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2024 Repress

Neupressung des 2017er CM-Albums SHIKANTAZA, welches zwischen Marseille, Bombay und der Heimat der Band in der Ardèche entstanden ist.Shikantaza ist eine Einladung zum Loslassen, zum Ergreifen des Augenblicks, ein Weg zum Erwachen, der jedem einzelnen von uns offensteht. "Shikantaza" ist ein Begriff, der in der buddhistischen Schule Soto Zen verwendet wird und wörtlich "nichts als (shikan) genau (da) Sitzen (za)" bedeutet. Es beschreibt die angenommene Haltung während der Zazen-Meditation. Zusammengestellt zwischen Marseille, Bombay und einer geheimen Zuflucht in der französischen Landschaft, schlagen die 16 Tracks des neuen Albums den Bogen zurück zu den Wurzeln der chinesischen Identität. Mit "Shikantaza" schaffen Chinese Man eine Verbindung zwischen ihrem musikalischen Ursprung und ihren neuen Bestrebungen. "Shikantaza" ist eine Einladung zum Loslassen, zum Erfassen des Augenblicks ... es ist ein persönlicher Weg zur Erleuchtung. "Man möchte die Augen schließen und die Klänge in sich aufsaugen oder selbst in den Klängen aufgehen. Die Beats, hie und da durch Featuregäste ergänzt, wabern mal psychedelisch, mal entspannend, mal energisch aus den Lautsprechern. Man hört Hip-Hop und Rap. Aber auch Dub, Reaggae und noch viel mehr darüber hinaus. Jeder Song ist wie eine Entdeckungsreise auf einen neuen Kontinent. Ein Changieren zwischen Festhalten und Loslassen, zwischen fliegen und feststecken. Es ist ein gedämpftes Feuerwerk, eingeschlossen unter einer Glaskuppel. Auch wenn man den Grenzen des herrlichen Nirgendwos gelegentlich gefährlich nahekommt, man stößt doch nie an sie. Und am Ende des Albums ist man da angekommen, wo man von Anfang an hinwollte. Man hat verstanden: Das was Chinese Man machen, ist echte Musik. Einfach nur echte, gute Musik." - laut.de 2017

From Ciel:

"This mix was recorded live in April of 2019, shortly after I had returned from a 5-week-long tour of Asia. The memories of that life-changing month still lingered on my mind as I played some of my favourite vinyl finds from Seoul, Tokyo, and Shanghai. It was recorded live at Invisible City Records, which at the time was also a vinyl listening bar + wine shop. I played all night from open till close, and almost all of the records were non-dance music. I remember at the time it was my first hometown show in months so a lot of supporters and fans of my warehouse DJ sets showed up. I thought maybe they wouldn't have enjoyed the selections because it was so different from what I usually play, but it really is a testament to the diversity of my fans and their capacity for love for music of all kinds that this night was such a special one in my memory. Friends gathered over bottles of bubbly, hips swayed gently in tandem with each other, the din of their lively conversation ebbed and flowed with the groove of the records. From time to time, I'd look up and see someone dancing alone in the corner, their eyes closed and a hint of a smile tugging at the corner of their mouth. Aren't moments like these what we do this for? Music is beautiful because it brings us together. Now more than ever, we crave and look for its therapeutic effects. I hope this tape is able to give that for you."

Following on from their 2017 ‘Welsh Music Prize’ nominated debut ‘ Life in Analogue ’, Cotton Wolf are back with a brand new album. ‘ Ofni ’ (Welsh for ‘Fear’) will be released on 4th October on vinyl and digital formats.
Set against a thematic backdrop of social uncertainty, the album’s darker material is simultaneously imbued with anxious paranoia and hopeful positivity. The new tracks from the Cardiff duo showcase a bolder production with faster tempos and purer electronic sounds, alongside hypnotic, abstract and melodic ideas inherent to their previous release. Whilst the bulk of the album is instrumental, the title track features an ethereal vocal contribution by Adwaith’s Hollie Singer.
Brought together through various musical projects, Llion Robertson and Seb Goldfinch discovered their mutual appreciation of electronic music, as well as their love of film and TV soundtracks. Through Cotton Wolf, the pair aim to create organic, intelligent soundscapes that provoke equal measures of thoughtfulness and danceablity. Seb’s background in classical composition and arranging (BBC National Orchestra of Wales / The Gentle Good) combined with Llion’s work mixing and producing (Super Furry Animals, Gruff Rhys, Aldous Harding, James Yiull) , leads to an expansive, unique approach to songwriting and the wider collaborative process.

