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The Montréal psych-ambient synth-droners return with Sequence Three, their first album in five years and the final instalment in the group’s opening trilogy of records that began with Sequence One in 2019. The spectral supergroup co-founded by Stephen Ramsay (Young Galaxy) and Jace Lasek (The Besnard Lakes), usually joined in some capacity by Lasek’s Besnard bandmate Olga Goreas, deliver another dose of its trademark longform slowburn jams, forged from restored vintage synths and analogue electronic gear. Lasek and Ramsay don their seasoned producer hats to apply rockist sound design to minimalist tracks, saturated with tube compression, drenched in pink and brown noise, all queasy modulation, sparse beats, and languorous melodic lines. Evoking a humid dawn on a gas giant, these alien drone anthems meld the numinous transcendentalism of Spiritualized and Cluster with the eroded grit of William Basinski and GAS. Light Conductor has been tagged “heavyweight analogue synth nirvana” by Uncut Magazine and praised for its “fabulous, epic, shimmeringly radiant kosmische” by Electronic Sound, among other accolades. Sequence Three consolidates these strengths, while leaning into the darker disquietude that has always been an undercurrent of Light Conductor’s aesthetic.
Sequence Three rounds out a satisfying trio of full-lengths that Light Conductor has released on Constellation, featuring vibrantly minimal geometric cover art designed by label co-founder Ian Ilavsky that integrates the trilogy as a visual series as well. In keeping with the previous two albums in the set, the Deluxe 180gLP includes a 12”x24” art poster. Thanks for listening.

The third album from Max McNown, Leave On A Light, reveals a rare artist whose breakout success has brought him even closer to his truest instincts. Amid an explosive ascent that solidified his status as one of his generation’s most compelling singer/songwriters, the Oregon native came to a deeper conviction in music’s power to honor what matters most, such as the people and values who anchor his life. Born from a year of extraordinary momentum—including completing his sold-out, continent-hopping headline tour—Leave On A Light ultimately finds McNown more grounded than ever in his artistic vision, arriving as the fullest expression yet of his singular songwriting voice.

Named after a now-shuttered nightspot that overlooked the beach on Italy's picturesque Tuscan coast, Maxime Denuc's 'Club Imperiale' is a work of speculative historical fiction, a record that imagines a point of creative symbiosis between the Catholic church and the ecstatic dancefloors of the early '90s.
Using a MIDI-controlled pipe organ, Denuc creates dense clouds of impossible-to-play notes that ricochet backwards and forwards through history, from Rome's reverberant cathedrals to the white, sandy beaches of the Balearic Islands.
Two years ago, the Brussels-based French composer was forwarded a surprising video by a Belgian fan. It was shot during a Wedding at a church in Menorca, where the organist was playing 'Infinite End', the lead track from 2022's 'Nachthorn'. Immediately, Denuc knew that this was the thematic backdrop he'd been waiting for; he imagined the aftermath of the event, wandering through small villages and teetering on a cliff's edge, finding a provincial nightclub and retracing his steps back to the beach to witness the
sunrise.

Galaxy 2 Galaxy) on strings, and the return of STRIPPERTM (Sleeve) on the B side for some twisted bass work. Holding light and shade, and pushing out plenty of low end, this record has two cuts for different times of night…
The A side, "In Light," starts with a pulsing kick, bright chords, and shakers, with a string line that slowly builds towards a soaring conjunction with the massive bassline that drops underneath. Filled with bittersweet emotion, this collaboration represents a beacon of light, like the golden hour after sunrise.
On the B side, "In Darkness," gnarly bass textures come to the fore as a harbinger of the dark, turbulent night, dropping into a massive twisted groove. Shakers, tribal percussion, and pulsing sub-bass keep things in a tight rhythm, while Esteban’s strings arrive to guide us through the darkness to dawn.

Lovemonk and Barcelona’s Marula Café bring back their Marula Soulfood 7" series with two standout tracks taken from The Jade’s debut album, "Love Harder". Behind The Jade is Oli Stewart, aka Casbah 73, leading a transatlantic ensemble of top-tier musicians equipped with heart and heat, bridging worlds while remaining firmly centered around home base Madrid.

