analoge Vinyl-Serie DECCA PURE ANALOGUE punktet mit einigen der legendärsten
Aufnahmen aus den Archiven von Decca und Philips. Die Serie wurde von Rainer Maillard gemastert und
von Sidney C. Meyer in den renommierten Emil Berliner Studios geschnitten, bei Pallas auf 180-gr.-Vinyl
gepresst und in luxuriösen Gatefolds in handnummerierten, limitierten Auflagen präsentiert.
Es werden ausschließlich originale analoge Quellen verwendet – in diesem Fall 2-Track Stereo-Bänder–
und es kommen keine zusätzlichen Geräte im Signalweg zum Einsatz, d. h. es findet keinerlei digitale
Klangbearbeitung statt.
Die LP wurde für 45RPM gemastert, um einen besseren Hochtonbereich zu erzielen und die ganze „Wucht
und Klarheit“ der Originalaufnahme wiederzugeben.
Jedes Album enthält das Original-Artwork und Original-Liner Notes, Archivfotos und Faksimiles der OriginalAufnahmeprotokolle sowie neu verfasste Anmerkungen, die die Geschichte der Aufnahme, den technischen
Hintergrund und den Mastering-Prozess beschreiben.

Das Neujahrskonzert 1979 in Wien war sowohl musikalisch als auch technisch ein Höhepunkt. Es war sowohl
das Ende einer goldenen Ära für Willi Boskovsky, längjähriger Konzertmeister der Wiener Philharmoniker
und Dirigent sensationeller Neujahrskonzerte, als auch der Beginn eines neuen Zeitalters in der Aufnahmetechnik. Lange Zeit als erste digital aufgenommene Veröffentlichung von Decca gefeiert, hat die jüngste
Recherche eine Reihe von analogen Sicherheitsmastern zutage gefördert, die fast ein halbes Jahrhundert
lang unberührt in den Archiven der Decca schlummerten – bis heute. „Dies ist eine sensationelle Veröffentlichung.“ – Gramophone Magazin
Deccas vollständig analoge Vinyl-Serie DECCA PURE ANALOGUE punktet mit legendären Aufnahmen
aus den Archiven von Decca und Philips. Die Serie wurde von Rainer Maillard gemastert und von Sidney
C. Meyer in den renommierten Emil Berliner Studios geschnitten, bei Pallas auf 180-Gramm-Vinyl gepresst
und in luxuriösen Gatefolds in handnummerierten, limitierten Auflagen präsentiert.
Es werden ausschließlich originale analoge Quellen verwendet – in diesem Fall erstmals analoge Master
früher digitaler Aufnahmen – und es kommen keine zusätzlichen Geräte im Signalweg zum Einsatz.
Jedes Album enthält das Original-Artwork und die Original-Liner Notes, Archivfotos und Faksimiles der
Original-Aufnahmeprotokolle sowie neue Anmerkungen, die die Geschichte der Aufnahme, den technischen
Hintergrund und den Mastering-Prozess detailliert beschreiben