'Memory Box' - the new album by Rodney Cromwell - fuses a European synthpop sensibility with a world of magical realism. It was inspired as much by the literature of Alice in Wonderland, Franz Kafka and Anna Kavan, as by its musical influences of artists such as Kraftwerk, Neu!, The Cure, Silver Apples, Oppenheimer Analysis and Polyrock. The sonic pallet of 'Memory Box' is rich, colourful, often surprising and utterly unique. Since the release of his debut 'Age of Anxiety' album in 2015, Rodney Cromwell has been featured by the likes of NME, Electronic Sound Magazine, Huffington Post, Paste, BBC6 Music and national RNE3 in Spain for whom he recorded a live session. 'Age of Anxiety' was included in a wealth of Best of Lists, not least that of Electronic Sound. He has appeared on compilations alongside Cavern of Anti-Matter, John Foxx, Devo, OMD, Katy Perry and many more. Rodney Cromwell is the project of Adam Cresswell. The first band he founded was SALOON, who were John Peel darlings, who recorded three Peel Sessions and the Festive 50 number 1 of 2002. They released three acclaimed albums on Track & Field (UK) and Darla Records (US) and played with a host of alternative acts including Stereolab, Electrelane, Quickspace, Laika, Of Montreal & Movietone. He followed Saloon with ARTHUR & MARTHA the acclaimed tweetronica duo that released the sole album 'Navigation' before vanishing. In addition to performing as Rodney Cromwell, he runs the Happy Robots record label. The Rodney Cromwell live set is a joyful mixed-media extravaganza, incorporating analogue synths, video visuals and live instrumentation, interjected by Rodney's 'offbeat wit'. His debut festival appearance at Indietracks in 2015 was described as 'like a spiritual experience". He has shared stages with acts including Pram, Marsheaux, Death & Vanilla, Rowetta and Steve Davis. His sole performance in 2020 was as part of Damo Suzuki's backing band. He will be promoting the album with a series of live-dates in 2022. Cromwell's recent singles 'Memory Box' and 'Get Me To Prague' received play on BBC 6 Music as well as national play in Spain, Finland and Japan. 'Memory Box' featured in the Official Festive 50 on Dandelion Radio. To coincide with the album we have early confirmed reviews with Electronic Sound Magazine and interviews with ElectricityClub, Pennyback Music and You haven't heard this music vodcast.

Cults are back with Offering B Sides & Remixes - a companion release to their 2017 LP Offering.

Upon returning from tour in 2018, Madeline Follin and Brian Oblivion - the duo force behind Cults - went back into the studio with a handful of instrumental recordings left over from the Offering sessions. They emerged with 3 brand new B sides, each buzzing with Cults’ signature electricity and shimmering melodies.

This limited edition 12” collects these three new B sides as well as three fantastic Offering remixes from Mike Simonetti, Etienne de Crecy, and John Fryer.

