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Recital releases The Holy Restaurant, the new full-length album by Derek Baron, and their first solo LP since Curtain (Recital, 2020).

The album is built from years of miniature transcriptions of improvisations, functioning in many ways as a sister to Curtain. Half-thoughts and mistakes are revisited, gilded, and illuminated. The floorboards of the album are laid with piano, organ, string pads, while serrated accruements (distortions, flourishes, and recording interferences) step and drop overhead. The resulting conflux, as Baron notes in the accompanying booklet “becomes the point and the problem to explore.”

The second track “Oven Girls” opens with us galloping on a horse in some video-game meadow on a bed of MIDI strings. Abruptly, a helicopter soars over us and we transition to a latticed guitar and woodwind exploration. The album rolls on in this fashion, juxtaposing musical half-sentences within a museum of sounds rag-picked from history and daily life. Emotional interviews with Midwestern friars who build and sell caskets are set against gothic piano and guitar duets. On “Music in the Casket,” A disorienting and hilariously epic guitar solo erupts. The penultimate titular piece, “The Holy Restaurant,” sets a text written by Baron’s grandfather. A small chorus voices his words, echoing the humanistic storytelling of “Blue” Gene Tyranny’s A Letter From Home. Under sunlit piano progressions, a fleet of smokey trumpets emerges.

Running throughout the album is a series of “traces”: short melodic phrases painted over again and again with different real and MIDI instrumentation. The “luxurious asceticism of doubling” as Baron puts it. They explain, “Part of the allure for me is that the ‘original’ material is itself kind of thin, sketchy, meaningless, maybe calling attention to itself only by way of a felicitous mistake. Hearing, transcribing, and learning what was basically only ever played first on accident becomes the guiding concern.”

The album’s shifting, variegated forms and voices pass quickly; the record feels both comforting and elusive, suitable for any hour of the day.

The Holy Restaurant features guest players Ed Atkins, Lucy Liyou, Quentin Moore, Emily Martin, Dominic Frigo, Jacob Wick, and several of Baron’s family members. It is released in a limited edition vinyl pressing of 200 copies, accompanied by a booklet of effusive program notes by the composer, alongside an assemblage of photographs, scores, and artwork.

EN/JP liner notes by Doran and a hyper-realistic cover by Japanese visual artist/graphic designer Kai Yoshizawa using 3DCG software.

"8 Automated Works", the first full release by Componium Ensemble, an "indeterminate chamber music" ensemble helmed by Spencer Doran of Visible Cloaks. The project is inspired by the long history of automated musical instruments, beginning with the ancient Greek Archimedes and further developed by the Banū Mūsā brothers in 9th century Baghdad, who "first perfected the concept of a programmable, automated musician: a mechanically controlled flute which used hydraulic water pressure and a system of arrangeable punchcards using a visionary proto-MIDI structure", as Doran explains in the liner notes. This mechanical music-making was extended a millennium later with the use of aleatoric principles by the European Dietrich Nikolaus Winkel, inventor of the self-composing Componium mechanical music system. Doran continues this lineage further, using the possibilities of digital technology and its ability to automate a huge range of virtual instruments and introduce aleatoric elements, moving beyond human impulses and limitations, allowing "new shapes to emerge". Dedicated also to Noah Creshevsky, pioneer of what can be considered cyber-human music, Componium Ensemble features a wide and intriguing range of instruments including prepared piano, bowed harpsichord, celesta, bass clarinet, flute, cello, Balinese tingklik, and more, often in multiple groupings. Despite this variety of instrumentation and the seemingly formidable theoretical underpinnings, the music is very accessible and attractive, spacious and fresh, with a light touch and a sophisticated melodic sense which will appeal to pop fans as well as classical/contemporary music listeners. The album is mixed by longtime collaborator Joe Williams (Motion Graphics, Lifted) and available in 10-inch vinyl, ,

Reflecting years of listening from behind the drum kit with Animal Collective, Boredoms, Dan Deacon, and Lifted arrives Low Air, the first solo LP from Jeremy Hyman.

The record is collected from home studio sessions, taken on the road, and sequenced through reflections of the live experience. Building on previous dance-floor-tuned outputs for Max D’s Future Times label, Low Air moves into a broader compositional arena: pared-down rhythms guide a wash of understated harmony, and compositions surface from a stream of purling noise. There were no standard operations across the music, but one key to the sound is the doubling and tripling of playback speed to fit musical passages into old sampling equipment. This process opened up a new line of inquiry into fidelity and pitch that can be heard throughout the LP.

Shadows fold into colour. Memory dissolves into noise. You brush up against the walls of the mind. Touch is soft as breath. On ‘B side’, Areliz Ramos follows her work’s current into its more “fantastic and elusive… and even romantic” side; a place where fantasy loosens the bolts of reality and memory, and emotion is alluringly refracted into musical collages and loose-strung compositions. Across the album, voices drift in and out of an intimate space, while pensive guitar lines stumble and bloom like scribbled unresolved notes in a diary. Beneath its icy, often chaotic surface, ‘B side’ radiates a deep sense of joy and fragility. Ramos sketches out an entire world by free association, collaging notions and echoing quiet thoughts into deeply honest snapshots of daydreams.

Areliz Ramos is a Peruvian producer living in London, recognized for an evocative palette weaving lo-fi and downtempo threads into dreamlike, abstract emo narratives. While her debut ‘Frío’ (Where to Now?), orbited around homesickness and estrangement, ‘B side’ embraces imperfection, incorporating her guitar (named "Frank"), pedals, synthesizers, and her own vocal textures for the first time, privileging emotional immediacy over technical precision. The creative process behind this album reflects a conscious decision to let go, loosen control, let intuition lead, and engage her own ‘B’ side.

Rather than constructing a safe haven from hardship, Ramos offers a cracked mirror, staring right at it, embracing that vulnerability. The gentle and beautiful ‘B side’ explores fleeting satisfaction, or the elusive comfort sitting just out of sight.

Chris Hontos und Aaron Anderson sind sowohl als Nuke Watch als auch als ihre auf Samples basierenden Cousins Beat Detectives tätig. Die Detectives sind das, was The Beatnuts unter dem Einfluss einer experimentellen dissoziativen Droge produzieren würden, während Nuke Watch eine freie Improvisationsband ist, die keinen Grund sieht, zu quietschen, und an Vergnügen glaubt. Das neue Album von Nuke Watch, "Grave New World", ist ihr zehntes seit Beginn des Projekts im Jahr 2020. Diese Musik taucht ein, kollidiert und quillt aus einer Tasche heraus, der Sound einer elektrischen Welt, die sich selbst mulcht. Modulare Synthesizer breiten sich wie Cordyceps in Räumen voller Bass, Saxophon und Handtrommeln aus und hinterlassen einen neuen, verseuchten Raum: leuchtend, sicher und verrückt. Diese Musik wurde mit Instrumenten gespielt, ein Großteil davon komplett live. Die meisten Tracks sind Aufnahmen von Hontos und Anderson mit ein oder zwei weiteren Musikern, es handelt sich also größtenteils um Trio-Aufnahmen. Man ist versucht, Grave New World als Fusion zu bezeichnen, aber das trifft es nicht ganz. Otto Willbergs Bassspiel ist so versiert, dass es Giganten wie Percy Jones und Jaco heraufbeschwört, und Leonard King nähert sich dem Bass ein wenig wie jemand aus Felas Africa 70. Die drei verarbeiteten Blasinstrumente - Zack Stafford an der verarbeiteten Flöte, Christopher Farstad am MIDI-Blasinstrument und Cole Pulice am verarbeiteten Saxophon - bringen die Musik in die Nähe des Jazz, obwohl keine der Kompositionen der Band wirklich nach Jazz klingt. Outtakes aus der Star Wars Foley-Datenbank? Eine berührungsempfindliche Multimedia-Gewächshausausstellung, die von einer Kindergartengruppe übernommen wurde? Eine Zoom-Session mit Latenzproblemen, verursacht durch Musiker auf fünf verschiedenen Kontinenten? "Grave New World" könnte man als Weltmusik bezeichnen, in dem Sinne, dass, wenn man die Welt zu einem Trichter zusammenfalten, schütteln und alle auf einen Teller voller Menschen rutschen lassen würde, mit denen sie nicht aufgewachsen sind, sie am Ende vielleicht genau das hier produzieren würden. - Sasha Frere-Jones, 2025

