Search:libra

Kyung Wha Chungs Debütalbum, eine Kombination der Violinkonzerte von Sibelius und Tschaikowski, gilt
seit über 50 Jahren weithin als Meilenstein. Bei seiner Veröffentlichung erhielt es eine begeisterte Kritik
vom damaligen Chefkritiker des „Gramophone“, Edward Greenfield, und wurde in der Sendung „Building
a Library“ von BBC Radio 3 zur Top-Empfehlung gekürt. Das London Symphony Orchestra unter André
Previn sind kongeniale Partner der großen koreanischen Violinistin.
Die Serie wurde von Rainer Maillard gemastert und von Sidney C. Meyer in den renommierten EmilBerliner-Studios unter Verwendung ihrer 100 % rein analogen Techniken (AAA) geschnitten. Es werden
ausschließlich analoge Quellen aus den originalen Stereo- und Quadrophonie-Masterbändern verwendet,
darunter auch kürzlich entdeckte analoge Master von frühen Digitalaufnahmen.
Diese in Deutschland bei der Schallplattenfabrik Pallas auf 180 g Virgin-Vinyl gepressten Deluxe-GatefoldVeröffentlichungen in limitierter Auflage enthalten: das Original-Artwork und Liner Notes; Archivfotos und
Faksimiles der Original-Aufnahmeblätter. Jede einzelne Veröffentlichung enthält individuelle Anmerkungen
von Dominic Fyfe, in denen die Geschichte der Aufnahme, der technische Hintergrund und der MasteringProzess detailliert beschrieben werden

After meeting and working with Janko Nilovic - the extraordinary French library maestro - on a new album, while traveling and performing together around the world for almost 10 years, Igor Zhukovsky & Romeo Miussky - the multi-instrumentalist production duo, and rhythm core of The Soul Surfers - were inspired to make a record of free, spiritual, esoteric sounds which blended together on tape and made Sound Excitement happen.Drawing on their experience as soundtrack composers and using heavyweight Soviet analog equipment, including a few vintage personal instruments belonging to some legends of the Soviet leftfield music scene, Igor & Romeo started experimenting with genre-blending music. The outcome of their recordings are a mixed bag of different moods and genres."It's something similar to a library record or more like a compilation of many different library records on one LP for a good decade if you know what I mean? It's the work which we're really excited about and excited to share with you! ...oh that's hell of a wordplay!"

A beautifully obscure piece of European library music, Rundflug (Local Flight) captures the cinematic, atmospheric side of the Jeff Bastow Orchestra. Both tracks unfold as a concise instrumental journey, combining elegant orchestration with a distinctly nostalgic, airborne atmosphere. Light, melodic and cinematic, feeling like the soundtrack to an imaginary film you know too well, with melodies that will linger in your mind way after the music is over.

On the B-side, Castro Moore delivers a new extended version, stretching the original into a deeper and dubby journey built for the slower passed dancefloor.

'Baroque Sunburst is proud to present Melaponica, the unique and unheard music of the interdisciplinary Brazilian artist João Machado, entirely created by electronically processing the recordings of stingless bees.
'Machado's work with field recordings of native bees form a sound library held in international collections such as the British Library and the Animal Sound Archive in Berlin, and his research into stingless bee communication has unfolded into experimental electronic music, finally finding its way on vinyl for the first time.
'Within its 40 minutes of never-stopping music, Melaponica reveals its unique sonic universe, flawlessly moving from complex percussive rhythms to melodies and soundscapes that seem to come as much from earth as from outer space. With an impressive ability to explore the potential of its original audio sources while pushing it to the limits, João Machado's idea of music never loses musicality and groove, even in its more intimate moments.'

Music From Memory presents ‘Miraggi’, the debut release by Argento, a new project conceived by composer and producer David August. Written between Berlin and the Tuscan coast, the record unfolds as an imagined soundtrack to the Mediterranean, shaped by memory, longing and a profound connection to landscape.

The earliest sketches emerged during extended periods spent along Italy’s Tyrrhenian coast, where the shifting light, vegetation and ever-changing presence of the sea became lasting creative impulses. At the same time, an immersion in Italian library music of the 1970s and ‘80s quietly informed the project’s tonal language, while traces of jazz fusion and Balearic ambience surfaced not as direct references but as distant echoes.

Built around a dialogue between synthesizers, electronics, acoustic percussion and environmental recordings, ‘Miraggi’ balances rhythmic movement with spacious, cinematic composition. During the recording process, August was joined by drummer and percussionist Lorenzo Setti, whose performances and co-writing became an integral part of the album’s evolving rhythmic language. Across extended improvisations and recording sessions, August and Setti gradually shaped a musical language that feels both deeply personal and quietly transportive, allowing atmosphere and place to become as important as melody or rhythm.

The title ‘Miraggi’ (‘Mirages’) emerged organically, evoking a longing for something that remains just out of reach — something that cannot fully be grasped or lived. It suggests a suspended state between perception and imagination, akin to a hallucination or a dream. In this sense, ‘Miraggi’ reflects the project’s inner narrative: an imagined soundtrack shaped by desire, memory and the spiritual abundance of the Mediterranean Sea.

‘Miraggi’ will be released on vinyl and digitally via Music From Memory on September 10th 2026.

DESCRIPTION
Lone Bison / Nick Bonell lives by the sea in Ramsgate. Mainly a guitar player and pedal freak, Nick bought a used Korg MS20 and fell in love with synths. As one half of Stuntmen, Nick released the sample-heavy single 'You're the Beat Find' on the groovy Tummy Touch label, which led to him scoring three Ford adverts in the U.S and a few pieces of well-used production music - which paid for more synths and pedals!
An album, 'Transistor Memory' and single 'Drugs' came out via Dom Martin's brilliant Polytechnic Youth records in 2021. "Wave Construction" was released by Castles in Space in Autumn 2023. An album for the CiS Subscription Library entitled "Mechanical and Electrical" was released in late 2024.
Nick Explains: "After recording "Transistor Memory", "Wave Construction" and "Mechanical and Electrical" pretty much back-to-back, I wanted to change my sound palette a little. I started programming my Hydrasynth Explorer in obsessive detail and was also drawn to using my voice, in a sampling kind of way at first. Sampling my voice then shifted into recording more straightforward vocals and writing proper songs again. "Rise Up" started as a field recording in my local park and then some wonky piano loops with a cheap mic – somehow a song arrived. I’ve always really liked really concise records, so I got interested in packing lots of synth textures into a three-minute pop song. As the record progressed, I did less leaning on vocoders and harmonisers and developed the courage to just do more up-front vocal mixes. Things like Maths and Minimal / Maximal are more groove-based and came from recording 20 minute drum tracks then jamming bass guitar over it then editing it all down and adding loads of synths. Oh, and there’s a bit of James Williamson era Stooges at the end of Minimal / Maximal – I was a bit nervous about playing garage rock guitar on a Castles in Space record but Colin told me I would be ‘fucking mental’ if I didn’t end the record with it."
Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks, a splosh of modern classical/minimalism and post-rock. He's a hot genius.
The album is preceded with "The Power" which will be available on streaming platforms as well as on our Bandcamp for those who want to listen or pre-order the album. There's a fantastic remix from MAPS included as well.