• Hometown: New York, New York
• Exclusive pressing limited to 750 copies worldwide Housed in double-sided jacket and pressed on white and clear swirled vinyl

With a clutch of deeply conceptual albums on subjects as diverse as
the anthropocene and sleep paralysis after a major car accident, CUTS' latest album, ‘UNREAL’, is a cathartic and mournful meditation on pandemics, populism and disinformation.
 ‘UNREAL’ is the second full-length album by musician and filmmaker Anthony Tombling Jr’s CUTS moniker. Tracks retain their emotional resonances in strong melodies and eerie vocals but there is also a hard edge to the music compared to previous releases. “I’ve always reacted to my environment,” explains Tombling, “and a lot of the themes I am exploring on ‘UNREAL’ are around climate crisis, pandemics, and the terrifying rise of far right orators.”
 ‘UNREAL’ was largely made in lockdown, as Tombling moved to an isolated house where there was no phone or internet three days before full lockdown was introduced across the UK. He soon built a routine of foraging for dinner in the morning and making music all afternoon. It marks a major departure in his output, as the first album not to be rooted in his films.
 It opens with ‘R U OK?’, with a precipitous bass drop into anxious rhythms like irregular heartbeats. ‘DISSOLUTION’ is a vocoder ballad for fragmenting hardware; ‘UNREAL’ is a hazy roller, evoking fast cars on highways at night. ‘OMEGA MINUS’ is a requiem for postindustrial wastelands, as robotic voices sweep over dust storms and obsolete machinery, then ‘SHELTERED LIFE’ harnesses coarse, rippling static around depth-charge bass. ‘THE BRINK’ brings on woozy and elastic basslines, ‘EXHALE EXILE’ sways in melodic loops lashed to fitful beats, then final track ‘AN INFINITE COLLAPSE’ blows off the grit to reveal songlines and crumbling metallic pulses that crackle with static electricity.
 Tombling’s sound world for ‘UNREAL’ is one of anxiety, frustration and emotional peaks, where heavy slugs of sound are lifted by vocoder lyricism, sharp static and fizzing cymbals that cut through like shafts of light in abandoned warehouses. “It’s the heaviest record I’ve made,” says Tombling, “but it’s also the most accessible. I was much more influenced by what's going on in the world - it’s impossible not to be at a moment like this.”

At the forefront of dance music for over a decade, Brighton’s James Connolly has left an indelible mark as a progressive producer; under the name L-Vis 1990, and as his alias Dance System.

Dance System boils dance music down to its core elements and the result is infectious club tools that offer something more; character that will standout in any set. Under this alias, Connolly has released on Clone and Jimmy Edgar’s Ultramajic labels.

“When Night Slugs boss L-Vis 1990, aka James Connolly, slips on his Dance System alias, the mission is simple: slamming—but pointedly simple and unfussy—tracks that get your ass on the dancefloor.” - VICE

Following a five-year hiatus, Connolly is excited to return to Dance System, with the Wind Em Up EP, released in April on Modeselektor’s lauded Monkeytown Records. In today’s serious techno world, and against the current political landscape, Dance System is the playful breath of fresh air we all want and need.

Indeed, on title track Wind Em Up, Dance System is playfully calling out for other DJs to do exactly that; wind up the crowd with the unexpected UK garage breaks that bring colour to the driving beat and guitar lick. Heeez Baaad takes a single hypnotic loop and pushes it to its absolute limit, the only break coming when the track slows down to a halt, before slamming straight back into the action. Bringing in the horns on That That Sh**, the off–kilter horn loop is unsettling, but driven along by the low-end tom groove. Body closes out the Wind Em Up EP with an uplifting piano chord, before dropping you into minimal bassline and drum groove that’s just impossible to argue with on the dancefloor.

Danou P Serves Up Deep, Funky Heat with his 'In The Brine EP' on Definitive Recordings.

Rotterdam-based producer and DJ Danou P delivers a standout four-tracker with 'In The Brine EP,' released on Definitive Recordings. Known for his warm, soulful and funk-infused take on house music, Danou channels raw rhythm and musical flair into a collection that feels both classic and freshly personal.

Opening track 'The Flex' sets the tone with stomping deep house drums, playful chord stabs, and clever vocal sample play that gives it a raw, jacking feel. It's got attitude and groove in equal measure. 'On My Own' keeps things rolling with a classic deep house bassline, gradually introducing a soulful vocal loop that blossoms with the arrival of shimmering synth layers. Danou brings emotion without ever losing grip of the dancefloor.