Wenn Sie von Hillsborough, North Carolina, auf der 1-85 nach Norden fahren und die Ausfahrt zur 58 East nehmen, erreichen Sie in fünfzehn Minuten Diamond Grove, ein kleines, nicht eingemeindetes Gebiet im Brunswick County, Virginia, am Meherrin River. Für die meisten Besucher gibt es dort nicht viel zu sehen - für Lebensmittel müssen Sie nach Lawrenceville und für Baumaterial nach South Hill fahren. Doch versteckt in diesem Fleckchen Virginia-Piedmont liegen die Überreste einer Milchfarm aus den 1740er Jahren, deren Haupthaus ein wunderschönes altes Gebäude mit zwei Etagen ist, das noch immer mit Seilbetten und allem Drum und Dran ausgestattet ist. Wenn man heute dorthin fährt, hört man in der Ferne Geräusche von jemandem, der in den vermieteten Nebengebäuden Sojabohnen und Baumwolle verarbeitet, von landwirtschaftlichen Reifen, die über Schotterstraßen knirschen, von quakenden Fröschen und von singenden Meisen: chick-a-dee, chick-a-dee. Aber wenn Sie zufällig im September 2023 vorbeigekommen sind, konnten Sie vielleicht Fiddle-Melodien hören, die von den Kiefern widerhallen, BBS-Geräusche in leeren Räumen und die Klänge von Weirs, die ihr zweites Album und ihr Debüt bei Dear Life Records aufnahmen: Diamond Grove. Weirs ist ein experimentelles Kollektiv, das aus der Musikszene im Zentrum von North Carolina hervorgegangen ist und zu gleichen Teilen aus Oldtime-Folk und DIY-Noise besteht. Die Auftritte von Weirs sind hierarchielos und umfassen zwischen zwei und zwölf Personen. Im September 2023 reisten neun von ihnen die US-58 hinauf, um sich im Wohn- und Esszimmer des Hauptgebäudes einer Milchfarm einzufinden, die noch immer im Besitz der Familie des Bandmitglieds und Organisators Oliver Child-Lanning ist, deren Verwandte seit Jahrhunderten dort leben. Die Besetzung von Weirs - weder endgültig noch besonders wertvoll - umfasst Child-Lanning, Justin Morris und Libby Rodenbough (seine Mitstreiter bei Sluice); Evan Morgan, Courtney Werner und Mike DeVito von Magic Tuber Stringband; sowie die treuen Andy McLeod, Alli Rogers und Oriana Messer, die bis tief in die Spätsommernächte spielten. Das Ergebnis sind die neun Tracks von Diamond Grove, aufgenommen mit einer provisorischen Signalkette, die aus geliehenem Equipment der gesamten Community zusammengestellt wurde. Das Weirs-Projekt begann als Tape-Experimente mit traditionellen Melodien, die Child-Lanning im Winter 2019 unter dem Namen Pluviöse aufgenommen hatte. Daraus entstand das erste Weirs-Album Prepare to Meet God, das im Juli 2020 in Eigenregie veröffentlicht wurde und eine Zusammenarbeit zwischen Child-Lanning und Morris während der COVID-Pandemie war. Die seltsamen Umstände dieses Debüts - eine gemeinschaftliche Tradition von Live-Songs, die isoliert voneinander aufgenommen wurden - werden durch Diamond Grove aufgehoben, ein Album, das in der unwiederholbaren Konvergenz von Menschen, Ort und Zeit verwurzelt ist. Auf dem neuen Album setzen Weirs ihre Suche nach dem besten Weg fort, sogenannte ,traditionelle" Musik weiterzuentwickeln, zu bewahren und zu befreien. Sie sind Songfänger, die Melodien sammeln, die kurz vor dem Vergessen stehen. Ihr wildes, Jahrhunderte umspannendes Repertoire klingt wie eine avantgardistische Jam-Session - eine Art Real Book für eine Szene, die sich mit Porch Jams, Big Blood, Amps for Christ und Jean Ritchie auskennt. Weirs fangen Songs ein, deren Interpretationskanon noch offen genug ist, um neben denen zu stehen, die sie zuvor gesungen haben, aber niemals über ihnen. Dies sind keine Versuche, definitive Versionen zu schaffen. Die Aufnahmen auf Diamond Grove fühlen sich eher wie Besuche als wie Überarbeitungen an. Und die Frage, die Weirs auf diesem Album stellen, ist nicht, wie sie einfach die Tradition ihrer Vorfahren fortsetzen können, sondern wie traditionelle Musik heute klingen könnte. Für Weirs könnte die Geschichte dieser Tradition weniger aus dem Folk-Revival stammen als aus der Musique concrète, weniger aus makellosen alten Meisteraufnahmen als aus etwas wie The Shadow Ring, wenn diese aus dem evangelikalen Süden kämen. Wenn man ,(A Still, Small Voice)" hört, spürt man, wie die Kraft der Hymne etwas Gleichwertigem weicht: den Dielen, dem Knistern des Feuers, dem Zubereiten und Essen von Mahlzeiten. Diese Spannung zwischen Bewahrung und Verfall ist das innere Leuchten von Diamond Grove. Nehmen wir ,Doxology l": Die Melodie von ,Old Hundred", einer Hymne aus der Sacred-Harp-Tradition, wird in MIDI umgewandelt, über iPhone-Lautsprecher abgespielt und in der Septemberluft neu aufgenommen. Für manche Revivalisten mag diese Hymne, gesungen mit der ganzen Pracht gefälschter Auto-Tune-Stimmen, blasphemisch klingen. Aber Ohren, die beispielsweise auf die Hyperpop-Produktionen der letzten Jahrzehnte eingestellt sind, werden sofort die spannungsgeladene Schönheit des digital verfremdeten Shape-Note-Gesangs verstehen. Dieselbe Spannung belebt ,l Want to Die Easy". Weirs' Version basiert auf der Aufnahme von A Golden Ring of Gospel, die in der Folkways-Sammlung Sharon Mountain Harmony verewigt ist. Die Melodien, Texte und Strukturen sind weitgehend unverändert geblieben. Aber die ,reine" Klarheit der Stimmen der frühen Aufnahme ist verschwunden. An ihre Stelle tritt der distanzierte Klang des Silos der Milchfarm, in dem Weirs ihre Version aufgenommen hat, dessen natürlicher Nachhall von zwei Sekunden die ursprüngliche Nähe ersetzt. Auf diese Weise wird der Klang des Aufnahmeortes selbst zu einem Teil der traditionellen Darbietung. Das Herzstück von Diamond Grove ist Weirs' Interpretation von ,Lord Bateman", einer Melodie, die Jean Ritchie als ,große Ballade" bezeichnete: Sie wurde gespielt, wenn die Arbeit getan war und der Tanzabend zu Ende war. Es ist ein Lied aus dem 18. Jahrhundert - so alt wie die Diamond Grove Farm - über einen gefangenen Abenteurer, der laut Nic Jones den Geist eines Errol-Flynn-Films verkörpert. Wie viele großartige und oft a cappella gesungene Interpretationen steht auch bei diesem ,Lord Bateman" die Stimme im Vordergrund und unterstreicht die Bedeutung des Geschichtenerzählens für das Zusammenkommen der Kinder. Neu ist hier der immense Bordun, der die Erzählung in ein unaufhörliches Gewebe elementarer Kräfte verwandelt. Es ist ein verschwommenes Murmeln kollektiver Saiten, das den Kanon von Ritchie und June Tabor ebenso bereichert wie Pelt's Ayahuasca oder Henry Flynt's Hillbilly Tape Music. Obwohl Diamond Grove nicht explizit von der alten Milchfarm handelt, auf der es aufgenommen wurde, kann es nicht umhin, ihr zu ähneln. Alte englische Balladen wie ,Lord Bateman" und ,Lord Randall" ergießen sich über Felder, die einst von der britischen Krone ,vergeben" wurden. Tragische Lieder wie ,Edward" taumeln über Tuscarora-Pfade und Baumwollfelder nach dem Bürgerkrieg. Hymnen wie ,Everlasting l" und ,Everlasting Il" fangen das Mondlicht ein, das seit Lord Bacons Rebellion durch doppelt gehängte Fenster fällt. Und die Nachtvögel trillern noch immer, und die Pflüge pflügen noch immer eine unkomponierte Musik, die darauf wartet, von zufälligen Ohren entdeckt zu werden. Diamond Grove ist in dieser Hinsicht Geschichte. Es ist ein Ort. Es ist Zeit. Es ist das Einfangen von Liedern, Lebendigkeit, Tonbandmanipulation. Wie der niedrige Damm, den das Wort ,Weir" andeutet, ist es eine Verteidigung gegen die Strömung. Es ist eine Verteidigung regionaler Lexika gegen massenproduzierte Umgangssprachen; eine Verteidigung gegen den Glauben, dass wir einfach zu einer einfacheren Zeit zurückkehren können; eine Verteidigung gegen die Vorstellung, dass Volksmusik ,rein" bleiben muss; eine Verteidigung gegen die Behauptung, dass ein Traum von der Zukunft, der in verlorenen Geschichten schlummert, unwiederbringlich verloren ist. Gegen all das verteidigt Diamond Grove traditionelle Musik, indem es sie so klingen lässt, wie die Komplexität der heutigen Zeit - weil es weiß, dass solche Musik und all die Geschichten, die in ihr stecken, auch in Zukunft eine Rolle spielen werden.

'Oh Snap' features twelve very personal songs by Salvant (plus a cover of a verse from the Commodores’ 1977 hit “Brick House), mostly recorded outside of a traditional studio environment, and which showcase her genre-spanning tastes and influences. The MacArthur Fellow and three-time Grammy-winning singer and composer wrote these short, intimate songs as part of a creative quest: to place spontaneity and joy at the centre of her writing process, and originally recorded them alone, at home, never intending for them to be released, using digital tools and effects that she had never played with before, like GarageBand, Logic, AutoTune, Midi plugins, drum loops, vocal effects, reverb, and filters. The songs reflect Salvant’s wide-ranging musical influences from her 1990s childhood in Miami—from boy bands to grunge to classical to folk—and include party tracks with beats, samba grooves, and quiet folk songs. The album features longtime collaborators Sullivan Fortner, Yasushi Nakamura, and Kyle Poole, as well as cameos from singers June McDoom and Kate Davis.