COLORS OF BACH: Violinistin Eldbjørg Hemsing lässt die Musik von Bach in völlig neuen Klangfarben leuchten Auf ihrem neuen Album COLORS OF BACH lässt Violinistin Eldbjørg Hemsing die ausdrucksstarke Musik von Johann Sebastian Bachs in völlig neuen Arrangements erklingen und eröffnet zeitgenössische Perspektiven auf sein Werk.Vielschichtig, fein nuanciert und mit ungezügelter Spielfreude, schöpft das Album seine Inspiration aus der strukturellen Raffinesse und der expressiven Schönheit von zwanzig ausgewählten Werken. Die renommierten Arrangeure Tim Allhoff, Jan-Peter Klöpfel und Jarkko Riihimäki rücken bekannte Meisterwerke durch buchstäblich neue "Farben", die in Bachs Musik eingeführt werden - durch Klang, Harmonie und Emotion - in neues Licht.Im Zentrum des Projekts steht eine gemeinsame künstlerische Philosophie: Bachs Musik zu erweitern, neu zu denken und zu formen - ohne sie zu verfälschen. Die Arrangeure schöpfen ihre Inspiration aus der positiven und universellen Kraft seiner Themen und Harmonien und bewahren dabei die innere Zuversicht, die Bachs Werk so einzigartig macht.Von der verspielten Brillanz der Partita Variation bis zur tief berührenden Neuinterpretation von Bachs Brandenburgischem Konzert - ikonische Melodien erhalten neue Vitalität, eröffnen emotionale Dimensionen, bewahren aber zugleich größten Respekt vor den originalen Meisterwerken. Die dichte, melodische Gestaltung des Orgelpräludiums in C-Dur geht nahtlos in eine virtuose Fassung für Solovioline und Streichorchester über und schafft ein fesselndes Hörerlebnis. Air nimmt die Eleganz eines italienischen Konzerts an, während das geliebte Erbarme Dich aus der Matthäuspassion als intime instrumentale Ballade neu erstrahlt. Gemeinsam zeigen diese kreativen Arrangements die Wandlungsfähigkeit und Zeitlosigkeit von Bachs Musik - und entfalten ein eindrucksvolles Kaleidoskop musikalischer Farben."Bach ist so ein genialer Komponist", reflektiert Eldbjørg Hemsing, "dass es unendlich viele Möglichkeiten gibt, seine Formen und Strukturen zu betrachten. Jede Melodie, die er geschrieben hat, vereint auf faszinierende Weise technische Präzision und tiefes Gefühl - und genau darin liegt die unerschöpfliche Vielfalt seiner Musik." COLORS OF BACH ist eine Hommage an diese zeitlose Musikalität - eine Einladung an die Hörerinnen und Hörer, Bachs Werke auf spielerische Weise neu zu entdecken. Im Herzen des Albums stehen Freude, Hoffnung und ein Sinn für Leichtigkeit. "Wir wollten dem Publikum die Möglichkeit geben, sich mit diesen bedeutenden Werken der Musikgeschichte neu zu verbinden", sagt Eldbjørg. "Und vielleicht dabei auch ihre ganz persönliche Interpretation zu entdecken."Eines der emotionalsten Arrangements des Albums ist Air. Das Stück, das oft mit Abschied und Trauer in Verbindung gebracht wird, hat für Eldbjørg eine tief persönliche Bedeutung: "Dieses Werk ist eines der wichtigsten, die ich je gespielt habe", erzählt sie. "Es wurde bei der Beerdigung meines Vaters aufgeführt, und ich habe es lange mit dem Schmerz des Verlustes verbunden. Aber so wollte ich ihn nicht in Erinnerung behalten. Musik hat die Kraft, unsere Emotionen zu lenken - und indem ich diesem Stück eine neue Perspektive gebe, kann ich selbst entscheiden, wie ich mich damit verbinden möchte. Genau das ist der Geist dieses Albums."COLORS OF BACH bildet eine Brücke zwischen Vergangenheit und Gegenwart. Mit seinen überraschenden Momenten, facettenreichen Klangbildern und tief empfundenen Arrangements lädt das Album sowohl neue als auch erfahrene Hörerinnen und Hörer ein, die unendlichen Farben in Bachs Musik neu zu entdecken.