Next comes 'Spirit', flipping the rhythm into broken beat territory. Another catchy vocal sample rides alongside vibey, jazzy stabs, offering a breezy, uplifting moment that's both heady and driving. It's the kind of track that sneaks into your set and ends up stealing the show. Rounding out the release is 'Bronstige Bakvissen', a deep and moody closer built on a heavy, rolling groove and rich classic house chords. It's stripped back but full of warmth, closing the EP with a nod to soulful late-night sessions.

Best known for his work alongside Jamie 3:26, and with releases on Glitterbox, Tru Thoughts, and Soulfuric Trax, Danou P is steadily building a solo catalogue that's as musical as it is danceable. His 'InThe Brine EP' is a bold step forward, out on Definitive on July 25th 2025.

[b] A2 Rich Girl, Arranged By – Christopher Bond, Daryl Hall, John Oates, Arranged By [Strings] – Christopher Bond, Written-By – Daryl Hall

Dudley Perkins, aka Declaime, is a visionary wordsmith and sonic architect who has been a pivotal figure in the underground hip-hop scene since the mid-90s. Renowned for his introspective lyricism, intricate rhyme patterns, and innovative production techniques, he has consistently pushed the boundaries of the genre. Declaime's music is a fusion of soulful samples, jazzy undertones, and raw, unfiltered emotion.

His ability to seamlessly blend intricate beats with thought-provoking verses has earned him a dedicated following and critical acclaim. Throughout his career, Declaime has collaborated with a diverse range of artists, including Madlib, Oh No, Georgia Anne Muldrow, Flying Lotus, knxwledge, Aloe Blacc, Kankick, Saul Williams, Latoya Williams, Hudson Mohawk, Casual and many other notable names. His solo projects and collaborative efforts have left an enduring impact on the hip-hop landscape, inspiring countless artists and shaping the sound of future generations.Dudley has unveiled his latest 9-track album titled "Flatulent," set to be released on the esteemed Urbnet label. The album, produced by German beat maker and producer Der Brxwnsxn, highlights Declaime's signature blend of intricate rhythms, haunting samples, and ethereal melodies.

After years PRAGER HANDGRIFF's landmark album "Taterschaft und Teilnahme" has finally been reborn - this time in a format worthy of its machine-hardened legacy. Courtesy of Assur Anshar, a daring sub-label of Rune Serpent Europa, this first-ever vinyl edition is more than a reissue: it's a full-scale industrial art object. Pressed in two limited color variants - 300 numbered copies each in Gold and Silver - and anchored by a super-limited wooden box edition (only 50 copies!), this is not just for fans - it's for collectors, archivists, and devotees of German industrial at its rawest. The sound? As sharp, provocative, and politically charged as ever. Tracks like "Traumsequen", "Durch Die Wuste", and "Taterschaft Und Teilnahme" still carry the pounding urgency of early 2000s EBM, yet feel chillingly relevant today.

Taken from obscure compilations and DAT tapes, lockdown provided an opportunity for rare Dreadzone tracks from the vaults to be found and played by Greg Dread online during live sessions. Due to demand, ten of these forgotten gems from the early years of the band come together on one album to provide the next release from Dubwiser.

Rare Mixes Vol 1 gives Dread fans the chance to finally own these hard to get tracks, now remastered for 2021.

Two of the UK’s finest party-starters Dub Pistols and the Freestylers team up on ‘Enter The Sound’ to bring you an album of high-grade & high-pressure, bass-heavy cuts. Enter the party, Enter The Sound!

The album is a sonic journey through their diverse influences, blending genres like Reggae, Ska, Breakbeat, Jungle, Hip Hop & Trip Hop. It’s a celebration of their shared musical roots and evolution.
 