"Oh Snap features twelve very personal songs by Cécile McLorin Salvant - plus a cover of a verse from the Commodores’ 1977 hit “Brick House” - mostly recorded outside of a traditional studio environment and showcasing her genre-spanning tastes and influences. The album features longtime collaborators Sullivan Fortner, Yasushi Nakamura, and Kyle Poole, as well as cameos from singers June McDoom and Kate Davis. Salvant has US and international tour dates throughout the summer and autumn; find more details at nonesuch

The MacArthur Fellow and three-time Grammy-winning singer and composer wrote these short, intimate songs as part of a creative quest: to place spontaneity and joy at the center of her writing process. She originally recorded them alone, at home, never intending for them to be released, using digital tools and effects that she had never played with before, like GarageBand, Logic, AutoTune, Midi plugins, drum loops, vocal effects, reverb, and filters. The songs reflect Salvant’s wide-ranging musical influences from her 1990s childhood in Miami - from boy bands to grunge to classical to folk - and include party tracks with beats, samba grooves, and quiet folk songs.
"

Nach dem Erfolg der ersten zehn Alben der Vinyl Edition von Hyperion (veröffentlicht im September 2024
und März 2025) folgen nun sechs weitere LPs. Alle Alben erscheinen erstmals auf Vinyl und zeigen weltweit
tourende Künstler, mit denen das Label seit langem eng zusammenarbeitet. Jeder der sechs Titel wird als
limitierte 180g-LP erscheinen, die in einem vollfarbigen Gatefold präsentiert wird und mit einem Begleitheft
ausgestattet ist.
2025 feiert das Nash Ensemble sein 60-jähriges Bestehen, und Hyperion begeht diesen Anlass mit einem
Programm aus Debussys Sonaten & Prélude à l’après-midi d’un faune. Das Originalalbum stand Anfang
des Jahres auf Platz 1 der britischen Specialist Charts, und die Times schrieb: ”Sechzig Jahre haben uns
gezeigt, dass mit den Musikern des Nash Ensembles, ganz gleich, welches Repertoire sie spielen, eigentlich
nie etwas schiefgehen kann.
Das Nash Ensemble, residierendes Kammerensemble in der Londoner Wigmore Hall, gilt als Vorreiter
des britischen Musiklebens und wurde von The Independent als „unvergleichliche Kammermusikgruppe“
bezeichnet. Das Nash Ensemble hat sich einen bemerkenswerten Ruf als eines der besten Ensembles
Großbritanniens erarbeitet und sich dank des Engagements seiner Gründerin und künstlerischen Leiterin
Amelia Freedman und des Kalibers seiner Spieler einen ähnlichen Ruf in der ganzen Welt erworben.

MIDICRONICA, known as the final legacy of Nujabes and the ending theme of the globally acclaimed anime "Samurai Champloo" and singer Hiro-a-key
(origami PRODUCTIONS), who is also active globally under the name Nenashi, have teamed up to release "Itsumosobani" on 7-inch vinyl.
This work is a split album of songs by Shin-Ski, the poster child of Lo-Fi Hip-Hop, and KO-ney, an official AKAI Professional player and one of Japan's leading finger
drummers, and includes two songs, the mellow and nostalgic "Itsumosobani" based on jazz, and the emotional and laid-back Itsumo Soba n".
Hiro-a-key's pale and fleeting singing voice and MIDICRONICA's unadorned words will touch your heart when you think of someone important.

Vines, the solo project of New York-based multi-instrumentalist and composer Cassie Wieland, offers a window into her inner world through expansive swaths of sound. She pieces together a celestial mix of synths, percussion, strings, and vocoded voice, making music that is at once deeply personal and cinematic in scope. This diaristic approach first took shape with her 2023 EP Birthday Party, and is crystallized on her debut LP, I’ll be here. With the sweeping and vulnerable I’ll be here, Vines arrives fully formed as an artist who crafts deeply resonant and open music–the kind that invites listeners in to listen, reflect, and share in the journey of learning through living.

“It was through making music that I was able to meet myself,” Wieland said. “Anything I’m going through or feeling is something that somebody else out there can relate to, and that’s really special to me.”

I’ll be here is both a culmination of years spent creating gossamer soundscapes and an opening to a new journey for Wieland as an artist. The album grew out of her years as a composer and songwriter, and builds on the language she developed on Birthday Party, which transformed the tumultuous feelings of the passing of time into minimalist meditations. It was just a start, though–a prologue, a development of the kind of language and ideas she wanted to express. With I’ll be here, she digs deeper and writes music that feels more sprawling, further solidifying her singular voice.

Wieland’s musical composition process is similar to journaling, lending itself to the music’s honesty. When she writes, she makes room for all the ideas she has; in these sessions, there are no wrong ideas, and she allows the music to be attuned to the experiences she’s having at the time. With I’ll be here, Wieland zeroes in on themes of anxiety, loneliness, navigating human connection, and having to grow up from a young age, ultimately coming to a place of acceptance. And though it began as a journal written in solitude, her collaborators shape the music with her.

Working with friends, in fact, was a crucial part of bringing the record to life. “Everything that was supposed to happen came together so easily because of the people involved,” Wieland said. I’ll be here was co-produced and recorded with Wieland’s longtime collaborator Mike Tierney, a four time Grammy-nominated engineer who has worked with artists across the contemporary classical and experimental scene like minimalist pioneer Steve Reich, LA’s preeminent classical ensemble Wild Up, and various bands on Bang on a Can’s Cantaloupe Music label. Percussionist and composer Adam Holmes and violinist Adrianne Munden-Dixon are two other longtime collaborators who are frequent fixtures of her live show. Holmes plays synths, drums, and banjo; in live settings, his kit is loaded with elements of the songs that are then triggered by MIDI, making the music an interactive, evolving experience. The album’s gentle, filamented edges are colored by Munden-Dixon, whose poignant string melodies elevate Wieland’s introspective compositions, as well as cellist Helen Newby, saxophonists Julian Velasco and Jordan Lulloff, and bassist Pat Swoboda.

Wieland takes an economic approach to writing music, building the swirling and immersive landscapes of Vines through short melodies, lyrics, and phrases. As each element layers and interweaves, they grow into sprawling webs of ghostly sound. Prior to Vines, Wieland composed pieces for other people to play using a minimalist’s sensibility, writing slowly unfolding melodies for instruments like violin and saxophone. In recent years, she sharpened her solo style across a variety of singles and covers which have garnered significant attention on social media for their emotional resonance (“being loved isn't the same as being understood” in particular went massively viral on TikTok in 2024). Birthday Party, her debut as Vines, brought her writing to a much more intimate space, centering on her vocoded voice cloaked in feathery reverb. A series of recent singles, meanwhile, including “I am my home,” showcase the way that Wieland’s music is born from the story of her innermost feelings, extending far beyond just the self.

Though Wieland’s music often deals with dark themes, it unfolds with tender melancholy, the kind that feels like a warm embrace. On “Evicted,” Wieland wonders if she’s getting sick or moving on, if she’s lost or found. Her vocals expand with each lyrical repetition, as the instrumentals slowly encircle and the music’s rhythm grows and bursts into a heart-wrenching, yet radiant wave reminiscent of post-rock bands like Explosions in the Sky. “Tired” follows a similar trajectory, building from a looping, melancholy rhythm and floating lyrics into a solemn resignation. Elsewhere, Wieland takes a more ruminative approach: “Omw” begins with twinkling piano and melancholy strings that gradually transform into an undulating mass. It is a song born out of the warm feeling of reminiscence, the slight return of hope that comes with nostalgia.

With any searching journey, there is also a point of understanding. The title track closes the album with the freedom of acceptance. A marching drum beats steadily beneath Wieland’s open vocals, moving forward, ever onward as it flies into the ether. In Wieland’s delicately textured music, there is room to come into yourself, and learn to love whomever that is. I’ll be here is a special space that can be all your own, one in which to feel what needs to be felt. “This is music for your story,” Wieland said. “I want you to use it how you need it.”

A deep excavation from the archives of Italy’s electronic vanguard, Navigators finds Franco Falsini—founder of the seminal Interactive Test label—charting bold, genre-defying territory at the dawn of the internet era. Created in 1997 with an Amiga Tracker interfaced via MIDI to Roland samplers, the EP reflects a hands-on, forward-thinking production approach that sidestepped industry norms of the time.

Named after Netscape’s iconic browser, Navigators is imbued with the spirit of early digital exploration. Ethereal vocals from Ashram’s Bettina and Ilaria Ciampolini drift through intricate, off-grid arrangements, while contributions from Riccardo Falsini, Ubj, and Atma Lai add rich, unconventional textures. The result is a collection that resists simple classification, bridging ambient, trance, and proto-techno with a distinctly Italian sense of depth and atmosphere.

Tremendo Recordings proudly reintroduces this timeless work—unmistakably personal, quietly radical, and ahead of its time.

"Chasing the funky symphonies that filled my head and my dreams..."

December 25th, 2023 - an Instagram post. Stimulator Jones shared half a dozen FIRE tracks from his beat tape archive. We were immediately drawn to the rough hewn boom bap.

"I'd release that", Rob commented.

Hours of material was shared and the result is this: Cool Green Trees (1999-2005). A collection of beats and loops Stimulator Jones created between the ages of 14-20 at home in his basement, bedroom and computer room in Roanoke, Virginia.

You will not believe the profound soulful genius contained within these naive schoolboy melodies.

December 25th, 1998 - 25 years ago to the day and his much-coveted Yamaha SU10 sampler was finally bestowed upon young Stimmy AKA Sam Lunsford: "I immediately hooked up a CD Walkman to the input jack and looped the beginning two bars of Grover Washington Jr.'s "Mercy Mercy Me". I don't know what exactly was so thrilling about hearing two measures of music repeating over and over but it was so infectious and hypnotizing and enthralling to me. I'll never forget that ecstatic rush of making my first loop - an uncontrollable, gleeful smile plastered all over my face." When you hear the pocket breakbeat symphonies featured here on Cool Green Trees, you'll feel the same sense of frisson.