[a] a1 Eldbjørg Hemsing & Norwegian String Quintet & Tim Bach Partita Variation (After Violin Partita No. 3 in E Major, BWV 100: I. Preludio) [Arr. for Violin, String Quintet & Piano by Tim Allhoff] 2:18
[b] a2 Eldbjørg Hemsing & Norwegian String Quintet & Tim Ertönt uns durch dein Güte Variation (After Jesus nahm zu sich die Zwölfe, BWV 22, No. 5: Ertöt uns durch dein Güte) [Arr. for Violin, String Quintet & Piano by Jan-Peter Klöpfel] 2:58
[c] a3 Eldbjørg Hemsing & Norwegian String Quintet & Tim Ave Maria Variation (After The Well-Tempered Clavier I: Prelude and Fugue No. 1 in C Major, BWV 846: I. Prelude) [Arr. for Violin, String Quintet and Piano by Tim Allhoff] 2:08
[d] a4 Eldbjørg Hemsing & Norwegian String Quintet & Tim Minuet in G Major Variation (After Notebook for Anna Magdalena Bach, BWV Anh.116, No. 7: Menuet in G Major) [Arr. for Violin, String Quintet & Piano by Jan-Peter Klöpfel] 2:12
[e] a5 Eldbjørg Hemsing & Norwegian String Quintet & Tim Concerto in A Minor Variation (After Violin Concerto No. 1 in A Minor, BWV 1041: II. Andante) [Arr. for Violin, String Quintet & Piano by Jan-Peter Klöpfel] 2:30
[f] a6 Eldbjørg Hemsing & Martynas & Norwegian String Qui Melancholy Variation (After Concerto for Violin & Oboe in C Minor, BWV 1060R: III. Allegro) [Arr. for Violin, Accordion, String Quintet & Piano by Jan-Peter Klöpfel] 3:11
[g] a7 Eldbjørg Hemsing & Norwegian String Quintet & Tim Herz und Mund und Tat und Leben Variation (After Herz und Mund und Tat und Leben, BWV 147: VI. Wohl mir, daß ich Jesum habe) [Arr. for Violin, String Quintet & Piano by Jan-Peter Klöpfel] 2:42
[h] a8 Eldbjørg Hemsing & Norwegian String Quintet Air Variation (After Orchestral Suite No. 3, BWV 1068: II. Air) [Arr. for Violin & String Quintet by Tim Allhoff] 2:37
[i] a9 Eldbjørg Hemsing & Norwegian String Quintet & Tim Bach Brandenburg Concerto Revisited (After Brandenburg Concerto No.1 in F Major, BWV 1046: I. Allegro) [Arr. for Violin, String Quintet & Piano by Jarkko Riihimäki] 2:11

[k] b2 Eldbjørg Hemsing & Norwegian String Quintet & Tim Aria Goldberg Variation (After Goldberg Variations, BVW 988: Aria) [Arr. for Violin, String Quintet & Piano by Tim Allhoff] 1:48
[l] b3 Eldbjørg Hemsing & Norwegian String Quintet & Tim Prelude in C Major Variation (After Prelude and Fugue in C Major, BWV 553: I. Prelude) [Arr. for Violin, String Quintet & Piano by Tim Allhoff] 1:57
[m] b4 Eldbjørg Hemsing & Norwegian String Quintet & Tim Es ist gewisslich an der Zeit Variation (After Nun freut euch, lieben Christen gmein, BWV 734) [Arr. for Violin, String Quintet & Piano by Jarkko Riihimäki] 1:27
[n] b5 Eldbjørg Hemsing & Norwegian String Quintet Invention in F Major Variation (After Invention in F Major, BWV 779) [Arr. for Violin & String Quintet by Jan-Peter Klöpfel] 1:57
[o] b6 Eldbjørg Hemsing & Norwegian String Quintet Organ Sonata Variation (After Organ Sonata No. 4 in E Minor, BWV 528: II. Andante) [Arr. for Violin & String Quintet by Tim Allhoff] 2:42
[p] b7 Eldbjørg Hemsing & Norwegian String Quintet Befiehl du deine Wege Variation (After Matthäuspassion, BWV 244, No. 53: Befiehl du deine Wege) [Arr. for Violin & String Quintet by Tim Allhoff] 1:33
[q] b8 Eldbjørg Hemsing & Norwegian String Quintet & Tim Erbarme dich, mein Gott Variation (After Matthäuspassion, BWV 244, No. 47: Erbarme dich, mein Gott) [Arr. for Violin, String Quintet & Piano by Tim Allhoff] 2:08
[r] b9 Eldbjørg Hemsing & Louisa Tuck & Tim Allhoff Ich ruf zu dir, Herr Jesu Christ Variation (After Ich ruf zu dir, Herr Jesu Christ, BWV 639) [Arr. for Violin, Cello & Piano by Tim Allhoff] 2:39
[s] b10 Eldbjørg Hemsing & Norwegian String Quintet Concerto in D Minor Variation (After Concerto in D Minor, BWV 974: III. Presto) [Arr. for Violin & String Quintet by Jan-Peter Klöpfel] 2:06
[t] b11 Eldbjørg Hemsing & Norwegian String Quintet Choral Aria Variation (After Widerstehe doch der Sünde, BWV 54: I. Aria) [Arr. for Violin & String Quintet by Tim Allhoff] 3:37

Pioneering experimental electronic record receives first-ever complete vinyl pressing, featuring expanded content and exclusive liner notes.