The album features an all-star lineup of guest artists, including Johnny Osbourne, Tippa Irie, General Levy, Too Many T’s, Horseman, Belle Humble, Scarlett Quinn, Tenor Fly, MC Spyda, Persona, Harry Shotta  and of course, Seanie T.

160-gram heavyweight Vinyl LP with gatefold jacket displaying the painting series that inspired the music, and the story of Newtok. Newtok is a remote Alaska Native village situated on the Ningliq River, near the west coast of Alaska. Although a very remote and quiet place, Newtok has come face-to-face with climate change. Due to a combination of thawing permafrost, low levels of sea ice, and strong storms, the coastal land of Newtok is eroding dramatically. In 2016, Chicago visual artist Jennifer Cronin embarked on a trip to Newtok to document this changing environment. Upon returning, she spent the next several years developing a series of paintings and screen prints titled Seen and Unseen that captured this eroding landscape. In 2019, Cronin and musical Artist Patrick Mitchell (a/k/a Dusty Patches) began discussing the project after Cronin asked him to perform at the Gallery opening for the series. As a result, Mitchell created this album, Newtok - inspired by Cronin's Seen and Unseen series and the story of Newtok, Alaska. Mitchell is a multi-instrumentalist songwriter and producer from Chicago who has led numerous past projects in the Chicago DIY community including De Triomphe, New Color, and Whiskey Wise. He dove headfirst into synths in 2017 and adopted the electronic alias Dusty Patches. Dusty Patches released his debut project Filthy Four Track Machine: Volumes I & II (2018, Sooper Records), largely made with the Teenage Engineering Pocket Operators and OP-1. In 2020, he released Nocturnal Emissions from the Dablatory, his first project fully realized with modular synthesis. In approaching Newtok, Mitchell composed all of the constituent musical elements of the work and then recorded and live mixed the album during a single live performance on modular synthesizer. The album draws heavily on sprawling ambient synths, electric and acoustic post-punk guitar motifs, cryptic vocal sampling, vintage drum machines, and modular patches that often sound like birds or the sea. The subject matter of the album, the complexity of its arrangement, and its execution as a single live recorded performance makes Newtok a unique musical experience. About Newtok, Mitchell says: This record was an exploration of themes. When faced with the immense canvases Jen Cronin produced upon her return from the village of Newtok, one can't help but feel awe. With the sheer size of the works towering above you, you are compelled. There is overwhelming beauty, desolation, a sense of urgency, and a sense that it is, in fact, far too late. These visual themes, and the emotions they evoke, were connected to the sounds and compositions of this record. There is a coldness to the digital soundscape, but organic sounds of nature and humans tether and steer the album through a journey of musical storytelling. Newtok is a journey of musical storytelling about the tragedy of the Anthropocene in the age of climate change. FOR FANS OF: Mother Earth's Plantasia, Black Moth Super Rainbow, Boards of Canada, Bibio

Recorded during lockdown and previously only available as a CDr self-released in an edition of 99 in 2022, 'The Sympathy Portal' collects four tracks (one of which is divided into three parts) that make full use of Edward Ka-Spel’s command of melodies, cosmic churn, subtle field recordings, percolated vocals, hypno-rhythms, tempered noise, broken clocks, atmospheric keyboards, uncoiling springs and carefully hewn dynamics. Coupled to often despairing or melancholic lyrics, the album ultimately forms a fantastic addition to a body of work from this hardworking artist usually found at home fronting The Legendary Pink Dots and apparently barely able to rest when not engaged in commitments to them. Here is what he says himself about 'The Sympathy Portal': “'The Sympathy Portal' was created as 2020 drifted into 2021 with the world in the grip of a pandemic. He studied charts on TV, horrified by statistics, temporarily free from a lockdown but well aware that we'd be back in our cubicles soon enough. It was hard to be positive in such an environment and this album reflects much of the fear and tension of the time. But the last song, 'Angel Trail ( Slight Return)', was intended to offer some genuine hope, having been revived for the release after first appearing in a different form on The Legendary Pink Dots' '9 Lives to Wonder' back in 1994.” The album pays testament to a troubled and troubling time that now, a mere few years on, strangely appears like the grand entrance to a series of heavily dark periods we are still desperate to crawl from. It could be argued that the angel trail Edward so eloquently refers to is something that needs to be found more than ever and that, thankfully, his music helps to illuminate this despites its mostly distressed overtones.
Away from the confines of a now hard-to-find and long sold out CDr, Lumberton Trading Company brings this album back as a vinyl release that’s limited to 300 and is scheduled to appear in February 2026.