In the wake of his Stones Throw breakthrough - Exotic Worlds & Master Treasures - Stimulator Jones was pegged by many as a 90s throwback artist. However, he literally IS a 90s artist. He's been recording music most of his life and he's now 40. He created the bulk of Cool Green Trees as a teenager. Everything before 2004 was recorded when Sam was still in school. He was in 8th grade when he made the 1999 tracks - he didn't even have his learner's permit. This album is a snapshot of a young man in a simpler time. Things were still mysterious back then and he was flying blind, relying on his ears and having to figure things out for himself: "I had no road map for becoming a beatmaker. I have been collecting music since I was a kid, I am a lifelong digger and seeker of cool and interesting sounds. I was there in the golden age of Hip Hop, and while I may have been a suburban white kid in Roanoke, Virginia, I was tuned in and I bought so many classic albums when they came out. I was attracted to Hip Hop because of the musical and poetic quality. I was hypnotized by the rhythms, partially because I was a drummer. I didn't brag about collecting my breakbeat records or making beats - it was something I did in isolation. It wasn't something I generally wanted to bring attention to and it didn't really score me any cool points. I certainly wasn't flexing on social media about it."

Hell, he can do that now!

Opener "Pharoah Jones" was inspired by Yesterday's New Quintet and Madlib's ability to capture that classic 70s sound whilst playing all the instruments. Sam created this one stoned afternoon by laying down a 2 bar loop and a shaker loop on his Yamaha SU700 sampler. He hung a microphone from the ceiling and played his Yamaha Stage Custom drum kit over the top before adding ender Rhodes and playing his dad's Selmer tenor sax through an Electro Harmonix Memory Man echo pedal. Yes! Up next, "Ghost Gospel" utilises a dope loop from a gospel record and adds some soul-funk drums overtop, whilst working that filter knob. Says Sam: "The loop reminded me of something Ghostface would rap over. The sample was in 3/4 waltz time but I flipped it for a 4/4 groove, a technique I picked up from RZA. "Ill Feeling" uses sped-up pieces from a dusty old funk record and putting them over a classic NOLA drum loop; gain chopping up a slow, bluesy 3/4 time signature and bending it to a 4/4 groove. Classy shit. "Capital Punishment" features drums tapped in live, inspired by MF Doom's Special Herbs series. "Do Not Adjust" consists loops found on a compilation of 70s French music at Happy's Flea Market, a classic Roanoke digging spot.

The sublime, evocative title track, "Cool Green Trees" was created when Sam was still living at home. He dumped samples off his SU10 into the family desktop and arranged them in a demo version of Pro Tools: "This track was sort of my ode to the DJ Shadow style of sample based production. Super spacey, slow, and moody. The heavily filtered drums were inspired by Alec Empire's 'Low on Ice' album. I later added some scratches and sounds from a Spider Man storybook record." "Chill Scratch" snags the final bit of a bossanova record and pairs it with a drum loop before adding experimental scratching run through an Electro Harmonix Memory Man echo pedal. "Poisonous Fumes" was made using a sampler, mixer and a turntable; a kind of mixtape beat collage with added scratches and sounds from various records. Using dialogue from superhero records was a nod to Madlib. "Welcome Aboard The Starship" is dark, downtempo trip-hop with a spooky bent. Sam paired a slow, hard drum loop with a guitar sample grabbed off a psychedelic rock record. To finish, he added various backwards sounds and weird atmospheric effects and a little scratching. Swoon.

Side B opens with "Keep On Runnin", made on a borrowed Roland SP202 sampler. Having always loved the sound of the Lo-Fi filter on those machines, reminiscent of the Emu SP1200, Sam always imagined Del or another of the Hieroglyphics crew rapping over this beat. You can certainly hear why. "Sounds Impossible" sees Sam experimenting with layering multiple kick samples at different volumes to create patterns similar to those heard by Showbiz and Lord Finesse during their God-level 1995 period. "Painted Faces" was made by chopping up a REDACTED record which he had gotten from Happy's Flea Market and paired it with a REDACTED drum loop. By the time Sam recorded "The Knew Style", he had acquired a shitty old 1960s portable turntable off eBay. It didn't function properly when he bought it but his brother opened it up, cleaned it out and got it working: "I remember he told me that there was a bunch of sand inside of it when he opened it up, as if its previous owner had taken it to the beach. I would take that turntable on my Happy's Flea Market digs so I could preview records...that's how I found this loop."

"Chicken Wing Blues Sauce" loops up a classic blues joint and pairs it with some REDACTED drums. A bit of filtering and arranging et voilà! "Kool Breeze", from 1999, is one of Sam's oldest surviving beats, as is "Sexx Bullets". The Roots sampled the same record, leaving Sam frustrated yet vindicated. "Soul Child" was an early SU10 creation, looping a dusty old Soul Children 45 and pairing it with 70s rock drum loops to great effect. "Take Off Runnin" was another loop found digging with a portable turntable. Paired with some boom bap drums it makes for a hypnotic head-nod groove. "Centurian" was intended to be a little beat interlude a la Pete Rock. The sample is from a sun-dappled soft-psych record and it's paired with a Robin Trower drum loop that just happens to fit perfectly. Sometimes you slap things together kind of haphazardly and magic happens. "Bozack" was the first beat Sam made using Pro Tools, his first foray into using chopped sounds instead of loops, an exciting new world. "Church" is beat interlude using a Phil Upchurch loop with the "Long Red" drums - a favourite break of Dilla et al. Sam was really on a tear in late 2004, probably because he was unemployed and phoneless and able to just make beats all day. He made "Splash One" on a borrowed Yamaha SU700 and again was experimenting with tapping the drums in live with his fingers, instead of using a loop or sequenced pattern. Channeling 9th Wonder, Sam used a water splash sound effect from a Batman record as a percussive element, hence the title (also a 13th Floor Elevators reference). The main loop is a backwards portion of one of his favourite Roy Ayers songs.

"Hank" is another fun little beat interlude thing, created on a borrowed Roland SP202 sampler with the fantastic Lo-Fi effect that resembled the Emu SP1200 at a fraction of the price. "73 goatee", from 99, is another of his oldest surviving beats, created in his bedroom with his Yamaha SU10 and his brother's Vestax MR-300 4-track recorder: "This one will always feel special. I can remember having a feeling all the way back then on the night that I created it that this was a solid beat with a catchy loop. There was something in the Fender Rhodes melody that resonated with me emotionally, and I had never heard a producer sample that portion before. I felt like I had found my own unique sound, my own unique loop. It came from an Ahmad Jamal '73. I actually even recorded myself rapping and scratching over this beat way back then, I still have that version in all its imperfect sloppy glory."

Sam explains just how much these tracks mean to him: "They all have immense historical and sentimental value and I'm proud of them. These beats come from an innocent, simple time when I was just figuring out how to craft these sounds. They're something very personal to me. They are the initial part of a journey that I really was taking *alone*. There was no YouTube. I couldn't Google shit. I didn't even know any other beatmakers, producers or DJs in my town that could teach me anything. It was always just me, alone, in a room with some equipment - chasing the funky symphonies that filled my head and my dreams. What I was doing wasn't cool. Most of my peers thought I was a weirdo and couldn't care less. Creating these sounds was an anti-social endeavour. In a sense, I felt like it was me against the world, and all I had to instruct and assist me were the recordings produced by my heroes - RZA, DJ Premier, Erick Sermon, Beatminerz, Showbiz, Diamond D, Beatnuts, Prince Paul, The Bomb Squad, Pete Rock, Q-Tip, E-Swift, Mista Lawnge, DJ Shadow, Cut Chemist, Peanut Butter Wolf, El-P and so many more...I dedicate this collection to them, and to my older brother Joe who has always been a musical and technical guiding light for me.

This was a time before every kid was a self-described producer and beatmaker, before everyone had a DAW, before Kanye and "chipmunk soul", before Red Bull beat battles, before there was any social media beyond chat rooms and AOL Instant Messenger, before Soundcloud, before SP-404 mania, before lo-fi beats to study to, before Splice, before targeted ads for MIDI chord packs, etc. In 99 when I told people that I had a sampler and made beats I was mostly met with bewildered confusion and indifference. Kids and adults alike would wonder why I got this weird machine for Christmas instead of something worthwhile like a Playstation or a mountain bike or even a guitar for that matter because at least that could be used to make "real music". Back then, sampling was still not widely respected as an art form - it was seen as lazy, talentless and unoriginal at best and outright criminal theft at worst. I had gotten respect for playing drums and guitar and things of that nature but this was a step in the wrong direction in the eyes of many."

The cover photo is a picture of Sam standing on his back porch in the latter part of 1998, just before he got his first sampler. He was 13 years old, in 8th grade. His dad took the picture with his 35mm film camera: "I actually wanted to be pointing my dad's .22 pistol at the camera lens but he wouldn't let me. He gave me an old walking cane to use instead. The Tommy Hilfiger puffer jacket came from the lost and found at William Fleming High School where my mom worked as a secretary. I was thrilled when she brought it home because we never spent money on expensive name brand clothing like that - we were for the most part strictly a sale rack, bargain bin, thrift store, yard sale, flea market kind of family when it came to clothes. My watch is some cheap off-brand fake gold department store watch." Mastering for this vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

Als eine der einflussreichsten Bands, die aus der britischen Festivalszene hervorgegangen sind, überlagern die Ozrics Ambient und ätherische Landschaften mit Freeform-Dub-Trips, unglaublichen Rave-Grooves und psychedelischem Progressive Rock. Es ist eine offene Erkundung der Musik und der Seele.