The sleepy calm of Klondyke, Louisiana, is shattered when an unknown man ruthlessly shoots his way out of a courtroom, abducting a girl hostage at gun-point and tearing out of town in a stolen car. Who is he? What is his concern with the girl, with a multi-millionaire’s secluded house, and with a great oil rig out in the Gulf of Mexico?

Fear Is The Key is a 1972 British action flick directed by Michael Tucher starring Barry Newman (Vanishing Point) and Suzy Kendall, based on Alistair MacLean's 1961 eponymous novel. The film is probably best remembered for its spectacular and lengthy car chase sequence, which necessitated a ten-minute plus action cue that demanded split-second timing so that each bar would blend perfectly with the chase sound effects. Realizing composer Roy Budd was just 25 years old when he recorded this score, makes it all the more impressive. Fun fact: this is the feature film debut of Sir Ben Kingsley so make sure to give it a whirl, especially if you're into hard-driving British jazz. In any case, this soundtrack too will surely satisfy fans of the jazz-funk and library music found on labels such as KPM and Music De Wolfe.

The soundtrack of Fear Is The Key is available as a limited edition of 500 individually numbered copies on pink marble vinyl and includes an insert with liner notes.

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone.

Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set.

Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.

Inspired by Kenneth Grahame's 'Wind in the Willows', the sonic endeavours of Mole have so far given us two cassettes (Before I Glare Up At The Sun Through The Top Soil and Mole's Uninvited Guests) and a top class library CD of covers. With ‘For Red Riverbank’, The Sprigs return to bison for their first full length LP, this time joined by Ratty and Badger to form a full three piece band, and to help Mole take on the developers working above ground…

Armed with guitars, pipes, samples and bric-a-brac, it’d be easy for the Sprigs to succumb to a totally romanticised nostalgia for an imagined British folkloric tradition. There’s enough of it going around. Instead, the gang create a ramshackle, ruddy faced blend of introspective hibernation, real-world anxiety and some absolutely knee slapping, joy inducing tunes. It’s a masterwork of folk collage - where beautiful straight-to-tape guitar sketches are cut up amongst British labour history with the help of Leon Rosselson and Ash Reid, giving way to waves of depression and relief in equal measure. Such is life!

Bist du verrückt genug um in die Welt von SPOOKYMAN einzutauchen, dem Klangforscher und Sound Tüftler Instrumenten Bauer aus Rom Italien, mit Weissem Operations Kittel und präzisions Brille, schickt er dich auf eine Zeitreise in Vergangenheit und Zukunft. Er benutzt Instrumente, die wie aus einem vergilbten Science-Fiction-Film entsprungen, zbsp ein Oszilloskop, das Schallwellen aufzeichnet, und einen Schallblaster, der mysteriöse Tonbänder abspielt. Seine Musik kann man unterordnen in einem Mix aus Library Music, Science-Fiction und Freak-Post-Blues und mann kommt sich vor wie in einem Spionagethrillers. SPOOKYMAN & SEIN AKUSMATISCHES ORCHESTER erwarten dich, um dich in eine Klangdimension zu entführen, in der die Zeit keine Rolle spielt und die Gegenwart in einer Mikro Dosis LSD aufgelöst ist. Summarized in VRR own words: "B-Picture Spy Explotation Movie sound researcher and tinkering instrument builder from Rome, Italy, he plays the oscilloscope that records sound waves and a sound blaster that plays mysterious tapes in a mix of library music, science fiction, and freak post-blues" Rabenschwarzes Vinyl und Kassette erhältlich!

Bist du verrückt genug um in die Welt von SPOOKYMAN einzutauchen, dem Klangforscher und Sound Tüftler Instrumenten Bauer aus Rom Italien, mit Weissem Operations Kittel und präzisions Brille, schickt er dich auf eine Zeitreise in Vergangenheit und Zukunft. Er benutzt Instrumente, die wie aus einem vergilbten Science-Fiction-Film entsprungen, zbsp ein Oszilloskop, das Schallwellen aufzeichnet, und einen Schallblaster, der mysteriöse Tonbänder abspielt. Seine Musik kann man unterordnen in einem Mix aus Library Music, Science-Fiction und Freak-Post-Blues und mann kommt sich vor wie in einem Spionagethrillers. SPOOKYMAN & SEIN AKUSMATISCHES ORCHESTER erwarten dich, um dich in eine Klangdimension zu entführen, in der die Zeit keine Rolle spielt und die Gegenwart in einer Mikro Dosis LSD aufgelöst ist. Summarized in VRR own words: "B-Picture Spy Explotation Movie sound researcher and tinkering instrument builder from Rome, Italy, he plays the oscilloscope that records sound waves and a sound blaster that plays mysterious tapes in a mix of library music, science fiction, and freak post-blues" Rabenschwarzes Vinyl und Kassette erhältlich!

"Motorway City" is a superb, driving-based collection of library music. The tracks on this album were all written between the mid-60s and the early 80s to hymn car travel, back when the petrol-operated motor car was seen as the transport mode of the future, when motorways were new and thrilling. It was car travel’s golden age.
The tracks are highly collectable rarities from the libraries of De Wolfe, Chappell and Hudson. It has been compiled by Bob Stanley of Saint Etienne who has also written the informative sleevenotes. It stretches from mod movers to proto-ambient, something for every car journey.

Library music soundtracked the many short films that extolled the virtues of TopTray restaurant at Watford Gap or the comfortable leather seats in an Alpine Sunbeam. These tunes illuminated the joys of motor travel, and were given titles such as ‘Fast Lane’, ‘Super City’ and ‘Clearway’.
Many of these tracks seem time specific. The sun peeks over the horizon for Basil Kirchin’s ‘Through New Territory’; Reg Tilsley’s ‘Hold The Road’ is so bright at midday that you’ll need to wear shades to stop the sun getting in your eyes; John Fiddy’s ‘City Skyline’ has to be seen (and heard) at dusk.

Ex-Soft Machine Karl Jenkins provides the tense ‘Wheeling’, and Peter Reno’s thunderous ‘Convoy’ shifts the mood up a gear. Maybe you should risk nudging the speed up, 80-plus, to the soundtrack of Alan Hawkshaw’s ‘Fuel Injection’ or Simon Park’s mellow-but-dynamic ‘Big Road’.
Beautifully packaged in a gatefold sleeve, "Motorway City" could be the soundtrack to your summer holiday.

Bidule 2.0 is an unique reinterpretation of Pierre Henry’s little-known sound heritage combined with ErikM’s original composition. The album explores previously unused raw materials, transformed through ErikM’s highly digital approach, balancing fixed composition and unexpected sonic events, a singular sonic experience where where historical archives and contemporary creation converge.