‘Let The light In’ is a radiant burst of sunshine and a riotous cross-pollination of sounds. Nebraska’s Josh Hoyer delivers a powerhouse vocal performance, soaring over exuberant rhythms and fluid grooves that feel right at home in sweat-filled basement clubs or an open-air set as the sun dips low over the horizon. On the flip, ‘At The Queensboro’ is a beautiful jazz-funk instrumental that stretches out with elegance, giving its wonderful groove plenty of room to breathe. It was highlighted as one of BBC 6 Craig Charles’ favourite tracks of 2025.

* `Let the Light Shine’ is a hazy selection of 10 heavyweight dubs out of the Conscious Sounds studio, which originally surfaced on the Dubhead label in 2000 and has been out of press ever since.

* The thunderous mixes are a salute to the likes of King Tubby, King Jammy and Scientist.

When Drop Nineteens disbanded in the mid-'90s, singer Greg Ackell decided he would never make music again. He wouldn't noodle around on a guitar in his basement. He wouldn't get a group of friends together just to jam. He was done with music entirely. Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, the group disbanded. They shared stages with Radiohead, Hole, Blur, PJ Harvey and Smashing Pumpkins. They went from being teenagers in Boston to mid-twenty-somethings with a few MTV videos, a couple BBC sessions and numerous festival appearances under their belt. So when Drop Nineteens ceased to be, Ackell felt content. He had the rest of his life in front of him to figure out what he wanted to do. Music was a closed chapter.That was until 2021, when a friend from the band's early days got Greg on the phone to suggest making some music together, just to see how it felt. Instead of shutting it down like he had been doing over the years, he decided to entertain the prospect. For the first time in nearly 30 years, he picked up a guitar with intent. He immediately called up Steve Zimmerman, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says, "But also the question came up: what does a Drop Nineteens song sound like today?" Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light was, of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell writes the lyrics, and he works with band members Steve Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country: Boston, Brooklyn, San Francisco, Los Angeles. When Kelley and Ackell first heard their vocals recorded together on the opus album closer "T", the chemistry was undeniable. Making music together felt natural, fluid, exciting.Hard Light is a romantic record in the literary sense. Beauty from longing; longing from beauty. You put the album on and want to be clad in a velvet dress sprawled across a fainting couch. You want to be holding someone's hand while you sit back in the tall grass. The guitars are expansive and expressive as ever. Ackell and Kelley's vocals are cool, crystalline, and luminous. "Gal" comes on like a dream. The vocals pour in when you least expect them, once in the middle, where Ackell delivers one of the strangest (and best) lyrics on the record, "And there were snakes/with cats at the wheel." Hard Light's first single, "Scapa Flow" is triumphant and an excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide cloud-like, floor toms shuffle and rumble in the background, searching. Ackell and Kelley's vocals are as toned as they are bound. Hard Light is every bit the ride that Delaware was, diverse in its sounds, with surprises at every turn. Drop Nineteens have brought clarity and cool in 2023 to the genre they helped create. A portrait of a band 30 years later, as talented and dedicated to their craft as ever. To put it more bluntly, they're at the top of their game.

Shadows & Light - The Spirit of Mozart (limited Red Gold colour Vinly) Vom spritzigen Witz der Wiener Bühne bis hin zur stillen Zuflucht seiner intimsten Sonaten – diese Sammlung fängt das facettenreiche Genie von Wolfgang Amadeus Mozart ein. Begeben Sie sich auf eine Reise durch die pulsierende Energie von Die Hochzeit des Figaro, den ätherischen Dialog des Flöten- und Harfenkonzerts und die herzzerreißende Feierlichkeit seines Requiems. Ob es nun der verspielte Charme von Papagenos Arie oder die erhabene Ruhe des Klavierkonzerts Nr. 23 ist – jeder Titel wurde sorgfältig ausgewählt, um ein Vermächtnis zu präsentieren, das heute noch genauso lebendig ist wie vor über zwei Jahrhunderten.