Editions Mego release the highly anticipated vinyl reissue of Get Out, the groundbreaking second album by Peter Rehberg under his influential PITA moniker. Originally released in 1999, this seminal work stands as a landmark achievement in experimental electronic music, praised for its revolutionary fusion of ear-splitting noise and melancholic melodies. Moving beyond the era's trend of pure abstraction, Get Out represents a pivotal moment when experimental electronic music began exploring new territories laying forth a path which many artists would subsequently follow.

This expansive reissue marks a significant milestone for collectors and enthusiasts, presenting all 12 tracks from the 2008 eMego CD version on vinyl for the first time. The inclusion of the rare Detroit live recording (remastered by Jim O’Rourke) provides invaluable insight into PITA's performance practice during the album's original touring cycle, whilst new liner notes from Jim O'Rourke and Chris Clepper provide further personal and anecdotal insight.

Since its original release, Get Out has been recognized as essential listening for understanding the evolution of experimental electronic music in the late 20th century. This authoritative reissue ensures that Rehberg's visionary work remains accessible to new audiences while providing longtime admirers with the definitive version of this crucial album.

The vinyl comes with a DL code which contains a 20 minute live performance in Kyoto, Metro, 25.01.1999.

‘No Fixed Point In Space’, the third full-length album by Jack Cooper’s Modern Nature, takes the palette of sound and themes that were honed on 2021’s ‘Island Of Noise’ and launches them into an expansive world of openness and vivid technicolour.

It’s a music that hasn’t been heard before; as melodic as anything Cooper has produced but framed by rhythms and instrumentation that reflect the chaos, unpredictability and colour of the natural world.

Certain moorings - woodwind, percussion, strings and Cooper’s lambent voice - are still present and recognisable from No Fixed Point In Space’s predecessor, ‘Island Of Noise’, but the new record marks a shift to utilising musical notation as a point of departure, from which the group explore the space around suggested notes and rhythms to create a semiimprovised, semi-composed ensemble performance.

These explorations of partly organised chance were recorded live and directly to tape.

This approach gives the music a remarkably fresh feel; songs pulse and evolve. The changes between movements, verse and choruses are almost all ambiguous. During the album’s opener, ‘Tonic’, a verse of hushed brevity washes away into a passage of overwhelmingly vibrant orchestration.

CD in four-panel digisleeve with 10-panel booklet with lyrics. LP pressed on 140g black vinyl with printed inner
sleeve and stamped postcard.

Reissue of the 3rd full length by Thomas Bücker aka Bersarin Quartett.

Melancholia. Longing. It is difficult to speak about these moods or states of the mind without invoking stereotypes. In ancient medicine, melancholia was considered to be one of the four temperaments, matching the four humours. In fact, melancholia, meaning "black bile" in Ancient Greek, was thought to be caused by an excess of this very body substance. By contrast, in more modern interpretations, literates and Freudians relate many variations of longing to the one primordial longing, the desire to return to one's mother's womb. In this context, the womb is considered to be the place of absolute comfort and cosiness, of total bliss. Thus it should not be surprising that to many of us melancholia is a mood which we like to invoke and to maintain, we like to envelop ourselves in it like in a warm blanket. Our brain and our sensory systems appear to be made for perceiving and emotionally responding to music in a very immediate fashion. Consequently music is the obvious drug for all of us melancholia-addicts. However, there is a thin line between melancholia and sadness, and music which is meant to be melancholic too often crosses this line by far. Only very few artists succeed in avoiding this crossing, and in creating music which is melancholia in its most pure form. It is safe to say that BERSARIN QUARTETT - the electronic music project of Thomas Bücker - is one of them.

After his debut in 2008 and the sophomore "II" in 2012 - album of the month in many magazines and in numerous "Best of the year" lists - Bücker in 2015 returned with his third BERSARIN QUARTETT album "III". Much like his two predecessors, III is a pure paradox. It is the creation of a perfectionist, an adamant control freak. Every element, be it a note, an ambience layer, a string arrangement, a field recording, a baseline, a vocal (Clara Hill on Track 11) or a beat, is meticulously modified and then assigned its place in Bücker's vast but still minimalistic arrangements. Thus, superficially Bücker's pieces seem to radiate a certain mechanical bleakness. However, there is a unique reduced warmth and liveliness emerging from these stainless compositions and transcending them. This transcendence is precisely the point where Bücker ironically looses control over his creations. In contrast to the first two BERSARIN QUARTETT albums, III offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without loosing the characteristic grandeur of Bücker's sound. Whereas BERSARIN QUARTETT's debut was merely a description of melancholia in its most pure form, III maybe even goes as far a defining what melancholia really is. It is the only emotion in the vast spectrum of human states of mind which one can bear forever.