"Bidule 2.0 is a composition by ErikM that revisits a selection of the unused sonic heritage of composer Pierre Henry, covering the period from 1950 to 1974, sourced from the Son/Ré studio and digitized by the BnF (Bibliothèque nationale de France). Over the decades, Pierre Henry and his team accumulated a vast collection of sonic materials from their studio research.This sound library, recorded on analog tape, is a testimony to the recording techniques of that era — including the quality of microphones and recording media, as well as the acoustics of the recording spaces — all of which define the sound of a time. Not wanting to create a remix from the composer’s iconic sounds, I chose instead to work with selections of raw material from unused recording sessions, 168 sequences ranging from one to twenty-two minutes each. Isabelle Warnier and Bernadette Mangin provided me with sessions of prepared piano, series of electronic sounds, feedbacks, and voice recordings. Pierre Henry’s analog sounds were, for the most part, processed through successive stages (up to five generations of transformation), using a custom electronic device: Idiosyncrasie 9.3, built on Max/MSP and Lemur." - ErikM

A beloved cult classic of late-'90s indie pop, Beverley Atonale captures The Ladybug Transistor at their most elegant and timeless. Blending baroque pop arrangements, warm analog textures, jangly guitars, and lush vocal harmonies, the album has become a cornerstone release for fans of sophisticated, melody-driven indie. Long sought after by collectors, this vinyl reissue brings back an essential title from the American indie underground - a record whose cinematic songwriting and vintage pop sensibility continue to resonate decades after its original release. With enduring collector demand, strong catalogue value, and broad appeal among fans of Elephant 6-inspired indie pop, Beverley Atonale stands as an essential addition to any indie-focused catalogue and a timeless rediscovery for a new generation of listeners. Recommended For Fans Of The Essex Green, Belle and Sebastian, Broadcast, Stereolab, The Olivia Tremor Control.

"3..2..1..Go! The prompt begins and ends the latest Dorio production, starring Agent Friday & the Perfect Angel. Motion-blurred scenes coalesce in an imagined spy thriller soundtrack, cutting across club pop, neo-acoustic, and textured electronica. In eleven jet-setting tracks, the Texas duo reconfigures classic pop sensibilities and cocktail lounge idioms into a thoroughly modern work. The project’s newest LP marks a confident development in Chad Doriocourt and Rachel Rascoe’s co-songwriting and CD-age experimentation. Dorio’s mission starts now.

Fuzz guitars, monophonic synthesizers, and bouncy drum breaks fuel a tale of covert operations on Agent Friday & the Perfect Angel. The album’s propulsive production cuts across a pristine millennium palette, from Madonna’s 1998 Ray of Light all the way to Gorillaz’s 2010 Plastic Beach. Rising to meet the energy of live audiences, Doriocourt’s dance-oriented production amps up Rascoe’s singsong melodies. It’s music readymade for both recreational and listening formats.

“An upbeat form of bubblegum-pop and hip-hop percussion that recalls the recent neo-psych output of Stones Throw Records.” – Flood Magazine

“Recalling the nostalgic majesty of bands like Wishy, Tennis, and Hovvdy, the skittering hi-hat feels like rain drops hitting the metal roof of an old car, the production insular while somehow vivid and full of imagination… Whatever the instrument, Dorio know how to make quite an impression.” – Consequence

“Summery psych-pop that often infuses their dreamy melodies, kaleidoscopic hooks, and breezy vocals with nostalgic millennium-tinted breakbeats.” – KEXP"

Following the solid showing of global love and support for the collective Point Winona Sound Library Vol 1, LA’s Elbow Grease label runs it back with a sultry summer scene LP entry from one of the compilation’s most promising new talents.
Nashville-born/LA-bred Michael Griffin aka Gryph’s aptly-titled debut album Nash Angeles is a rare and refreshing example of true musical worlds colliding, that never loses focus of keeping the big fun in funky. The Tennessee-raised rock and blues guitarist/singer-songwriter’s newfound passion for dance music roots and devotion to the sonic feels of his current Cali home base are on full display here. Along with the studio-ace touches of co-producer Dave Aju and a cast of brilliant feature vocalists and live session musicians, the LP offers up only the most adventurous twists on contemporary genre fusion - from disco to dub, modern soul to post-punk, italo to r&b, and jazz-funk to classic house music, all while firing loved-up arrows straight through the hearts of any dance floors or fellow party animals, just in time for open-air bbq season
Already in heavy support rotation by legends such as: Glenn Underground, Francois K, Bill Brewster, Daniele Baldelli, Pete Herbert, Louise Chen, Graeme Park, Felix Joy, DJ Rocca, Massimiliano Pagliara, and many more..

Due to demand, ‘Completely Deep Patterns’, the 2025 debut album of the Deep Patterns project of Bristol producer Ben Dubuisson, is to be reissued as a full vinyl release on 14th July. Originally released on very limited edition lathe-cut vinyl, tracks from Deep Patterns have been supported on BBC 6 Music, FIP, Jazz FM, KEXP, NTS, Rinse FM, and SWU; with Electronic Sound magazine describing it as “An immersive 1970s soul bath scented by lo-fi hip hop and dub” and Twisted Soul calling it “Nothing short of a triumph…indicative of its architect’s boundless talents and fascinating vision”.

Lush, late-night tracks rooted in hip-hop foundations, live instrumentation, rare samples, and recurring motifs; the album was crafted in collaboration with a revolving cast of musicians Dubuisson has built deep connections with over the years, including BEAK> bassist Billy Fuller, Dan Harris on piano, Jamichael on flute, and vocals from The Epoch House Choir. Sliding between soul, jazz, library, and cinematic soundtracks, the album is filtered through a gritty, modern Bristol lens. At its heart, it’s a meditation on loss, longing, and the strange beauty of the world we’ve made for ourselves. From running cult Bristol record shop Purple Penguin and co-founding the city’s influential club Native, to his releases as Hundred Strong, Dubuisson has long championed soulful, forward-thinking music. Having collaborated with everyone from Taskforce and A-Trak to Joseph Malik, Alison Crockett, Amp Fiddler and Boca 45; ‘Completely Deep Patterns’sees him push deeper still, weaving a sonic world that feels both timeless and freshly alive.

African visions, Middle Eastern mirages, and cosmic pulsations: the map of Giuliano Sorgini’s sonic universe continues to expand, revealing new, uncharted territories.

Set for release on 10 July, the 7-inch Savana Selvaggia brings together two extraordinary, previously unreleased tracks, shedding light on one of the most visionary facets of Sorgini’s library music aesthetic. On Side A, “I misteri del mondo” (The Mysteries of the World) transports us to an imagined, ancestral Africa suspended between endless horizons, elegiac wilderness, and analogue electronics.

On Side B, “Arabian Safari” opens the door to a mystical, Arabic-tinged soundscape where African imagery blends with Middle Eastern influences and kosmische futurism. Driven by a potent mix of electronic drums, hypnotic sequencing, and fiercely inventive synths, it strikes a sonic kinship with the finest European Krautrock.

The dialogue between these two tracks perfectly highlights the composer's artisanal, experimental approach. Here, the Solina, Minimoog, modular circuits, pulsating synth lines, and suspended melodies intertwine to form a fascinating, enigmatic, and deeply personal sonic world—one built entirely by Sorgini in his Cat & Fox Studio in Rome, located a mere stone's throw from the RAI headquarters.