Das britische Experimental-Rock-Kollektiv Abrasive Trees bündelt die eindringliche Kraft von Experimental-Rock, Post-Rock und düsterer Psychedelia zu einem fesselnden und emotionsgeladenen Klangerlebnis.
Unter der Leitung von Matthew Rochford (Silver Moth, Rothko) verwebt die Band hypnotische Stimmungen, gewaltige Crescendos, filmische Klangtexturen und überwältigende Dynamik zu Songs, die sich mit Verlust, Verwandlung und spirituellem Erwachen auseinandersetzen. Ihr Debütalbum „Light Remaining“ ist ein zutiefst bewegendes Werk, das zerbrechliche Schönheit mit überwältigender Intensität in Einklang bringt und so eine Reise schafft, die noch lange nach dem letzten Ton nachhallt.

Für Fans von: Swans, Slint, Crippled Black Phoenix, Gutter Twins

Crypt Sermon kommen mit ihrem zweiten Album, dass dem Debüt in nichts nachsteht oder um es auf den Punkt zu bringen - DAS hier ist eine Ansammlung epischer Doom Metal & Heavy Metal-Momente, glühender Stahl im Stile alter Helden wie Solitude Aeturnus oder Candlemass wie man ihn sonst derzeit nicht so schnell findet! Die Texte befassen sich mit doom-typischen Themen wie Glaube und Familie, Leben und Verlust und natürlich Stärke und Stolz. Zwischen donnernden Riffs und klagenden akustischen Momenten pendelt die Musik irgendwo zwischen Epic Doom und TRUE Heavy Metal. Erneut aufgenommen und gemischt wurde das Album von Arthur Rizk (Power Trip, Eternal Champion, Sumerlands, etc.).

2026 Repress

Desert planet house from inner spaces - the mountain people‘s premiere full EP outside their own imprint. Featuring sand shattering subbasses alongside vintage stabs, wobbling chords and otherworldly chanting. Something you will not dig up easily from your discogs collection and which will further enchant the children of the light.
Play or face the Gom Jabbar.

Die Instrumentalgruppe von Guiding Light hatte bereits ihre ersten Songs fertig, als sie Elise Cook als Sängerin ansprachen - und die hatte wie durch ein Wunder schon fertige Texte parat. Dieser Moment des Schicksals führte zu ihrer ersten EP, elf Minuten und fünfzig Sekunden voller Raserei, die ihren Post-Punk-Sound für kulturell Neugierige definierten. Heute entstehen Cooks Melodien im selben Raum wie das präzise Klimpern von John Morales' Gitarre, der bissige Bass von Rachel Kirk und die hämmernde Intensität von Charles Powell am Schlagzeug. Das Ergebnis ist ,Fear On My Own Time", ein neues Album einer Band, die weiß, was sie kann, und immer besser wird. Man merkt kaum, dass die Aufnahmen in zwei Sessions im Abstand von sechs Monaten entstanden sind, denn man spürt die Dringlichkeit in der Arbeit. So wie Wut zum Handeln antreibt, wird Energie zur Reaktion. Die Erzählung von ,Fear On My Own Time" gewinnt an Umfang, während Reflexionen über eine Trennung zu Erkenntnissen über zwischenmenschliche Verbindungen führen. Selbstkritik speist sich aus Ego, Verwirrung und unverblümter Ehrlichkeit, doch die Wurzel dieser Probleme liegt in einem viel größeren Thema. Die letzten beiden Songs gipfeln in einem Aufruf gegen den Faschismus und zeigen, wie uns - nachdem wir niedergeschlagen wurden - unsere Unfähigkeit, verletzlich zu sein, auseinander treibt. Man muss nicht die für Guiding Light übliche deutsche Sprache sprechen, um das zu verstehen - tatsächlich enthält das Album ihre ersten ins Englische übersetzten Songtexte: ,In the cage - only together we find the key." Wenn wir alle zu Guiding Light tanzen würden, wäre die Welt ein besserer Ort. - Sydney Salk