Seit über 30 Jahren haben die Ozrics die Wechselfälle des Rock'n'Roll-Lebens erlebt. Die Band hat mehrere Besetzungswechsel durchlebt, mehrere Nebenprojekte hervorgebracht, ihr eigenes Plattenlabel gegründet, einen Hit gelandet und weltweit über eine Million Alben verkauft. Und doch ist die Grundmotivation hinter der Existenz der Band nie ins Wanken geraten.

Ihre charakteristische Mischung aus Hippie-Ästhetik und Raver-Elektronik mit spiralförmigen Gitarren, texturierten Keyboard- und Midi-Sampler-Wellen und super-groovigen Bass- und Schlagzeug-Rhythmen begeistert bis heute Fans auf der ganzen Welt.

"Curious Corn" ist ein klassisches Ozrics-Album, das Rock, Ambient, Weltmusik und gekonnte Basslinien mit einem Markenzeichen-Groove vermischt, der Fans an die bemerkenswerten Festivalauftritte der Band erinnern wird.

A l’occasion des 20 ans de cet album devenu culte, Record Makers réédite une version spéciale anniversaire limitée (vinyles transparents – 500 exemplaires) qui ravivera la flamme des fans de la première heure, des nouveaux fans et des collectionneurs. "Vive la Vie" est aujourd’hui un album référent pour les amateurs de rap, reconnu par ses pairs lyricistes, c’est un de ses albums qui marquent à jamais une époque, celle des années 2000 et de son rap aux rimes fines et puissantes.



Le 15 novembre 2004 sortait "Vive la Vie" le premier album du Klub des Loosers.



On ne présente plus le Klub des Loosers et son unique membre Fuzati. Pourquoi ? parce qu'on en a un peu honte quand même. Imaginez un jeune versaillais que tout prédestinait à devenir écrivain maudit ou chanteur d'un groupe de pop répétant dans le garage parental le dimanche de 16h à 20h. Le genre de type qui passait ses samedis après-midi à la bibliothèque municipale, ses samedi soir à boire de la bière dans les squats de jeunes où on recense une fille pour dix mecs et où la phrase qui revient le plus souvent est "qui roule un joint ?"

Imaginez maintenant que ce type ait une illumination, au milieu de ces jeunes que tout prédestine à la réussite (HEC, science-po) et qui lorsqu'ils se retrouvent ensemble ne savent pas faire autre chose que de se défoncer. "Nous sommes un klub de loosers".



Comme il n'aime pas trop les gens, Fuzati fondera un klub dont il sera le seul membre. Comme il n'a pas de guitare que le hip hop est son seul ami il se dit qu'il fera ça comme musique. Bah oui c'est sympa le hip hop. Comme on lui a dit qu'il n'avait pas une tête de rappeur et que les casquettes à l'envers lui vont mal il ne montrera jamais son visage et portera un chapeau. S'en suivra un parcours classique de MC underground qui rappe pour la rue (mais aussi les avenues) et représente ses refrés illégalement enfermés derrière les murs des prépas t'as vu. Mixtapes, nombreux freestyles dans l'émission Greckfrite diffusée sur la chaine internet Canalweb, concert à la MJC de Versailles mais aussi dans un entrepôt désinfecté à Dunkerque.



En 2003 Il signe sur le label parisien Record Makers parce qu'on lui a appris qu'il ne fallait pas trop se mélanger avec les gens d'autres milieux. Sortiront deux EP, "Baise les Gens" et "La Femme de Fer" qui sont déjà des classiques pour au moins 32 personnes. La même année sort également l'album de l'atelier "Buffet des Anciens Elèves" auquel il participe avec Tékilatex du groupe TTC, James Delleck, Cyanure et deux producteurs de talent, Tacteel (Lex Records) et ParaOne (Institubes). En juillet 2004 sort le maxi du Klub des Loosers où collaborent MF DOOM, légende hip hop, et Jean-Benoit Dunckel, moitié du groupe AIR.

First ever release of pioneering radiophonic / experimental / electronic / soundtrack composer you may never have heard of but really should have by now. 26 tracks in all.
As we began the mammoth task of whittling down material for this album Elizabeth recalled the time she met Delia Derbyshire. It was during a party for existing and former Radiophonic Workshop composers at BBC Maida Vale in the early 1980s. Delia introduced herself with typical energy and exuberance proclaiming "It's up to you now - I'm passing the baton. Show these men how we get things done". That must have been quite an honour and responsibility for a young, female composer establishing herself within the male-dominated environs at Delaware Road.
Looking back over a musical career spanning almost five decades, it's clear Elizabeth rose to the challenge and made her mark. She was consistently in demand with television and radio producers, composing for an array of ground-breaking, critically acclaimed and popular BBC projects. Whilst Delia's legacy has achieved mythical status with her position as an innovator and feminist icon secured, the majority of Elizabeth's recorded work remains unavailable so her contribution to the output of the Workshop and evolution of British electronic music is somewhat under-appreciated.
Perhaps this record will help start to remedy the situation. Included are early tape experiments, home demos and non-BBC commissions from the early 1970's to the late 2000s. Having listened to 260+ digital audio tapes from Elizabeth's personal archive we have barely scratched the surface but hope to provide an indication of the breadth of her compositional and sound design skills.
Classically trained in cello and piano, Elizabeth graduated from the University of East Anglia with a degree in Music in 1973. She was mentored by Tristram Cary who helped her to become UEA's first recipient of a Masters in Electronic Music and later awarded an Honorary Doctorate by Staffordshire University. Joining the BBC as a studio manager in 1975, Elizabeth transferred to the Radiophonic Workshop in 1978. One of her first tasks was to create special sound effects for Blake's 7 using tape loops, the EMS 100 and trusted VCS3.
Her celebrated score for The Living Planet in 1982 featured early use of the PPG synthesizer and earned an Emmy nomination. Over the following years studio technology evolved rapidly, but Elizabeth transitioned from analogue recording techniques to newer digital platforms with relative ease, using samplers, midi sequencing and computer controlled workstations.
With an incredible 1,400 commissions to her name, she created special sound for The Day Of The Triffids, Lord Of The Rings, countless radio dramas including Iris Murdoch's The Sea, The Sea, Harold Pinter's Moonlight, all of Howard Barker's plays, productions of King Lear, Wordsworth's Prelude and The Pallisers. The success of The Living Planet led to further work for the BBC Natural History Unit followed by numerous commissions for The Natural World. At one point in the late 1980's at least five of her signature tunes were being broadcast every week including Points Of View, Horizon, Doctors To Be and Everyman.
After the closure of the Workshop in 1996 Elizabeth became freelance, arranging Faure's Pavane for the BBC World Cup '98 coverage (reaching no. 9 in the UK singles chart). She wrote additional music for Monty Python's Holy Grail DVD, scored Michael Palin's Full Circle and Sahara TV series, The Lost Gardens Of Heligan and The Human Body with Robert Winston.
Retiring from the music industry in the late 2000's, Elizabeth recently returned to her East Anglian roots and now lives near the coast. She walks daily, listening to all kinds of music, new and old, on her beloved air-pods.

The road is a wrinkled timeline. Uncanny flatness conceals unfolding textures, transparent layers and open tabs. The truck cuts the landscape, tracing the road with a line of mad logic that composites time, space, thought. On “Le Camion de Marguerite Duras,” French duo Jean-Marie Mercimek have returned with a road movie for the blind. Composed and recorded by Marion Molle and Ronan Riou over six years across France and Belgium, this unlikely distillation of microtonal MIDI composition, French B.O., and post-punk chansons brazenly expands the duos’ penchant for lowkey narrative spectacle.

Across “Le Camion,” sounds form a theatrical screen. Our ears are the curtains drawn wide and listening with a look that pans across the shot. No title cards, they cut straight to action. The truck is a camera, zooming and framing the tracks as scenes. Songwriting and sound design blur in a tangle of delicate economy. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, Residents, and catchier corners of the Lovely Music catalog. Strange, sure, but this flick is never quite a cartoon. Molle and Riou’s vocals dilate into a cast of very human characters. Voices sing borrowed texts like untrained actors (playing themselves, in fact) stepping into the frame once before disappearing forever. And when they’re gone, you miss them. But here in the truck, it all comes back again under the cyclic spell of repose in perpetual motion. Turn up the radio and appuyez sur le champignon. - Turner Williams Jr.

Crafted entirely on an analog monophonic synthesizer with no overdubs, Pièces Monophoniques is a tribute to simplicity in an era of limitless digital possibilities. Since his debut album, Music For Prophet (Les Disques du Festival Permanent, 2017), Majorca-born composer Marc Melià, now a long-time resident of Brussels, has been redefining the contours of electronic music through a minimalist, reductionist approach. Much like a solitary hike through the vastness of mountains, where one carries only the essentials, Melià’s work invites listeners on a journey stripped of excess, focusing instead on the purity of sound and intention.
While some have dismissed monophonic music as overly simplistic, others have embraced its distinct charm. Historical records, such as those by Johannes Quasten, reveal that early Church leaders were drawn to monophonic music because it resonated with the era's cosmological beliefs, highlighting the harmony and unity of all creation. In an age of digital abundance, Marc Melià deliberately embraces constraint, crafting an album that thrives within a limited palette of choices. Yet, from these self-imposed boundaries emerges a stunning universe, brimming with rich textures and elegant harmonies. For his debut album, Melià worked exclusively with a Sequential Prophet. With Pièces Monophoniques, his third LP, he returns armed solely with an analog monophonic synthesizer and handcrafted MIDI sequences etched directly onto a single stereo track. These recordings seek to uncover beauty within the boundaries of limitations and simplicity, rejecting any embellishments that are not essential. Melià presents the bare skeleton of music, highlighting the power of absence and silence as creative forces. Like the hidden mass of an iceberg, what is not heard becomes as significant as what is heard.
The album navigates the boundary where the quest for an uninhibited emotional response intersects with the mechanical sounds generated by synthesizer circuitry. Despite being a collection of beatless tracks, a pulse occasionally surfaces, like in the closing piece, "224 Steps. A sharp sequence blended with multiple delays and reverbs creates the vaporous celestial specter of multiple voices in "Illusions of Polyphony", while "Échoes et Fantasies" conjures the illusion of dual harmony. The expansive reverbs and silences between the euphoric synth phrases in "Overture" transport us to an imaginary magestic landscape shaped out of an electric field. "Resonances," a one-note drone-like sequence, embodies the album's aims as a series of resonances created with the synth filter emerge from the fundamental note.
"Pièces Monophoniques," aims to contribute to a tradition that dates back to the dawn of humanity. After all, there is no denying that the earliest music crafted by humanity was monophonic, from the soothing lullabies sung to newborns to Gregorian chants, traditional labor songs, and the repertoire of solo compositions by countless composers.