Two forgotten tracks. Two cinematic journeys whose original visuals have been lost to time. Two missing puzzle pieces in the ongoing recovery of the work of a composer who sounds more modern today than ever before. A magnificent sonic transmission from a bygone era that lands with the force of a contemporary revelation.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

In ,Library Copy Do Not Remove" präsentiert JJ Weihl von Discovery Zone eine digitale Verzauberung der Realität, in der er das Materielle und das Immaterielle miteinander verwebt, um zu zeigen, dass es sich dabei tatsächlich um zwei Aspekte ein und desselben handelt. In Weihls Welt sind Natur und Technologie keine Feinde, sondern erschaffen sich gegenseitig in einem unendlichen Tanz aus Bedeutung und Reflexion. Ursprünglich als Raumsound für das Zeiss-Groß-Planetarium in Berlin geschaffen, ist ,Library Copy Do Not Remove" eine Schöpfungsmythologie für das simulierte Universum. Dabei handelt es sich jedoch nicht um eine trockene, bostromische, maskuline Fantasie einer digitalen Realität, der die Geheimnisse der Natur fehlen. Stattdessen fordert Weihl den Zuhörer auf, im Rahmen einer Simulation Raum für die beeindruckende Realität der natürlichen Welt zu lassen. Wenn unsere Welt simuliert ist, dann muss die Simulation in der Lage sein, die Schönheit und Pracht der Natur zu erschaffen. Auf diese Weise betreibt Weihl eine ambient-artige Alchemie, die eine große Versöhnung von Natur und Technologie fordert, während sie uns auffordert, darüber nachzudenken, wie und wo die Erfahrung transzendenten menschlichen Bewusstseins zwischen ihnen existieren könnte. Die Songs auf ,Library Copy Do Not Remove" entstanden, während Weihl gleichzeitig ihr zweites Album ,Quantum Web" fertigstellte, und spiegeln einen weitreichenden, inspirierenden Zustand aus Aufregung und Angst wider, der mit der Aufgabe einherging, Musik für einen so einzigartigen Raum zu komponieren. Die Songs selbst wurden durch Ambisonics geformt, ein spezielles Format für räumliches Audio, das direktional ist, anstatt auf Kanälen zu basieren (wie Stereo), und wurden über ein Mosaik aus 49 Lautsprechern übertragen. Da es für Live-Auftritte geschrieben wurde, war ,Library Copy Do Not Remove" nie als Album im eigentlichen Sinne gedacht, sondern als dreidimensionales Ereignis. Auf diese Weise spiegelte die Klanginszenierung wider, wie wir Klang in unserem Alltag wahrnehmen: uns aus allen Richtungen umgebend. Für diese Albumveröffentlichung hat Weihl alle Songs gemeinsam mit ihrem langjährigen Produzenten E/T von Grund auf neu abgemischt und die Konstellation der Tracks für ein Stereoerlebnis neu konzipiert und überarbeitet. Inspiriert von den Werken von James Gleick, LD Deutsch, Johannes Kepler und Jorge Luis Borges, erforscht ,Library Copy Do Not Remove" die kreative Spannung zwischen Realität und Wahrnehmung, Information und Mythologie, Harmonie und Unordnung. Im gesamten Album fragt Weihl, wie wir als Menschen das Universum um uns herum und den zugrunde liegenden Code, der es belebt, verstehen lernen. Was dabei entsteht, ist ein klanglicher Mythos, der von spiralförmigen digitalen Universen erzählt, die ineinander verschachtelt sind und in denen jeder teilnehmende Akteur gleichzeitig sowohl Teil als auch das Ganze der Realität ist. Auf diese Weise ist ,Library Copy Do Not Remove" ein cyber-Ausdruck zeitloser Weisheit: Anstelle von ,wie oben, so unten" könnte Weihl vorschlagen: ,wie der Input, so der Output".

John Ringhofer, der Mann hinter Half-Canded Cloud, ist ebenso fröhlich und genügsam wie seine Musik. Als sparsamer Mensch zieht Ringhofer die U-Bahn dem Taxi vor, recycelt Plastik, macht sich zwanghaft Notizen und ist ein geborener Optimist. Half-Canded Cloud begann 1999 als Heimstudio-Projekt in Chattanooga, Tennessee. Ringhofer lebte später über ein Jahrzehnt lang in der kalifornischen Bay Area (wo er als Teilzeit-Hausmeister arbeitete), bevor er 2015 mit seiner jungen Familie nach Helsinki, Finnland, zog, um die linguistische Forschung seiner Frau zu unterstützen. Half-Canded Cloud versteht es, komplexe theologische Konzepte in eingängige und erhabene Kinderlieder zu verpacken, die sich weder ihrem Thema noch ihrem Zuhörer herablassend nähern.

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

French label Latency presents ‘Estradas (Versions)’ - a dynamic reimagining of the acclaimed collaboration between drummer-composer Valentina Magaletti and Afro-Portuguese producer Nídia. Following Estradas’ recognition as one of 2024’s Best Albums by Pitchfork, The Wire, Resident Advisor, Artforum, Bandcamp, and more, ‘Estradas (Versions)’ invites a diverse lineup of producers and DJs to deconstruct and reimagine the raw percussive language initially crafted by Magaletti and Nídia. Where the original Estradas channeled their distinct rhythmic sensibili- ties into a bold sonic statement, this collection pushes those ideas further - opening the material to radical transformation across tempo, genre, and mood.

One of the leading baile funk innovators from Belo Horizonte, Dj Anderson do Paraíso opens the release by transforming “Andiamo” into a slow-burning, hallucinatory drift. Mexico-based Rosa Pistola and Freebot follow with “Rapido,” infusing it with syncopated, raw heat drawn from the pulse of underground Latin dancefloors. Lebanese-Australian producer Dj Plead pares “Sicilia” down to its core, distilling its essence into stripped-back, polyrhythmic ten- sion. On “Mata,” Brazilian DJ and producer BADSISTA delivers a fierce, bass-heavy version driven by slicing synths and unrelenting club pressure. Multidisciplinary artist FAUZIA sharpens the rhythmic intricacy of “Nasty” with her signature blend of speed and emotion.

London-born DJ, producer, and label founder Sherelle - known for her high-octane 160bpm mix of footwork and jungle - injects “Estradas” with blistering breakbeat energy, reframing its urgency through a razor-sharp UK lens. Chinese musician and sound artist Yu Su offers a fluid, atmospheric reinterpretation of the same track, softening its edges while preserving its momentum. Scottish composer and producer Fergus Jones pulls “No Promises” into hypnotic new rhythmic terrain. Dominican producer and multidisciplinary artist Kelman Duran stretches “Ta A Bater Ya” into a shadowy, reverberant space, while Lebanese composer and multi-instrumentalist Charif Megarbane and its Cosmic Analog Ensemble reimagines it with layered, cinematic textures echoing vintage library music and psych-jazz soundtracks.

These artists treat Estradas as raw material - reframing its structures and reactivating its rhythmic possibilities through entirely new prisms. What emerges is not a conventional remix album, but a vibrant constellation of versions : a response to Estradas’ percussive provoca- tions, and an extension of its spirit of exploration - all while keeping its pulse alive.