"Black & 'Pearlescent Transcendent Future'"-farbiges Vinyl. Light in the Attic präsentiert die lang erwartete Neuauflage von ,Synthesizing: Ten Ragas to a Disco Beat", dem revolutionären Album von 1982 vom Komponisten und Musiker Charanjit Singh. Er hat klassische indische Ragas mit den damals modernsten Roland-Synthesizern und Drumcomputern kombiniert und so ein elektronisches Meisterwerk geschaffen, das seiner Zeit weit voraus war. Bei den Live-Aufnahmen in den HMV-Studios in Mumbai verband Singh die Vergangenheit mit der Zukunft - er mischte die alte indische Tradition der Ragas (ein melodisches Gerüst, ähnlich einer Tonleiter, aus dem Musiker improvisieren oder komponieren können) mit pulsierenden elektronischen Dance-Beats. Das Album wurde ohne großes Aufsehen veröffentlicht, geriet in Vergessenheit und Singh zog sich aus dem Musikgeschäft zurück, um sich auf private Konzerte zu konzentrieren, aber damit fängt die Geschichte erst richtig an...

Light in the Attic präsentiert die lang erwartete Neuauflage von ,Synthesizing: Ten Ragas to a Disco Beat", dem revolutionären Album von 1982 vom Komponisten und Musiker Charanjit Singh. Er hat klassische indische Ragas mit den damals modernsten Roland-Synthesizern und Drumcomputern kombiniert und so ein elektronisches Meisterwerk geschaffen, das seiner Zeit weit voraus war. Bei den Live-Aufnahmen in den HMV-Studios in Mumbai verband Singh die Vergangenheit mit der Zukunft - er mischte die alte indische Tradition der Ragas (ein melodisches Gerüst, ähnlich einer Tonleiter, aus dem Musiker improvisieren oder komponieren können) mit pulsierenden elektronischen Dance-Beats. Das Album wurde ohne großes Aufsehen veröffentlicht, geriet in Vergessenheit und Singh zog sich aus dem Musikgeschäft zurück, um sich auf private Konzerte zu konzentrieren, aber damit fängt die Geschichte erst richtig an...

Kylie’s first album with Parlophone shot Kylie back into pop stardom, with a blend of dance-pop, disco and Europop spawning singles such as On A Night Like This, Kids with Robbie Williams, and her big comeback single Spinning Around.

A sequel to 2011's communication from our future selves on 'The Spectacle of Light Abductions', this new endeavour by restless netherzone  traveller Spencer Clark envisions a space map towards the other side of human life.

A meditation on the paintings  of Vedran Kopljar, these two side-long pieces, recorded and performed at Kopljar's exhibition at Muhka Museum in Antwerp in 2024, tap into the barren world inhabited by Clark while wandering what he calls the "Abomination Plateaus".

Searching for meaning amidst the landscape, 'Abyssfields' turns Clark's keyboards, sampler and wha pedals into sentient beings, roaming a luminous sound field of low res percussion, glistening keys and mangled voice-like transmissions. Featuring Athens-based John Also Bennet on flute, 'Abomination Plateaus' layered misty pads hover above a recurring driving-pinging loop, unlocking new harmonic spectres throughout each passage, suspended in the light. Always enveloping. 

His technical fluency and electronic sensibility place groove at the centre of his language, allowing him to control density, space and pulse with clarity. Across work with Loyle Carner, Jordan Rakei, Petter Eldh and Alfa Mist, his playing remains recognisable - elastic, deliberate and grounded in feel. Released on Edition Records, the album marks a new chapter with Spaven stepping forward as a bandleader and composer with a clear focus. The music is built from the inside out - groove shaping harmony, texture shaping form. Studio and live performances follow the same intent: direct, physical, locked into the pocket. The result is controlled intensity, where technique serves expression, and the music moves freely across genres without losing its centre of gravity

If we're talking about great and underrated pop-rock albums from the 1980s, Different Light by The Bangles is an essential mention!

The all-female power pop group had already attracted quite a lot of attention with their very catchy debut album "All Over the Place". None other than Prince took notice and decided to give them his newly written song "Manic Monday". It became the groups first worldwide hit. Fortunately, the whole album was filled with potential hits, resulting in a multi-platinum status in the US, UK, Canada, Australia and New Zealand.

The 12-track set Different Light spawned five charting singles, including the aforementioned “Manic Monday” and “If She Knew What She Wants”, “Walking Down Your Street”, “Following” and their monster hit “Walk Like An Egyptian”.

Different Light is available on black vinyl and includes an insert.