LIMITED VINYL COMES IN CARDBOARD SLEEVE WITH BOOKLET!
OSTRANENIE is a collection of digitally manipulated, impressionistic piano miniatures — each named after blockbuster films and TV series. Improvised late at night as a reaction against passive media consumption, these pieces function as both homage and critique, navigating the space between classical impressionism and contemporary digital manipulation. They don’t just deconstruct traditional piano expression; they interrogate the emotional stakes of sound in an era where immersion culture flattens meaning and algorithmic logic erodes agency.

The album’s title references the Russian formalist Viktor Shklovsky’s concept of “ostranenie” (ɐstrɐˈnjenjɪj, estrangement/defamiliarization), a term he introduced in the early 1920s to describe art’s role in resisting the indifference of habitual perception.

“And so, held accountable for nothing, life fades into nothingness. Automation eats away at things, at clothes, at furniture, at our wives, and at our fear of war.”
—Viktor Shklovsky, Theory of Prose (1925)

Shklovsky saw art as a way to break through the anesthetizing effects of routine, stripping away the layers of habit that dull our senses. By making the familiar strange, art reclaims perception from the mechanical and the automatic. His argument wasn’t just a theoretical exercise — it was a response to a world rapidly consumed by industrialization, war machines, and the alienation of a technologically dominated modern life. In this context, he positioned artistic technique as something autonomous, distinct from mere social criticism or psychological reflection. Art seeks to remove “...the crust that the world of things deposits on our senses, with routine’s unending murder of the real.” Ben Ehrenreich on Serena Vitale’s Making Strange (The Nation, 2013)

This tension—between revolutionary/artistic and industrial technologies—defined the 20th century, and it continues to resonate today. The mechanization and automation that fueled the First World War’s devastation, alongside the social and economic turbulence of the 1920s, became central to the era’s self-conception. But just as technology was a source of alienation, it was also positioned as an agent of radical change. As the shock of modernity disrupted the human condition, it also became the driving force behind an ideological utopia — one that ultimately deformed into political totalitarianism — a paradox that remains unresolved.

OSTRANENIE plays within this contradiction. The music shifts seamlessly between an uncanny black MIDI dismantling of traditional piano virtuosity and moments of raw, fragile intimacy. The result is a work that resists automatic anonymity while questioning what it means to create in an era where the technological mediation of sound — and experience itself — is unavoidable: Art in the age of its technological constructedness.

This material was released digitally via Belgian label, Stroom as single tracks, as well as located on the Internet Archive as a free download in the form of 4 bulky sides (A,B,C,D) as it was originally conceived. Now available for the first time as physical, compact double MC-set via Tax Free Records.

Alepher “Dodges Aim” was made by iRiAi Verlag and TRii Compiler ca. between 2020-24.

Es folgt auf ein aufsehenerregendes Jahr für die Band, in dem sie u.a. als Support von Geordie Greep (Black Midi) und als Begleitband für die R&B-Legende Eddie Chacon auf UK-Tournee war.

Angeführt von zwei lebenslangen besten Freunden aus Newcastle, Stan Woodward (Bass) und King David-Ike Elechi (Schlagzeug), sind die Knats stolz darauf, „Geordie Jazz“ zu machen, mit raffinierten Arrangements, starken Melodien und tanzbaren Grooves. Ihre ansteckende Energie hat der Band einen beneidenswerten Aufstieg durch Mund-zu-Mund-Propaganda beschert, was ihr u.a. Lob von The Guardian, Jazzwise und anderen einbrachte.

Following the success of his ‘Love Dub So’ EP, Nick Barber’s Doof project returns to Mysticisms, delving back to his earliest recordings of his ground-breaking Trance project, presenting tracks from his previously cassette only release ‘The Love Mixes’.

A youth that had captured the psychedelia of Pink Floyd, Gong, Hawkwind and on to Psychic TV, as a self-taught guitarist, his first trip to India and Thailand in 1989 and witnessing the early electronic dance music at the Full Moon parties, had seemed rudimentary in nature compared to musicality of psychedelic rock.

Returning to England, the electronic / rock crossover of The Shamen’s ‘Progeny’ parties – featuring DJs like Paul Oakenfold and Mixmaster Morris with the live acts of Orbital and Ramjac Corporation – offered something new that turned his head, before finally finding his crew in the legendary squat / underground Pagan parties. There, residents Lol and Yaz first played the new electronic Trance sound, introducing Barber to the music of Eye-Q, Dance To Trance and the hugely influential Pete Namlook.

Recorded between 1990 – 1991, while living in Cambridge to study Philosophy, these are the first versions of tracks that formed the basis of his debut EP on Novamute, in 1993. Working with minimal equipment – an Akai sampler, Roland monosynth, Yamaha delay pedal, all sequenced on an Atari black and white PC and single MIDI output and then recorded straight to an 8-track Tascam cassette multitrack – the exuberance and rawness of the music are full of the excitement and naivety of youth.

Never intended for public release or initially even as a demo, Barber would play the music off the Tascam multitrack for friends at after parties. Dubbing a handful of cassettes himself and personally drawing the covers, around a dozen cassettes were handed out to mates. Eventually one copy found its way to Mute Records, who were looking to launch their dance offshoot, Novamute. Re-edited mixes of Gift Of The Gods and The Nagual appeared on his debut EP and history was made, before Doof went on to release for luminaries like TIP Records and Dragonfly and a career touring the globe was launched.

Remastered from the original tapes, this EP offers a snapshot of that time, the energy and joy of these early recordings is clear and overwhelming. Where Ambient, House and Techno met the birth of electronic Trance that truly stand up some 30 years later as originals then and now.

Trance The Mystery.

An endling is the final member of a species. When an endling dies, the species is extinct. Pakistani-American composer Qasim Naqvi returns with Endling. Written as a modular synth prequel to his 2023 BBC Concert Orchestral work, God Docks at Death Harbor, Endling takes the listener on a 43-minute odyssey through an intense and beautiful landscape, set hundreds of years into the future. On the album"s centrepiece "Power Down the Heart," featuring Moor Mother, our character stumbles upon an A.I. being that is in the final moments of its life. As a kind of last rites, this ancient artificial consciousness describes the beauty, sadness and horror it has observed for hundreds of years. Qasim Naqvi is a percussionist, composer and synthesist. Along with being the drummer of lauded cult minimalist trio, Dawn of Midi, Naqvi is an accomplished solo artist and his passion for multidisciplinary work has brought him into the world of film, dance, installation art, and the stage of orchestral and chamber music. His concert music has been commissioned and performed by The London Contemporary Orchestra, The BBC Concert Orchestra, Crash Ensemble, Bang on a Can All Stars, Jennifer Koh, Stargaze, The Cello Octet of Amsterdam, The Helsinki Chamber Choir and others.

Musique Pour La Danse is proud to present the definitive edition of the highly acclaimed and globally beloved Donkey Kong Country soundtracks, meticulously recreated by composer and producer Jammin' Sam Miller. Released in 1994 for the Super Nintendo Entertainment System (SNES), Donkey Kong Country was celebrated not only for its groundbreaking quasi-3D graphics but also for its exceptional soundtrack.
The soundtrack featured a variety of compositions, and has been highly praised for its diverse and high-quality music, with tracks like "Aquatic Ambiance" and "Fear Factory" standing out as fan favorites. The influence of the Donkey Kong Country soundtrack extends beyond the gaming world, having inspired modern artists and changed the way video game music was perceived.

This limited edition boxset, limited to 500 copies, comes as a triple DLP set, containing Volumes 1, 2, and 3. Pressed on red, green, and blue marbled vinyl, it is housed in a hardboard slipcase featuring new and original artwork by Andrew Beltran.

Don't sleep on this ultimate release-the previous boxset edition has been sold out for a long time, and if you can find it, it's being sold for crazy money.

Using hex SPC data converted to MIDI, Jammin' Sam Miller painstakingly recreated the DKC soundtrack note by note, sourcing the original equipment used to create it. He then translated the MIDI into a modern studio context, incorporating keyboard samples, remixing the sounds with added effects, and mastering the tracks. To learn more about his process, watch the explanatory video here: cutt.ly/ulUHE6J.

Looking behind the obvious, forming an orchestra out of everyday surroundings.

Finding the essence in the trivial, clarity in the complex, poetry in simplicity. All of this is part of the goal, meaning and character of Oh No Noh, the project of Leipzig-based guitarist, robot programmer, magnetic tape crumpler and composer Markus Rom. All of this floats and shines through "As Late As Possible", the third Oh No Noh album, which will be released on April 4th, 2025.