Moving Images is a collaborative album by composers Frank Maston and Greg Foat, and marks the inaugural release on Magic Hollow, the new imprint founded by Daniel O'Sullivan. Rooted firmly in the tradition of classic library music, the album draws from the deep, elegant end of the form: vintage keyboards, analogue synthesis, drum machines, and melodic economy, realised with clarity, warmth, and restraint. Recorded in February 2025 at Ritmo Studios in Leysin, Switzerland, high in the Alps, Moving Images unfolds as a suite of finely balanced cues, defined by restraint, texture, and a discerning sense of tone.Swiss bassist Elie Ghersinu features prominently throughout the album, his rich and fluid bass tone providing a continuous anchor. The record draws inspiration from the golden age of European library music, channeling the spirit of De Wolfe and Bruton releases such as Alan Hawkshaw's Frontiers Of Science, the Push Button albums by Karl Jenkins and Mike Ratledge, Edmondo Giuliani's refined orchestrations, and Alessandro Alessandroni's Romance and Drama for Coloursound. Rather than pastiche, Moving Images internalises the discipline and elegance of these recordings, translating their grammar into a contemporary context. Maston Frank Maston's work occupies a space where pop sophistication, orchestral writing, and library traditions intersect. His seminal album Tulips established a distinctive voice defined by melodic confidence and meticulous arrangement, while Panorama, composed for the KPM library, placed him firmly within the lineage of modern composers revitalising the classic library form.Maston's music is characterized by melodic generosity and meticulous arrangement, resulting in work that is elegant, florid, and richly detailed. Greg Foat Greg Foat is a central figure in the contemporary resurgence of library-influenced music, known for his prolific output and deep engagement with the form. A virtuoso pianist, his work bridges jazz, soundtrack composition, and classic library aesthetics, often favouring analogue warmth, strong melodic identities, and ensemble interplay. Foat approaches library music as both a craft and a living language, practical, expressive, and open ended. Moving Images Together, Maston and Foat treat Moving Images as a shared vocabulary rather than a showcase. The album prioritises mood, utility, and suggestion, music designed to serve images and narratives while remaining richly satisfying in isolation. Magic Hollow Magic Hollow is a London based record label founded by composer Daniel O'Sullivan. The imprint is dedicated to contemporary works that engage with library music as a creative practice rather than a fixed genre.Magic Hollow represents a parallel compositional practice in which the sonic self-portrait gives way to openness, economy, and concision.

Long overlooked outside specialist circles, Drammi e Speranze is presented for the first time ever on vinyl reissue, newly remastered to highlight the depth and tonal richness of Umiliani’s arrangements.

Originally released in 1976 on Piero Umiliani’s own Sound Work Shop imprint, Drammi e Speranze—issued under the pseudonym Rovi—stands as a refined example of his late-period library work.

Performed by a compact string ensemble and subtly augmented by piano, Hammond organ, Eminent organ, and Rhodes, the album unfolds through a series of classically-informed compositions where melody takes center stage. Each piece is concise, evocative, and purpose-built—reflecting the functional yet highly expressive nature of Italian library music at its peak.

Conceptually, the record is structured in two contrasting halves: the first side explores themes of optimism and resolution, while the second delves into darker, more introspective territories, mirroring the emotional duality suggested by its title (Tragedies and Hopes).

This release celebrates 100 years since the birth of Piero Umiliani, honoring the enduring legacy of a composer whose work continues to resonate across cinematic, library, and contemporary sample-driven music.

©℗ 1976, Liuto Edizioni Musicali / Licensed to Holy Basil Records by Liuto Edizioni Musicali

Full colour sleeve with rare use of the Italian only movie artwork.

A few years ago I issued the soundtrack to Virgin Witch, the score to an underground 1971
kinky British London / posh stately home horror that seemed more like an excuse to show as
many racy cars and devilish nude scenes as possible. This fleapit film was written by Hazel
Adair - the writer of legendary long-running TV series Crossroads, and her business partner at
the time Ken Walton (yes, the wrestling commentator). Virgin Witch was cheap and successful
enough to allow the whole team another go at the sexploitation game through their newly
formed production company Pyramid Films. Sex Clinic was the quick follow up; I say Sex Clinic,
the initial cinematic title was Clinic Xclusive, which was also called With These Hands, which
was also called La Masseuse Perverse. This film also came out in 1971 and they used the
musical services of Ted Dicks once again. Dicks had originally met Adair in 1960 through a cast
member performing in his first musical, Look Who’s Here.

If you are not aware of the great Ted Dicks, his quick bio reads as follows: born London 1928,
was educated through both grammar and art school and after National Service flirted with both
art and music. He worked with a series of very talented song writers - including Barry Cryer -
finally sparking properly with writer Myles Rudge. Together “Dicks and Rudge” had a hit with
their musical And Another Thing which starred Lionel Blair and Bernard Cribbins. Their talents
were spotted by producer George Martin and they followed this show success up with a series
of truly classic novelty pop chart hits, again with Cribbins - “Hole In The Ground” and “Right Said
Fred”. If you are not aware of the classic A Combination Of Cribbins LP they wrote, go and find
it. It includes “Gossip Calypso”, a triumph of novelty song writing that somehow manages to
squeeze in the lyric “Oxy-aceteline welder”, and is possibly the only song ever to do so. They
wrote further hits (winning an Ivor Novello for “A Windmill In Old Amsterdam”) and were in
constant demand throughout the 1960s and 1970s, working with artists such as Petula Clark,
Matt Munro, Bruce Forsyth, Topol and Kenneth Williams.

By the late 1960s Ted had also penned a handful of instrumental library cues including the
classic “Busy Boy” for the Standard Library company that got picked up as the theme for the
brilliant TV kids fantasy show Catweazle in 1970. It’s a light, kooky, hummable tune that lodged
its way deep in the mind of any child under 12 over the following decade.

When I first got the reels for Sex Clinic I’m not sure what I was sonically expecting - much of
Dicks’ music blends musical hall with jazz and some brilliant novelty - and maybe I was also
imagining a different kind of film to the one that was actually made. Turns out Sex Clinic is more
like a sleazy drama than an erotic adventure - I’ve read reviews that call it “nothing more than a
naked Crossroads”. Even knowing this I had no idea what the music was going to sound like. So
I was thrilled when it was almost the musical opposite of what I imagined. We have here a great,
easy jazz score. Not a proggy, wild or free jazz score, this is lightish, vibes-led, bluesy and really
charming, which gets slightly more lively when the naked pool party sequence kicks off, and
drifts effortlessly into more seductive midnight moods as and when required. And having now
seen the film, musically it’s unusually at odds with the on screen nudity, blackmail and revenge.

But like most of Ted’s work, the music sticks in your mind. Unlike the film. Which I suggest you
try and avoid unless you like watching plump randy middle aged men with terrible hair pursue
women half their age.

TRACKLISTING: There were no notes or titles to any of the cues on the reels. So I have just simply labeled the sides as per the reels that came in:

Nach den jazzigen Library-Klängen der 2023 erschienenen gemeinsamen LP ,Dolphin" mit Greg Foat und Moses Boyd kehrt der venezianische Maestro Gigi Masin zu dem Ambient-Sound zurück, für den er bekannt ist - mit ,Movement", seinem ersten Solo- Album seit ,Calypso" aus dem Jahr 2020 und seinem Debüt bei Sacred Bones Records. Angetrieben von kreativer Neuerfindung und rhythmischer Bewegung bewegt er sich nahtlos zwischen melancholischen MIDI-Klängen, technoider Robotik, groovigen, liminalen Wolkenlandschaften und meeres tiefem Ambient. Seit seinen frühen Anfängen in der Anonymität baute sein Debütalbum ,Wind" aus dem Jahr 1986 langsam eine organische Anhängerschaft im Late-Night-Radio auf, die später noch verstärkt wurde, als ,Clouds" von Künstlern wie Björk, Post Malone und anderen gesampelt wurde. Zu seinen Fans zählen heute Oneohtrix Point Never, Devendra Banhart, Caroline Polachek und der verstorbene Kenny Wheeler. Das neue Album ,Movement" reflektiert Masins Stellung im Pantheon der Ambient-Meister, seine anhaltenden künstlerischen Ambitionen und seine Bestrebungen für eine Szene, deren exponentielles Wachstum er seit ihren bescheidenen Anfängen miterlebt hat. Die LP ist zudem eine Ode an die wörtliche Bewegung, sowohl in der Natur als auch in den körperlichen Ausdrucksformen des Menschen gegenüber dem Klang. Masin strebte danach, Ambient-Musik für Bewegung zu schaffen, nicht im üblichen Sinne von Tanzmusik, sondern ,dynamische Musik, mit einem schlagenden Herzen voller Liebe". Indem er die Assoziation von Ambient mit einsamen Hörerlebnissen und kühler Akademik auflöste, wandte sich Gigi nach außen und kanalisierte etwas Somatisches, das sich mit dem Körper verbindet, nicht nur mit dem Geist. ,Bed on Mars" gibt den titelgebenden Ton für Masins neu entfachte Neugier an, mit kosmischen Atmosphären, die das Gefühl hervorrufen, auf einem neuen Planeten ohne Furcht zu erwachen, während die ergreifende synthetische Trompete und der schwebende liminale Schwebezustand von ,Lost" sich anfühlen, als würde man in einem unbekannten Meer treiben. Noch tiefer in die exzentrischen Beats taucht der himmlische Techno-Funk von ,Deception Dance" ein, der klingt, als würden Sun Electric mit Carl Craig und Kraftwerk jammen. Das strahlende Licht von ,Golden" strahlt Wärme aus und klingt wie der Bossa-Nova-Bruder von Göttschings Balearic- Klassiker E2 E4. Trotz des Todes seiner Frau nach langer Krankheit und des Verlusts seines musikalischen Archivs durch eine Überschwemmung bleibt Gigi im Herzen rein und positiv und legt seine ganze Seele in das Streben nach Schönheit. Als jüngstes Werk einer langsam beginnenden, aber stetig wachsenden Karriere festigt Masin mit ,Movement" weiterhin seinen Platz unter den wahren Ambient-Größen.

Nach den jazzigen Library-Klängen der 2023 erschienenen gemeinsamen LP ,Dolphin" mit Greg Foat und Moses Boyd kehrt der venezianische Maestro Gigi Masin zu dem Ambient-Sound zurück, für den er bekannt ist - mit ,Movement", seinem ersten Solo- Album seit ,Calypso" aus dem Jahr 2020 und seinem Debüt bei Sacred Bones Records. Angetrieben von kreativer Neuerfindung und rhythmischer Bewegung bewegt er sich nahtlos zwischen melancholischen MIDI-Klängen, technoider Robotik, groovigen, liminalen Wolkenlandschaften und meeres tiefem Ambient. Seit seinen frühen Anfängen in der Anonymität baute sein Debütalbum ,Wind" aus dem Jahr 1986 langsam eine organische Anhängerschaft im Late-Night-Radio auf, die später noch verstärkt wurde, als ,Clouds" von Künstlern wie Björk, Post Malone und anderen gesampelt wurde. Zu seinen Fans zählen heute Oneohtrix Point Never, Devendra Banhart, Caroline Polachek und der verstorbene Kenny Wheeler. Das neue Album ,Movement" reflektiert Masins Stellung im Pantheon der Ambient-Meister, seine anhaltenden künstlerischen Ambitionen und seine Bestrebungen für eine Szene, deren exponentielles Wachstum er seit ihren bescheidenen Anfängen miterlebt hat. Die LP ist zudem eine Ode an die wörtliche Bewegung, sowohl in der Natur als auch in den körperlichen Ausdrucksformen des Menschen gegenüber dem Klang. Masin strebte danach, Ambient-Musik für Bewegung zu schaffen, nicht im üblichen Sinne von Tanzmusik, sondern ,dynamische Musik, mit einem schlagenden Herzen voller Liebe". Indem er die Assoziation von Ambient mit einsamen Hörerlebnissen und kühler Akademik auflöste, wandte sich Gigi nach außen und kanalisierte etwas Somatisches, das sich mit dem Körper verbindet, nicht nur mit dem Geist. ,Bed on Mars" gibt den titelgebenden Ton für Masins neu entfachte Neugier an, mit kosmischen Atmosphären, die das Gefühl hervorrufen, auf einem neuen Planeten ohne Furcht zu erwachen, während die ergreifende synthetische Trompete und der schwebende liminale Schwebezustand von ,Lost" sich anfühlen, als würde man in einem unbekannten Meer treiben. Noch tiefer in die exzentrischen Beats taucht der himmlische Techno-Funk von ,Deception Dance" ein, der klingt, als würden Sun Electric mit Carl Craig und Kraftwerk jammen. Das strahlende Licht von ,Golden" strahlt Wärme aus und klingt wie der Bossa-Nova-Bruder von Göttschings Balearic- Klassiker E2 E4. Trotz des Todes seiner Frau nach langer Krankheit und des Verlusts seines musikalischen Archivs durch eine Überschwemmung bleibt Gigi im Herzen rein und positiv und legt seine ganze Seele in das Streben nach Schönheit. Als jüngstes Werk einer langsam beginnenden, aber stetig wachsenden Karriere festigt Masin mit ,Movement" weiterhin seinen Platz unter den wahren Ambient-Größen.

Brown Spirits are a super-heavy psychedelic three-piece band who play raw energetic super-charged psych rock heavily influenced by krautrock, freejazz and deep funk music from the 1970s that gives them a truly unique and highly addictive sound. The group record and mix their own music to ¼-
inch analogue tape at home maintaining a strictly DIY-ethic.

Brown Spirits are Tim Wold, Agostino Soldati and Ash Buscombe. The group are from the suburbs of Melbourne, Australia, home to an ever-growing
music scene that includes Amyl and the Sniffers, King Gizzard and The Lizard Wizard, Surprise Chef, Tropical Fuck Storm and more.
The group have already released two superb critically-acclaimed album on Soul Jazz Records – ‘Cosmic Seeds’ and Solitary Transmissions’.
Soul Jazz Records are releasing three new albums from the Australian group on one day. All three albums are super-limited one-off special coloured
vinyl pressings of just 500 copies each that will all be deleted on the day of release.

These three albums were originally released (between 2017-2020) in long-deleted very short run-editions - either self-released in Australia or on an
indie German psych label. No copies of Brown Spirits #2 or Brown Spirits #3 are currently available anywhere in the world. Both of Brown Spirits two
earlier releases for Soul Jazz Records are also sold out on vinyl and these three super-limited special edition LPs will also sell out.

Rashad and Confidence announce the vinyl reissue of their debut album “The Element Of Surprise”. Though originally released in 2011, the melange of soul samples, classic breaks and favoring of lyrical storytelling / conceptual joints could easily have been released in the 90’s.

The 2xLP vinyl edition includes the 2019’s single “Desires” as well as two never before heard tracks from the 2011 sessions entitled “Non Stop” and “Feel It.” All tracks on the 2026 vinyl version are remastered!

Rashad, a Brooklyn NY emcee who sports a nimble and rapid flow excels at making anthemic choruses interspersed with highly detailed bars. Examples of album topics include a vivid picture of the hood while making a cautionary tale of its pitfalls (“The City”), his personal emcee origin story (“Days Of My Youth”), and the results of low motivation (“Pass Me By”) among others.