London based experimental producer and composer "Leifur James" announces his return with news of a six date EU tour and the release ‘Wise Old Man’. The first single taken from his highly anticipated second album ‘Angel in Disguise’, which is due for release on the
24th April 2020 via "Night Time Stories" - Sister label to the coveted ‘LateNightTales’.

Driving, melancholic electronica, ‘Wise Old Man’ is a nod to what can be expected of James’ second album, Angel In Disguise, showcasing a more experimental side to his production. Traversing through musicality, progressive synths and introspection, this first single unveils the producer’s distinct sound with disorientated vocals; speaking of the interplay between reason and emotion, the lyrics repeat “Wise old man in my brain, soul bursting through my veins”, opening the gates to this captivating electronically steered opus.

This news comes after an incredible few years for the artist. In 2018 saw James release his esteemed debut album A Louder Silence on Night Time Stories and follow up remix EP that championed upcoming electronic talent including Bruce, FaltyDL and Whities producer, Coby Sey, on rework duties; projects which captured the attention of key tastemakers including Resident Advisor, Pitchfork, Mixmag, Electronic Sound and Future Music UK.

An aesthetically driven artist dedicated to marrying powerful visual backdrops with sonic explorations, James teamed up with Hungarian director, Balázs Simon; producing the critically acclaimed, ‘Wurlitzer’ project which saw widespread support from the likes of Boiler Room, CLASH, Directors’ Notes, Motionographer, the UK and Berlin Music Video Awards, the London Short Film Festival, Dublin International Film Festival and more.

Angel In Disguise promises to explore the themes of love and loss through a masterful blend of harmonic vocals from James himself, nuanced electronic soundscapes and vibrant percussion -
punctuated by bespoke visuals, directed by Balázs Simon.

This exciting project is expected to make waves and see James
step up, exhibiting his discerning ear and painstakingly honed production craft on aseminal label.

A meditative, folk-inflected score rooted in improvisation, ‘Dragon’s return’ echoes the soul of A film long buried behind the Iron Curtain



With Dragon’s Return, Australian composer and multi-instrumentalist Oren Ambarchi and Norwegian guitarist Fredrik Rasten present a new, meditative score to Eduard Grecner’s eponymous 1967 Slovak cult film — a stark, black-and-white parable.



The album captures a unique live performance recorded at the Videodroom Festival during Film Fest Ghent in October 2024, where this new score premiered alongside the film in collaboration with the Slovak Film Institute. What began as a fleeting, improvisational encounter between music and image has since taken on a life of its own — an evocative sound world that retains its power even in the absence of visuals.



The album will be available on vinyl and all digital platforms from September 12 via VIERNULVIER Records. The vinyl edition includes an obi strip, a booklet with film stills, and extensive liner notes on the film.



The label is known for shedding new light on forgotten films through reimagined soundtracks — claire rousay’s acclaimed The Bloody Lady being the most recent example.


“Folklore meets avant-garde in an ancient drama - a ballad about love, hate and finding a way out of loneliness” - Rastislav Steranka (Slovak Film Institute)



Ambarchi and Rasten do not accompany the images so much as speak through them. Their interplay — on guitars, flutes, percussion, and voice — unfolds slowly, without a fixed destination, culminating in subtle, entrancing drones. With few breaks or ruptures, this trippy, folk-inflected continuous composition invites surrender.



Rasten’s 12-string guitar and delicate use of voice create layered textures that shimmer and shift. Ambarchi, known for his electro-acoustic work, here explores a radically softer mode — strumming, bowing and coaxing tones from his instrument as though it were a string section unto itself. He blows into shells, adding breath and texture to the sonic palette, touching on something elemental.


Together, they evoke a sound world that feels both ritualistic and strangely familiar — as if echoing from a forgotten ceremony or dreamed into being after hearing an old folk tale. Rooted in improvisation, the music speaks in tones both intimate and expansive, shaped live in dialogue with the film and with each other, with only minimal overdubs added afterward.