The focus of this album, as the title "As Late As Possible" suggests, was patience. A creative lingering, the selfimposed principle of letting ideas mature, consciously leaving them lying and looking at them again in order to discover and refine new things. Always looking for new ways of producing musical sounds, Markus Rom has been blurring the boundaries between LoFi, Indietronica, Postrock, Kraut and Pop with his solo project for several years. His main instruments for this are electric guitar, MIDI robots, tapes and samples. For “As Late As Possible”, Rom expands his setup with a new sound sources (acoustic guitar, banjo, organ) and musical guests: Damian Dalla Torre (Squama) on bass clarinet and Andi Haberl (the Notwist, Sun) on drums.

“As Late As Possible” continues the signature of past releases and adds new facets. Rom's distinctive looping in and over each other is particularly evident in the tracks “Missing the Point”, “Orb” and “Almost Everywhere”. With "Loot", a straightforward and folk-pop piece finds its way onto the album and coexists with math-trained tracks like "Dog Years" or "Dot", which conjure up associations with Weilheim bands like COUCH. The tracks "Bliss of Disconnect" and "Fawn" were created in collaboration with the featured guests Liz Kosack and KMRU. The confidently unplanned is one of the principles around which Oh No Noh itself is also continuously evolving. Part of this development: the radio series "Oh No Noh Radioh", which has so far consisted of over 40 parts, for which Rom invites a guest in each episode to research music together along roughly defined concepts, ideas and inspirations. Together with technology composer Hainbach, free jazz artist Limpe Fuchs and sound artist Elsa M’Bala, for example, encounters were created whose patient search and find and whose controlled coincidences also characterize “As Late As Possible” – but here concentrated, concise, and with all the love of sound and experimentation always committed to the song. With this will to create a song-like narrative, to move, to develop, “As Late As Possible” remains suspended and searching. Its concentration seems light-footed, its happy accidents well-placed, the melancholic beauty of outdated technologies, forgotten musical toys and broken noise sources always forward-looking. Music like the one that comes about when someone programs an entire robot band, which then becomes just a friendly part of the whole.

The artwork for “As Late As Possible” was created by Leipzig comic artist Anna Haifisch. The album was mixed by Adam Lenox and mastered by Frida Claeson Johannsson.

H.D. Reliquary is the first eponymous release from Ben Shirken a.k.a. Ex Wiish, and finds him returning home to his own label, 29 Speedway. The songs sparked during sessions with close collaborators - across 11 pieces, artists such as Pavel Milyakov, MIZU, Dorothy Carlos, Kevin Eichenberger and Muein breathe personality into the record. H.D.R. coaxes beauty from a serrated, raw, yet subdued palette drawn from improvised recordings of trumpet, violin, upright bass, cello, and modular synthesis.

The title references the hard drive as a sacred container for relics, contemplating how digitally archived fragments of one’s existence can burn eternally after death. Archives, and in this case recordings, splinter and warp. Some distort what they contain. Some vanish, and others are eternally preserved, immune to deletion. Your information on these digital drives becomes archival shrapnel, the music that survives the remnants of collaboration. Pieces of recordings were fed into a series of proprietary neural networks, generating MIDI information and audio that reacted to on-the-fly soloing, imaginary sessions between players and algorithms invented posthumously (in post).

Shirken will release H.D. Reliquary alongside a sound installation on April 11. Where his prior work was geared towards dissociation, H.D. Reliquary invites us to contemplate how our tools for understanding and containing the world fundamentally alter our relationship with it. He has performed in spaces such as The New Museum, Pioneer Works, Public Records and Nowadays in New York City; Dripping Music And Arts Festival in New Jersey; La Station in Paris; and Cafe Oto in London.

South Londons’ indomitable Medlar delivers an ambitious new album

The long-time underground favourite has collaborated with the likes of Dele Sosimi, Rebekah Reid, Deevoenay, Finn Peters, Sam Virdie, Afla Sackey and Arnau Obiols on an album that finds him taking his production to new levels.
From roots playing illegal raves in the South West to building up a cultured catalogue that bounces between house and garage, Medlar has long been part of the underground conversation. He has dropped a previous album and many innovative remixes and edits for the likes of Billy Cobham and Shirley Lites, worked in the studio and on stage with Afro legend Dele Sosimi and most recently released an album under his own name that collected myriad different sonic sketches from the past 15 years.

Islands is an altogether different proposition that comes after establishing himself as a mix engineer and producer of other people's music. In that time, Medlar has honed his skills, learnt new tricks and grown more able to express himself in sound. The result is an album that explores a more electronic palette inspired by '80s fusion sounds whilst maintaining a loose, organic flow through his use of live instrumentation. “The idea for the LP was for a collection of music which could sit alone as club tracks, but would work equally well as part of a whole. The name Islands came from this, as there's some connecting ideas but the tracks sit independently in their own little sonic worlds. I took a lot of inspiration from early 80’s electronic music produced during early years of MIDI technology… proto house, jazz fusion, electronic disco and experimental ambient. I wanted to juxtapose some of these methods with more contemporary production and make something that's ultimately quite fun!” says Medlar of the record which could easily soundtrack a summer road trip.

Across 11 tracks, he blends old-school techniques like a fusion of live instruments, FM synthesis and MIDI triggered vocal samples with more contemporary touches such as punchy, club-friendly drums and dub inspired, speaker-wobbling low end. The result is less reliant on samples than his previous works and makes for a perfect blend of retro authenticity and future freshness.

2LP in printed inner sleeves + 12 page booklet with detailed info, secrets and unpublished pictures written by Walter Verdin himself. This collection dives deep into Verdin's prolific and experimental music from 1980 to the beginning of this millennium, capturing an era of a DIY punk spirit, improvisation, creative freedom and swimming against the tide.



We are thrilled to announce the upcoming release of 'Pingpong', a 2LP compilation showcasing previously unreleased works by Walter Verdin, the founding member behind Pas De Deux, the Belgian band which delivered 80's cult classics 'Rendez-Vous' & 'Cardiocleptomanie'. This collection dives deep into Verdin's prolific and experimental music from 1980 to the beginning of this millennium, capturing an era of a DIY punk spirit, improvisation, creative freedom and swimming against the tide.

This album is not just a compilation-it's a sonic journey into Verdin's unique approach to music-making, which he nurtured in the AV studio at KU Leuven's Audiovisual Department (AVD). Having begun his civil service there in 1980, Verdin was exposed to a rich array of audio and video tools that would shape his work for years to come. From the outset, Verdin's process was defined by an openness to experimentation, where he would explore sound and music organically rather than following pre-existing concepts.

The songs on Pingpong reflect his fascination with creating spontaneous, layered compositions. These recordings were made using limited tools, such as his duophonic Yamaha CS-40M synthesizer, borrowed drum machines, and tape loops, and were further enriched by techniques such as reverb and vintage sound manipulation. The results are raw, tactile, and full of personality-often more vibrant and personal than the polished, commercial recordings that would follow in professional studios.

Throughout the 1980s and 1990s, Verdin developed his craft, regularly drawing from his diverse interests in film history, soundtracks, video art, and avant-garde music. His innovative use of tape recorders, improvisational techniques, and later, MIDI and digital tools, makes for a fascinating and varied listening experience. This compilation includes everything from proto-techno and abstract new wave to avant-pop songs, sample-driven experiments, and the oddball TV-inspired tunes that have long been a staple of his work.

This selection is a true reflection of Verdin's "keen amateur" approach: a method focused on discovery, happy accidents, and unexpected results. These compositions aren't about achieving technical perfection, but about capturing moments of sonic exploration and transformation. The 21 recordings have been meticulously curated, with some tracks freshly arranged while others remain true to their original, unedited forms.

'Pingpong' finally brings these forgotten gems into the light. The album includes not only unreleased music but also fragments from Verdin's video art and multimedia projects, offering a rare glimpse into his creative evolution over two decades. Stretching up the boundaries between medium and message, aligning his own musical univers.

Take a deep breath and dive into the works of an artist whose explorations pushed his boundaries of sound and technology.

A Belgian sonic cut up, ping ponging in between many worlds.

Born from a childhood friendship, the five members of Ciao Kennedy have crafted their own sound and feeling after exploring a variety of different musical horizons. Following the release of EPs 'Keldercave' (2021) and 'the problem is' (2022), as well as being featured on the compilation Lefto presents Jazz Cats Vol. 3 in the spring of 2024, it was only a matter of time for the Brussels-based band to reappear on the music circuit.

As part of the Magma collective, alongside groups like TUKAN and ECHT!, they started to stand out with their instrumental music merging the playfulness of jazz,the repetitive facets of post-rock, and the overtly grand electronic sound evident in what is nowadays described through the grapevine as the 'Brussels sound'.

With Solarium, their debut album set to be released under the Sdban Ultra label, they have found a course and common denominator in guitars drenched with post-rock effects, steered by hypnotic electronic beats, creating an atmosphere of rare, dense melancholy, peppered with a sound that belongs in a blockbuster sci-fi movie.

Ciao Kennedy and its debut album are a tangy candy bursting in your mouth, the thrill of an afternoon at the fair, modernity meeting up with the nostalgia of childhood. Or standing beneath the shimmering neon lights of a rainy night, like colourful poetry, blending tenderness with electric intensity. Many of these musical descriptions would be completely off the mark, but after a few listens, they don't seem to miss the mark either. There's something for everyone to discover on this album, oscillating between the familiar and the unexpected, melancholy and cheer, and while everyone keeps on talking about something being a 'vibe', we can only conclude that Ciao Kennedy is the only one putting this into action.