Anlässlich des diesjährigen 20-jährigen Jubiläums des Albums Passover", dem legendären Debütalbum von The Black Angels, freut sich Light in the Attic, eine besondere limitierte Auflage des Albums präsentieren zu dürfen: eine Doppel-LP in einem wunderschönen Gatefold-Cover mit Silber- und Goldfolienprägung. Diese Jubiläums-Vinyl-Edition ist auf weißem, schwarzem und goldenem Vinyl gepresst und enthält eine von vier verschiedenen Flexi-Platten mit einem Track, der 2006 live bei KEXP aufgenommen wurde.

Erweiterte Vinyl-Edition mit Gatefold-Hülle und 20-seitigem Booklet mit seltenen Fotos, Songtexten und neuen Liner Notes von Danielle Maggio, die Betty interviewt hat. LP gepresst auf Pearl Flip / Horizon Color Vinyl. Das 1974 erschienene zweite Album ,They Say I'm Different" der Punk-Funk-Provokateurin Betty Davis besticht durch ein futuristisches Cover, das es wert ist, eingerahmt zu werden, und das David Bowies Science-Fiction-Funk mit echtem rockigem Soul-Feuer herausfordert. Den Auftakt bilden die wild-sexuellen ,Shoo-B-Doop" und ,Cop Him" (später von Ice Cube gesampelt), dazu gesellen sich Klassiker wie ,Don't Call Her No Tramp" und der urkomische, harte, tiefe Funk von ,He Was A Big Freak".

Das 1977er Erfolgsalbum als Liquid Vinyl!

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

Eddy Current Suppression Ring make a surprise return with their sixth album In Light of Recent Events. True to form, it finds the disinterested careerists sidestepping expectation and working on their own terms, in their own time. Dialled in through closed-door weekly jams across 2025, that pent-up energy has only leaked via pseudonym-billed small-room shows as Jimmy and the Ringtones and Top Hats, record shop in-stores and country detours, plus a pair of phantom straight-to-YouTube singles (‘Swimming Hole’ and ‘Hard To Be Moved’), each with accompanying films by Chris Middlebrook and Amiel Courtin-Wilson respectively.

Modern-day anxiety and human disillusionment press through the album’s darker, more politically aware subject matter, as suburban melodramas and tender, hard-hitting reflections articulate everything you’ve never been able to. Taped within the band’s signature close-quarters claustrophobia, Brendan Suppression purges his dome with a newly awakened vocal range, while riff savant Eddy Current bleeds through quicksilver, blood-raw scratches, cut against the tension-wound, locked-in low end of Danny Current and Rob Solid.

“Morning Light (Silence of a Winter’s Dawn)” is the debut album by tenor saxophonist and composer Rik van der Made, a dazzling blend of contemporary jazz and atmospheric folk. Van der Made tells stories full of spiritual ecstasy, inspired by the sea and the seasons. In recent years, The Dutchman refined his style and technique at the Royal Academy of Music and explored the creative hotbed of London. There he gathered a super group to record this album.
Rik van der Made – tenor saxophone; Immy Churchill – vocals; Benji Bown – piano; Niklas Lukassen – double bass; Johan Evans – drums. Special guest: Alex Hitchcock (alto sax)