Boston based producer Confidence has made a career of sample chopping and analog warm heaters. He also tends to favor the one emcee/one producer line-up of the golden years. This extends to his recent collaborative LP's on Below System Records including “Library Of Sound” with M-Dot and “Kool Moe Dese” with Big Dese.

The second installment of The Tape Masters series by German film music maestro Peter Thomas. Audiophile pressing in deluxe 2x10" vinyl set, limited to 500 copies.
While volume one of the series compiled Thomas' dopest library music cuts, this album dives deep into the soulful side of the Peter Thomas Sound Orchester, featuring the mystique house band of Afro-American Munich GI club Tabarin Bar, Donna Summer's first solo recordings, stunning cinematic funk instrumentals and a healthy amount of breaks and beats.

Out of the 20 scorching tunes on this compilation, only three were released at the time of their recording and are nearly impossible to find on the 2ndhand market, ten have never been released anywhere before, others celebrate their first outing on vinyl or in stereo.

Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970s, best known for his iconic soundtracks. Today, his work is cherished not least for its incredible groove factor. The story of this compilation traces the origins of the Peter Thomas Sound Orchester's rhythm section and its soul music background, shines a light on unsung heroes like singer Joe Quick and unearthes nuggets that have been lying dormant on tape for decades.

All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation is released in cooperation with Peter Thomas' son Philip who represents the Peter Thomas Sound Orchester catalogue since his father's passing in 2020.

In ,Library Copy Do Not Remove" präsentiert JJ Weihl von Discovery Zone eine digitale Verzauberung der Realität, in der er das Materielle und das Immaterielle miteinander verwebt, um zu zeigen, dass es sich dabei tatsächlich um zwei Aspekte ein und desselben handelt. In Weihls Welt sind Natur und Technologie keine Feinde, sondern erschaffen sich gegenseitig in einem unendlichen Tanz aus Bedeutung und Reflexion. Ursprünglich als Raumsound für das Zeiss-Groß-Planetarium in Berlin geschaffen, ist ,Library Copy Do Not Remove" eine Schöpfungsmythologie für das simulierte Universum. Dabei handelt es sich jedoch nicht um eine trockene, bostromische, maskuline Fantasie einer digitalen Realität, der die Geheimnisse der Natur fehlen. Stattdessen fordert Weihl den Zuhörer auf, im Rahmen einer Simulation Raum für die beeindruckende Realität der natürlichen Welt zu lassen. Wenn unsere Welt simuliert ist, dann muss die Simulation in der Lage sein, die Schönheit und Pracht der Natur zu erschaffen. Auf diese Weise betreibt Weihl eine ambient-artige Alchemie, die eine große Versöhnung von Natur und Technologie fordert, während sie uns auffordert, darüber nachzudenken, wie und wo die Erfahrung transzendenten menschlichen Bewusstseins zwischen ihnen existieren könnte. Die Songs auf ,Library Copy Do Not Remove" entstanden, während Weihl gleichzeitig ihr zweites Album ,Quantum Web" fertigstellte, und spiegeln einen weitreichenden, inspirierenden Zustand aus Aufregung und Angst wider, der mit der Aufgabe einherging, Musik für einen so einzigartigen Raum zu komponieren. Die Songs selbst wurden durch Ambisonics geformt, ein spezielles Format für räumliches Audio, das direktional ist, anstatt auf Kanälen zu basieren (wie Stereo), und wurden über ein Mosaik aus 49 Lautsprechern übertragen. Da es für Live-Auftritte geschrieben wurde, war ,Library Copy Do Not Remove" nie als Album im eigentlichen Sinne gedacht, sondern als dreidimensionales Ereignis. Auf diese Weise spiegelte die Klanginszenierung wider, wie wir Klang in unserem Alltag wahrnehmen: uns aus allen Richtungen umgebend. Für diese Albumveröffentlichung hat Weihl alle Songs gemeinsam mit ihrem langjährigen Produzenten E/T von Grund auf neu abgemischt und die Konstellation der Tracks für ein Stereoerlebnis neu konzipiert und überarbeitet. Inspiriert von den Werken von James Gleick, LD Deutsch, Johannes Kepler und Jorge Luis Borges, erforscht ,Library Copy Do Not Remove" die kreative Spannung zwischen Realität und Wahrnehmung, Information und Mythologie, Harmonie und Unordnung. Im gesamten Album fragt Weihl, wie wir als Menschen das Universum um uns herum und den zugrunde liegenden Code, der es belebt, verstehen lernen. Was dabei entsteht, ist ein klanglicher Mythos, der von spiralförmigen digitalen Universen erzählt, die ineinander verschachtelt sind und in denen jeder teilnehmende Akteur gleichzeitig sowohl Teil als auch das Ganze der Realität ist. Auf diese Weise ist ,Library Copy Do Not Remove" ein cyber-Ausdruck zeitloser Weisheit: Anstelle von ,wie oben, so unten" könnte Weihl vorschlagen: ,wie der Input, so der Output".

Renowned Italian jazz master Nicola Conte presents an incandescent limited edition 7" single for Record Store Day 2026. "Terra Em Transe" and "Naquela Base" are brand new tracks from sessions for Conte's forthcoming Far Out Recordings album, drawing deep from early 70s Brazilian jazz and modal hard bossa while underlining the vital role of the arts in social and political struggle.

In Nicola's own words: "Terra Em Transe' is a dedication to visionary director Glauber Rocha and to all free thinkers willing to portray the conflicts, contradictions and lies of those in power around the world." The original composition takes inspiration from Milton Nascimento's vocal harmonies and Tamba 4's sophisticated samba-jazz.

'Naquela Base' is a stunning reinvention of João Donato's classic: pure modal hard bossa recorded entirely live in the studio. Inspired by samba-jazz classics like Tenório Jr.'s "Embalo" and Paulo Moura's "Fibra", the track is carried beautifully by Teppo Mäkynen's masterful drumming, with solos from Gaetano Partipilo on alto saxophone and Pietro Lussu on piano, supported by Ameen Saleem on double bass and Abdissa Assefa on percussion.

Having released music with Blue Note, Impulse! and Schema records, Nicola Conte's relationship with Far Out Recordings has produced his acclaimed Umoja project, his five-part Viagem compilation series, and most recently Viaggio, a compilation exploring Italy's library music renaissance from 1970-79.

'Terra Em Transe / Naquela Base' will be released as a limited edition 7" single for Record Store Day 2026 via Far Out Recordings.