To celebrate the release of Solarium, the band will host a release party at the Brussels venue Botanique on April 17, 2025. A must-attend event for everyone who wants to see if the live reputation which precedes Ciao Kennedy is actually true. Whatever happens, make sure to keep that date free.

Release show: 17/04 Botanique, Brussels.

2025 marks the return of Cologne-based electronic outfit Urban Homes with their first new music in over eight years, following an unintentional hiatus driven by side projects, relocations, the pandemic, and the unpredictability of »life.« After over eight years, the duo is back with their first new material: a fresh batch of purely instrumental downtempo and dub-influenced tracks, marked by a somber and atmospheric vibe that distinctly separates this new material from their previous work. Inspired by themes of extraterrestrial life and the paranormal, the four new tracks compiled on the »U.F.O.« EP release were crafted during recording sessions split between Cologne and Berlin before languishing for years on neglected hard drives, finally »ripening« into their current form.

Formed in 2008, Urban Homes initially emerged as a post-punk group, debuting live in 2009. Their first release—a four-track demo tape recorded in late 2010—already hinted at an evolving sound that would soon embrace a more experimental and electronic direction. By 2011, the band swapped their live drums for a drum machine, a shift that would profoundly shape their sound in the years to follow. Over the years, Urban Homes has explored a broad sonic landscape, merging electronic production, rhythm-driven compositions, and experimental song structures. Drawing influences from early house, balearic, disco, dub, avant-garde electronica, and pop, their music continues to defy easy categorization.

In March 2013, the duo released their debut album »Centres«, earning the Pop NRW Prize for Best Newcomers that same year. Their 2016 follow-up, »Jams«, was met with critical acclaim. A love letter to dance music's roots, Jams fused pop sensibilities with open-ended experimentation, built from years of MIDI-driven jam sessions that were painstakingly edited and reconstructed. Both released by Altin Village & Mine, »Jams« was also licensed by the Japanese label Fennely / Moorworks for an exclusive CD edition in 2017. Over the years, Urban Homes supported their releases with numerous tours and festival appearances across Germany and a memorable tour of Japan in 2017.

Emotional Response is proud to welcome renowned multi-instrumentalist Alan Briand aka Shelter, to the label with a striking new EP that delves deep into the realms of modern Digi-Dub.

Over a myriad of releases Shelter’s dextrous ability to straddle genres, from ambient, Balearic, improvisation and most recently a series of acid ragas, releasing on an impressive roster of today’s electronic labels including Antinote, Growing Bin, International Feel, Séance Centre and his own Protopost imprint.

After making waves on Emotional Response's All Trades compilations with his standout track "The Four Knights Dub," Briand returns to further explore his passion for digital dub and UK roots. Across four tracks, all recorded live, he merges sound design, found sounds, and world music with seismic basslines, creating a truly immersive sonic experience.

The rise of Digital Dub is often traced to the groundbreaking "Under Me Sleng Teng" by Prince Jammy / Wayne Smith, but it was the UK's later reversioning – adding electronic drums to roots and steppers rhythms – that gave birth to the unique sound of Digi-Dub.

Shelter pays homage to this tradition, drawing inspiration from the likes of Alpha & Omega, Bush Chemist, and Jonah Dan. His process is as raw as it is innovative: building an analog setup with a MIDI sequencer, DCO synth, live vocals, and sound effects fed through Boss pedals. Digital drums from the KPR77 and DD10 are layered in, with everything mixed live to tape, no overdubs, capturing the raw, live energy of the performance.

This EP must be experienced as a whole – a continuous live set of steppers 4/4 rhythms, cryptic titles (a nod to chess tactics) that acts as rewinds, paying tribute to dub classics of the past.

The 2003 debut album and a collection of early rarities from the genuine treasure of the UK underground. Remastered and available on vinyl for the first time in over two decades. “Legendary angular rock…Edgar Allen Poe meets The Fall” (The Guardian 2003) “Jarvis Cocker fronting Fugazi” (Melody Maker 1994) Joeyfat, from Tunbridge Wells in Kent, are the daddy of all the Sprechgesang bands out there. We searched on Wikipedia; they're not even mentioned. Maybe not such a bad thing. There are young scamps climbing up festival line-ups all over the world with more than a passing sonic and aesthetic resemblance. Influence can be picked up in diluted ways, maybe the true source of the river has been forgotten. Foals heard the source, they were there. So were Everything Everything. Ask them. Black Midi heard it third hand. Life Without Buildings heard it. So did Yard Act. You can see the pattern. From the early '90s Joeyfat, led by Matt Cole and Jason Dormon, have been perfecting and re-perfecting the sound. They toured with Green Day in 1994. They released music on the Fierce Panda label. They recorded BBC Sessions for John Peel and Marc Riley and released four albums and countless singles. They flirted with being known and they didn't like what they saw so they kept it local, building a community by setting up the Tunbridge Wells Forum, one of the great UK small venues. Debut album The House Of The Fat is a masterpiece, the musical precision recalls The Sound or B52s. The spot-on attack of the vocal and lyrics makes us think of Fugazi or Zounds. The Unwilling Astronaut compiles early singles and compilation tracks. Going all the way back to 1993 it shows how close to a DC-inspired hardcore band they were, it's a thrilling listen. Joeyfat shouldn’t need a re-introduction but they’re going to get one. The source of the river. The top of the family tree. This is where the resemblance comes from

Moshe Fisher-Rozenberg returns to Altin Village & Mine with his second album as Memory Pearl. »Cosmic-Astral« reimagines a music programme used by psychotherapists in the 1970s in combination with LSD. While the original album was designed to take the listener on a cosmic journey of personal discovery through classical music, Fisher-Rozenberg draws on the sounds of electronic instruments and a collage-like approach: he converted the scores of the original pieces by Richard Strauss, Alexander Scriabin, and others into MIDI files, manipulated those into entirely new shapes and sounds using a variety of techniques, while also combining them with improvisational input from artists such as Sam Prekop, Joseph Shabason, Moritz Fasbender, Alec O’Hanley, Bram Gielen, and Brandon Valdivia.

Besides his work as a multi-instrumentalist, producer and collaborator of bands such as Alvvays as well as a member of the group Absolutely Free, Fisher-Rozenberg is also a registered psychotherapist and certified music therapist. »Cosmic-Astral« is hence marked by his expertise in both fields while also displaying the conceptual rigour and aesthetic playfulness that had already been in full effect on his Memory Pearl debut, 2021’s »Music for 7 Paintings« for Altin Village & Mine. Aiming to create his own version of the »Cosmic-Astral« programme, but making it more »delicate and tender,« as he puts it, Fisher-Rozenberg combines the ethereal with the terrestrial, abstraction and concretion, synthesization and the organic across these nine tracks.

As a whole, the resulting album is quite literally trippy. »Each piece is meant to bring the listener deeper into their journey,« explains the Toronto-based artist. »You can think of it in terms of space travel, with each tune taking you further out of yourself and deeper into a cosmic realm.« Think about »Cosmic Astral« as a map through which you can find your way towards sonic healing.

From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.- Lol Tolhurst ● Sharon Van Etten returns with a new, self-titled moniker and expansive new sound ● Recorded at The Church Studios in London; produced by Marta Sologni (Bjork, Bon Iver, Animal Collective, Mica Levi, Black Midi + more) ● Extensive press + radio history includes a Sunday Times Culture profile, BBC News interview, Uncut AOTM and extensive 6 Music support. ● Extensive worldwide touring planned throughout 2025. SVE has previously played BBC Proms & Brixton Academy in London.● First vinyl pressing on limited edition “Amber Galaxy” vinyl

From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.- Lol Tolhurst ● Sharon Van Etten returns with a new, self-titled moniker and expansive new sound ● Recorded at The Church Studios in London; produced by Marta Sologni (Bjork, Bon Iver, Animal Collective, Mica Levi, Black Midi + more) ● Extensive press + radio history includes a Sunday Times Culture profile, BBC News interview, Uncut AOTM and extensive 6 Music support. ● Extensive worldwide touring planned throughout 2025. SVE has previously played BBC Proms & Brixton Academy in London.● First vinyl pressing on limited edition “Amber Galaxy” vinyl

From the off, Sharon Van Etten & The Attachment Theory is sonically different from Van Etten’s previous work. Writing and recording in total collaboration with her band for the first time, Van Etten finds the freedom that comes by letting go. The result of that liberation is an exhilarating new dimension of sound and songwriting. The themes are timeless, classic Sharon – life and living, love and being loved – but the sounds are new, wholly realized and sharp as glass. Reflecting on this new artistic frame of mind, Van Etten muses, “Sometimes it's exciting, sometimes it's scary, sometimes you feel stuck. It's like every day feels a little different – just being at peace with whatever you're feeling and whoever you are and how you relate to people in that moment. If I can just keep a sense of openness while knowing that my feelings change every day, that is all I can do right now. That and try to be the best person I can be while letting other people be who they are and not taking it personally and just being. I'm not there, but I'm trying to be there every day.” Sharon Van Etten & The Attachment Theory is a quantum leap in that direction.- Lol Tolhurst ● Sharon Van Etten returns with a new, self-titled moniker and expansive new sound ● Recorded at The Church Studios in London; produced by Marta Sologni (Bjork, Bon Iver, Animal Collective, Mica Levi, Black Midi + more) ● Extensive press + radio history includes a Sunday Times Culture profile, BBC News interview, Uncut AOTM and extensive 6 Music support. ● Extensive worldwide touring planned throughout 2025. SVE has previously played BBC Proms & Brixton Academy in London.● First vinyl pressing on limited edition “Amber Galaxy” vinyl