After being out of print for a good number of years, we are making 15 titles out of our Elvis Presley back catalogue available again between August 2025 and February 2026. Each title will see two different editions: one on regular-coloured vinyl and one very limited on mix-coloured, marbled vinyl, both housed in deluxe sleeves with a linen look and feel. Loving You from 1957 was Elvis Presley’s first soundtrack and accompanied the eponymous film that follows a delivery man who is discovered by a music publicist and a country–western musician who wants to promote the talented newcomer. This was Presley’s first major starring role. The fact that only the tracks on the A-side appeared in the movie couldn’t spoil the fun for the fans, as the LP contained hits such as “(Let Me Be Your) Teddy Bear” reaching #1 in the U.S., some covers and some lesser-known deep cuts. It’s not without reason that this album reached Certified Gold status. The Midas touch, so to speak. Loving You is available as a limited edition of 1500 individually numbered copies on yellow translucent coloured vinyl.

Gort ist das zweite Doppelalbum von Endo Monk. Der Künstler welcher hinter diesem Projekt steht ist jedoch kein unbekannter. Frank Schnütgen aka Hans Solo vom Äi-Tiem ist auch in der Rapszene seit 1991 bekannt für seine experimentellen elektroischen Beats und Produktionen. Der Künstler stellt auch als bildender Künstler unter seinem Namen Frank Schnütgen in diversen Galerien etc. aus und kombiniert
diese Events oft mit analogen Synthesizer Livesessions.
Mit diesem Album setzt er seinen Weg fort, denn Endo Monks Wurzeln liegen im Bereich der analogen und modularen Synthesizer, lange vor seiner Karriere als Äi-Tiem Frontmann und Solokünstler.
Das Cover wurde ebenfalls vom Künstler unter seinem Realname als Triptychon in Acryl auf Leinwand gemalt, als Analogismus von "analoge Klagerzeugung" (modulare Synthesizer) zu analoge Bildgestaltung (Pinsel, Farbe, Leinwand).

Endo Monks Universum!
Endo Monk aka Frank Schnütgen, welcher schon zur Schulzeit mit seiner Schulband zugriff auf modulare Sythesizer wie Formant, Korg und Moog hatte kehrt mit diesem Album zurück in die Zeit warmer, blubbernder Analogsounds, jedoch unverkennbar gespickt mit seinen Einflüssen aus der Hip Hop und Elektroszene der letzten Jahrzehnte.
Das Ganze gespickt mit Science Fiction Sprachzitaten.
Da dieses Album schwerpunktmäßig analog entstanden ist lag es nahe auch das Cover analog zu gestalten und zu malen. In diversen Austellungen stellt er unter seinem bürgerlichen Namen Frank Schnütgen aus und gestaltete schon für diverse Künster (Andhim, Doro Pesch, Def Benski (Firma), XPQ21 (Jeyenne) Cover, Videos und Bühnendetails.
Endo Monk, welcher auch all seine Videos selbst produziert und neben analogen Livesessions gern als VJ agiert wird im weiteren Verlauf des Jahres 2023 noch für einige Überaschungen sorgen, wobei es dabei immer wieder zu Genre- und Szeneübergreifenden Events kommen wird. Auch dies ein fester Bestandteil des neuen Endo Monk Universums.