- Die allererste Vinyl-Neuauflage und definitive Ausgabe von Nancys Album ,Movin' with Nancy" aus dem Jahr 1967 - Wunderschön gestaltete und erweiterte Gatefold-LP mit 20-seitigem Booklet sowie eine CD-Ausgabe mit 32-seitigem Booklet - beide enthalten ein neues Interview mit Nancy und dem GRAMMYr-nominierten Co-Produzenten Hunter Lea sowie bisher unveröffentlichte Fotos aus Nancy Sinatras persönlichem Archiv - Mit Audio, das vom GRAMMYr-nominierten Toningenieur John Baldwin frisch von den originalen Analogbändern remastert wurde - Enthält 4 bisher unveröffentlichte Bonustracks: ,It's Such A Pretty World Today" (Movin'-Version), ,Let's Get Movin'", ,This Town" (Film Intro) und ,RC Cola" (It's A Mad Mad Cola) - Mit Gastauftritten von Frank Sinatra und Dean Martin - LP gepresst auf violettem ,Some Velvet Morning"-Vinyl Beschreibung: Light in the Attic präsentiert stolz Nancy Sinatras Album ,Movin' With Nancy" aus dem Jahr 1967. Diese definitive Neuauflage und erste Vinyl-Wiederveröffentlichung überhaupt feiert Nancy auf dem Höhepunkt ihres 60er-Jahre-Coolness. ,Movin' with Nancy" ist eines der ambitioniertesten kreativen Projekte in Nancy Sinatras Karriere. Das einstündige Fernseh-Special von 1967 und das dazugehörige Soundtrack-Album fangen die kreativen, groovigen und schönen Zeiten der 1960er Jahre ein. Das Projekt wurde von RC Cola finanziert, aber das war kein reiner Geldsegen. Es war ein Herzensprojekt für Nancy, die ihren Vater, Dean Martin, Sammy Davis Jr. und andere Familienmitglieder und Freunde bat, im Film mitzuwirken. Sie nutzte auch ihre eigenen Autos, Kleider und ihr Haus und schminkte sich selbst. Eine echte DIY-Produktion. Auf dem Album ist Frank Sinatra mit ,Younger Than Springtime" zu hören und Dean Martin im Duett mit Nancy bei ,Things". Produzent Lee Hazlewood singt mit Nancy im Duett bei ,Some Velvet Morning" und ,Jackson"; außerdem steuert er die Songs ,I Gotta Get Out Of This Town", ,Friday's Child", ,This Town" und ,See The Little Children" bei. Zu den Bonustracks gehören der bisher unveröffentlichte Outtake ,It's Such A Pretty World Today (Movin' Version)", zwei unveröffentlichte Musikstücke aus dem Film und der unglaublich eingängige Werbespot ,RC Cola (It's A Mad Mad Cola)".













[m] 13IT'S SUCH A PRETTY WORLD TODAY (MOVIN' VERSION) [PREVIOUSLY UNRELEASED] LET'S
[n] 14GET MOVIN' [PREVIOUSLY UNRELEASED]
[o] 15THIS TOWN (FILM INTRO) [PREVIOUSLY UNRELEASED]
[p] 16RC COLA (IT'S A MAD MAD COLA) [PREVIOUSLY UNRELEASED]

The latest album from Michael Cashmore (formerly of Current 93, plus known for his work as Nature and Organisation and collaborations with artists such as Marc Almond, Nick Cave, Bill Fay, Rose McDowell and Antony and the Johnsons, amongst others) veers from the paths his previous releases have been on into an area altogether more grandiose or stately. While all of his recordings under his own name have alluded to orchestral or soundtrack work to varying degrees, he has long committed himself to a series of six actual symphonies. The fourth will appear on Finland’s Svart Records and the fifth takes the form of this limited edition vinyl release on Lumberton Trading Company. Comprising four movements, two on each side, under the title The Last Light is Your Own Star, these are as bold and beautiful as they are demonstrative of a composer now reaching new heights as he matures into his vision.

Slim Smith is high on the list of great singers that came out of Jamaica.
Although Jamaica was bursting with musical talent, few could match his soulful and heartfelt style.
Sadly he had a very short career but he produced a catalogue of music that still stands the test of time ,like all the great artists his story carries through the songs he left behind.
We have compiled some of his finest moments from his period working alongside the Hit Maker from Jamaica producer Bunny Lee...
A great set of tunes that we hope will keep his memory alive
Keep the Light Shining.....Respect

Are You Alien's first vinyl missive, a compilation style affair showcasing the work of four label affiliated artists, is genuinely packed to the rafters with cuts designed to be played loud on "deep dancefloors and late-night transmissions". HearThuG kicks things off with 'Relax', a post-punk/dark disco inspired slab of early morning hedonism inspired by DFX's 'Relax Your Body' (which itself borrowed heavily from the KLF's 'What Time Is Love'), before Light Blue File charges towards darkened warehouses on the tactile tech-house/stab-happy rave fusion of 'Guante El En Mic'. Over on side B, Briki opts for squelchy acid bass, trippy vocal snippets and spacey sounds on 'Droppin The Pressure', before Ahmet Mecnun adds spoken word vocals and French Touch flourishes to a deep tech-house groove.