Angelo De Augustine kehrt mit ,Angel in Plainclothes" zurück, seinem fünften Album und bisher inspiriertesten Werk - eine tief empfundene Darstellung seiner mehrjährigen Reise der Heilung und Erneuerung. Das Album präsentiert De Augustines kraftvolle Melodien und ergreifende Texte in Titeln wie der eindringlichen Elegie ,Empty Shell", dem hoffnungsvollen ,Spirit of the Unknown" und dem herausragenden psychedelischen Country-Stück ,Mirror Mirror". Die Themen befassen sich mit der Zerbrechlichkeit des Lebens, zweiten Chancen und dem Wiederaufbauen seines Lebens, nachdem eine nicht diagnostizierte Krankheit ihn zwang, grundlegende Fähigkeiten neu zu erlernen: ,Ich versuche herauszufinden, wer ich jetzt bin", sagt De Augustine. ,Ich habe das Gefühl, dass mir eine zweite Chance im Leben gegeben wurde, und ich möchte sie leben." Das Album wurde vom Künstler in seinem Aufnahmestudio ,A Secret Place" in Südkalifornien geschrieben, aufgenommen, arrangiert, produziert und gemischt. Es ist das erste Mal seit Jahren, dass er wieder mit anderen Künstlern zusammengearbeitet hat, darunter der Streicharrangeur Oliver Hill (Kevin Morby, Helado Negro), den Harfenisten Leng Bian, die Backgroundsängerin/Percussionistin Wendy Fraser, den Produzenten Thomas Bartlett (der De Augustines ,Tomb" sowie St. Vincent und Bebel Gilberto produziert hat) und den Co-Produzenten Jonathan Wilson (Angel Oisen, Father John Misty) bei ,The Cure". Das Ergebnis ist ein kraftvolles Statement der Hoffnung: ,Eine der größten Hilfen, die mich am Leben gehalten haben, waren die Menschen in meinem Leben, die mir gesagt haben, dass letztendlich alles gut werden würde. Ich hoffe, dass diese Songs die gleiche Wirkung auf die Menschen da draußen haben und ihnen helfen zu erkennen, dass Wunder möglich sind."

WRWTFWW Records releases THE GENTLE PEOPLE - The Peel Sessions, available on vinyl for the first time ever, in conjunction with the worldwide expanded reissue of the group's Soundtracks for Living. Lounge/Chill Out music reborn !

This is an exclusive 4-song EP recorded in 1997 on BBC's Peel Sessions, as The Gentle People were doing the rounds for the release of their legendary debut album. These live versions have never seen the light of day before - a must have for all the gentle fans !
When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's The Gentle People : music that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.

LA underground hubs DISCOS XXX aka DX3 and Elbow Grease join forces to proudly present Point Winona Sound Library Vol 1 — featuring 20 distinct artists from the inspired local dance music scene, working under one unified studio roof in various collaborative
formation at the mighty Los Feliz hilltop palace Point Winona, overseeing the city they collectively represent. These timeless warehouse-wrecking tracks all stand on their own, but the compilation as a whole offers a solid geographic sonic statement with shared rhythmic DNA and bold rooted-futurist production blueprints, guided by the champion efforts of studio executive producers/curators Tavish DJ and Dave Aju.
The BPS stage-setting opener evokes crispy A.M. hours with lush Detroit-meets-Cali feels on “Within Reason” — then studio dream team 5 ATMs bring the dubwise floor vibes up a notch on “A Dub Called Mondo” and Chitown-to-LA legend Scott K lays down an FM bass-laced acid house heater with “Tighter & Tighter”. Nashville-born producer Gryph funks things up on the live space boogie bump of “Winona at Sunset” while SSRI, comprised of Underground Resistance’s DJ Dex/Nomadico, Aju, and Black Lodge’s fearless leader Kosmik, drop fierce robo-Italo bliss on “Omnicallora”. Things take a further psychedelic twist with the PW edit of Scotty Coats’ sublime midtempo tripper “Be Work Zone Alert”, then Omakase’s own Gold Code alongside longtime rave brother Aju drop the nasty J Saul-salute “Yolo Jungle”, and Warehouse Preservation Society aka Tavish DJ & TK fully detonate floors inna raucous Wicked Crew stylee with “Data Bliss”. Undisputed LA scene queen Stacy Christine arrives with her shining debut “Smart Move”, where she and Aju trade sly vox lines of party advice over a bouncing tech banger for the ages, before the “Obsesion Romantica (Free Winona Dub)” sees Sisters Of Sound aka Maddy Maia and Tottie's, OG track getting stripped back and fired up to acidic peak time form. Then Dave Aju and SF homies Moniker aka EO & Kenneth Scott unleash wild uptempo melodic bruk heaven on “Chuy Luis”, and Vastir sends us home with the stratospheric drum n bass closer "Turnpike"

Second release from London based jazz quartet and recorded at Abbey Road Studios. Sguardo Celestiale kicks things off with some heavy jazz funk vibes for the dancers. Five Days slows things down a little and veers more towards the bands library influence. Limited to 250 copies.

Xylitol, aka producer and DJ Catherine Backhouse, shifts up the refinement and musical breadth for her second album Blumenfantasie, the follow-up to her Planet Mu debut Anemones.
With Blumenfantasie, Xylitol wanted “to make space and for the music to float and propel at once”, finding routes through the pointillistic figures, cascading synths and the meditative stillness of kosmische musik and bolder breakbeat programming. She reaches this delicate balance through careful subtraction, hoping “to convey a sense of intimacy and sadness but without sentimentality” which she manages with a feel and sound that's raw and intuitive.

Blumenfantasie rolls through detailed jungle workouts that flutter and bleep, through beatless ambience, taking a rare dip below 160 bpm for the elegiac Mirjana, the album’s most explicit nod to Krautrock with a drum break chopped up from Amon Duul II’s anthemic ‘Archangel’s Thunderbird’, through to Halo, a bare bones grime rhythm that calls to mind the missing link between industrial pioneers Nurse With Wound and Wiley's Eskibeat.

Catherine cast her net to draw in experimental audiovisual duo Sculpture and Reading based post-rock band The Leaf Library as collaborators, pulling the former’s whirling eddies of musique concrète into a slice of sublime aquatic jungle, and the latter’s radiophonic folksong into a dark and disorientating breakbeat workout equally indebted to Source Direct as to Broadcast.
Blumenfantasie moves with a confident, self-effacing fluidity which has been informed by DJ Bunnyhausen’s more regular DJ gigs. She speculates ‘if this album feels more cohesive than its predecessor it's likely because I've been DJing a lot more, with Worthing Techno Militia, with central and eastern european electronica collective Slav to the Rhythm, as well as being part of Italo Disco crew Flex. Moving between these zones seemed to open up hidden pathways between the disparate musical trajectories they represent.'
While Anemones contrasted the rough and the delicate, its successor is an album built for the head, hips and heart, with painterly sounds and a sense of intimacy that encourages deep listening while keeping its eyes on the strobelight and its feet on the dancefloor.

Tirakat brings together Jakarta-based trio Ali and Lebanese composer and multi instrumentalist Charif Megarbane in a collaboration rooted in long histories of cultural exchange between Indonesia and the Arab world. Ali are known for blending 1970s Indonesian psychedelic funk with Orkes Melayu, disco grooves, and Arab melodic forms, while Megarbane’s extensive catalogue has consistently explored similar cross-regional currents through jazz, library music, and Mediterranean-influenced arrangements. What connects the two is not genre alone, but a shared musical vocabulary shaped by overlapping histories, references, and lived cultural continuities.
The relationship between Indonesia and the Arab world stretches back over a thousand years, forged through Indian Ocean trade routes that carried not only goods, but languages, belief systems, instruments, and musical ideas. These exchanges were gradually absorbed into local traditions rather than replacing them. In Indonesia, Arabic musical elements entered through devotional practices and ensemble formats such as Gambus, Qasidah, and Orkes Melayu, where maq?m-derived melodic structures were adapted into local tuning systems and performance styles. Over time, these sounds became embedded within Indonesian popular music, shaping genres such as dangdut and informing a wider sonic landscape that remains audible today.

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.