A collection of Elvis Presley covers recorded by the duet David Fenech & Pierre Bastien. The idea of "Suspicious Moon" started at a party around the topic of blue color. David Fenech had chosen to play "Blue Moon" and Pierre Bastien asked to join in. It was a very enjoyable party and then they recorded the song and decided to plan an album exclusively based on covers of the King. Not that we were absolute fans of Elvis... but as a starting point to go somewhere else. And this is what we reached: in many aspects a premiere for the two musicians. Pierre focuses on (prepared) trumpet for the very first time, while David is heard extensively as a vocalist and is more than ever responsible for all arrangements and textures. Playing other people's material is also a premiere for both of them. 11 tracks around very well known standards. Like familiar places that are changed when seen in a different light. Please enjoy. "Our choice of the Elvis Presley song book for this record may seem strange to many. It seems strange to me as well. Not that I dislike the original music, but before our sessions it had never been a direct source of inspiration. Paradoxically, this distance gave me freedom and flowing ideas. I hear similar qualities in David's parts too. We hope that our relaxed attitude and its positive outcome will be reflected in this album" - Pierre Bastien "The strange thing about these recordings is that the creative process was so fluid and natural_ that it seems that through playing other people's music, we almost reveal something of ourselves. As if these tracks were our creation, as if they were our own children!" - David Fenech

A gorgeous and gripping portrait of Fenne's last two years, Big Picture was pieced together in an effort to self-soothe. Tracked live in co-producer Brad Cook's North Carolina studio, the album delineates the phases of love and becomes a map of comfort vs claustrophobia. Though its creation took place amid personal and global turmoil, the ruminative yet candid Big Picture is Fenne's most cohesive, resolute work to date, both lyrically and sonically. "This isn't a sad album _ it's about as uplifting as my way of doing things will allow," she says. "These songs explore worry and doubt and letting go, but those themes are framed brightly." With confidence and quiet strength, each track provides an insight into Fenne's ever-changing view of love and, ultimately, its redefinition _ love as a process, not something to be lost and found. While the album was written alone in Fenne's Bristol flat - a fact intentionally reflected in its compact sonic quality - Big Picture was transformed from a solitary venture into a unifying collaboration during the recording process when she was joined by her touring band, Melina Dutere of Jay Som (mixing), Christian Lee Hutson (guitar and co production), and Katy Kirby (vocals). Notably, these 10 songs are Fenne's first and only to have been written over the course of a relationship; 2018's On Hold and 2020's BREACH both confront the pain of retrospection, saying goodbye to a love that's gone. Big Picture does the exact opposite _ rooted firmly in the present, it traces the narrative of two people trying their hardest not to implode, together. "This album is an observation of the way I think about love, the selfexamination that comes with closeness and the responsibilities involved in being a big part of someone else's small(er) world," summarizes Fenne. "It was written in a place of relative emotional stability - stability that felt unstable because of its newness, but also because of the global context. 2020 was the year of letting go, but we'd all already let go of so much and nothing felt like mine anymore. Writing always did, though, so that's what I chose to do."

“Everything we know, from the stars and planets through to the fundamental, sub-atomic particles that make up all matter, is vibrating - oscillating at its own frequency. The known universe is a symphony. Ancient scientists and cosmologists such as Pythagoras, and later Kepler, postulated 'the music of the spheres' and they were right.

“It is theorised that at some point in the far, far distant future, we may reach a state of maximum entropy - the 'heat death' of the universe. All this movement, all this vibration, will finally stop and a great silence will descend, the song of aeons finally ended. We are cosmically fortunate to have experienced this time of the great symphony, along with all the incredible plants and animals, the very fabric of nature, that constitutes this wonderful, vibrating Earth. Cherish it. Revel in it.”
- Mark Burford, Field Lines Cartographer.

Using analogue synths & field recordings, Field Lines Cartographer creates often dark, occasionally bucolic soundscapes, described in The Wire magazine as “shimmering and unsettling” and “The sound of big, strange worlds” by Electronic Sound magazine.