Suche:na

»La Traversée« (»The Crossing«) is Matthias Puech’s second album for Hallow Ground and follows up on 2023’s »Mt. Hadamard National Park.« Profoundly inspired by re-reading »The Odyssey,« the French composer, instrument designer, and scholar used a Eurorack modular synthesizer to create four pieces that are by far the most intuitive and emotionally charged in his ever-expanding catalogue. Puech’s masterful command of sound comes to the forefront with even more urgency on this record. A wandering meditation on the human condition, »La Traversée« is an album that is constantly in motion—complex electronic music at its most gripping and evocative.

The foundation for »La Traversée« was laid when Puech prepared a live set for a tour organised in collaboration with Hallow Ground in support of »Mt. Hadamard National Park.« Before writing the first three pieces—»Ennosigaios,« »Polyphármakos,« »Nekuia«—the 18½-minute-long »Ithâké« was composed in near-total isolation in the South of France at the end of 2023. Puech performed the material live several times before taking a step black from it for a while. He revisited the pieces when preparingthem for a release. »I was struck by how the technical process and the intention behind the music had completely vanished from my memory,« he says.

What remained intact, however, was Puech’s association of the material with one of the most influential texts of Western literature. Reading a graphic novel adaptation of »The Odyssey« with his two four-year-olds, he noticed the effect that it had on them and himself. »Its themes of longing, fear of and attraction to the unknown, unresolved quests, and the struggle for control felt topical,« he says. »I was completely taken. Every story ever told seemed contained in this ancient tale; every story I have ever tried to tell as a composer seemed inscribed in this framework.« This also extended to formal motifs such as the repetition of incidents, narrative developments, or dramatic effects that also mark »La Traversée.«

Puech says that he perceived Homer’s writing as musical, »like an old Delta blues or a Renaissance counterpoint,« which inspired his writing process. »With a couple of knobs on my Eurorack system, I could control the unfolding of a story,« he notes. »This made me pass through different emotional statesand led to moments in which everything made sudden sense—when you as an artist get a glimpse atsomething essential, can touch upon something universal.« This shines through »La Traversée,« a wildly imaginative album that is deeply personal while also telling a story far more wide-reaching than that of its creator.

Sex Tapes From Mars presents Outdom Records' boss, LATENT, who shares a brand-new four-track EP that spars with breakbeat, electro, house, and left-field electronics, neatly centring them all into a steady, sexy collision. The record as a whole captures genuinely original-sounding, rough-edged b-boy breaking badness - nostalgic, but never polite. It's a few BPMs slower than Sex Tapes' last few outings, but no less effective. Arguably, it's more late '80s sounding than ever, although, in fact, it's a brand-new, stonking release that showcases the label's versatility and unpredictability.

The opening track, "Break Machine", sets the pace with a clear nod to the '80s US group of the same name, bringing tidy drum workouts and clipped vocal samples that recall early Chicago, as well as choppy rave and street party energy at its most unfiltered.

"Disco Hijack" pushes the clutch into a more functional gear, merging delay-heavy, druggy, chuggy, sludgy bass with more robotic vocoder tropes, sharing something playful but IDM and European skewed. It's a dancefloor tool with a wink - just the style this now accomplished label has made its identity. Oh, don't forget the amens and clattering jungle breaks. 1990 or 2040? Fuck knows.

On "Distress Robot", pneumatic percussion and malfunctioning android chatter bring a darker, more mechanical edge, while "Virtual Body" closes with a spacious, garage-leaning shuffle that pulls the EP into recognisable contemporary yet still very much peak-time territory.

LATENT gives lean grit, pushes the edges, and lets the tracks feel alive in their imperfections. It’s music that thrives on tension between old-school reference points and modern floor pressure.

Bristol's label head Elon Dust HAS done it again.

Vinyl-only as per, don't sleep."

Toyah’s 1994 solo album Take The Leap! is issued on limited edition picture disc vinyl for the first time ever.

The picture disc features colour images on each side of the vinyl and is housed in special die-cut outer sleeve containing previously unseen photography from the original album shoot.

Toyah’s 1994 studio album was recorded with Salisbury band Friday Forever and includes eight re-recordings of classic Toyah material and six original compositions.

With Processing Music, Dutch composer and electronic musician Casimir Geelhoed offers a compelling meditation on sound transformation as a metaphor for psychological and emotional processing. Operating at the intersection of overstimulation, introspection and fragility, the album unfolds as a deeply immersive and personal exploration — one that invites the listener to inhabit a space of their own projection, memory and reflection.

Rather than imposing a fixed compositional structure, Processing Music follows a bottom-up approach, allowing form to emerge organically from the interaction of sonic materials. Digital signal processing is not used here as a mere technical tool, but as a poetic device: transformation as narrative, delay as memory, distortion as tension. Through slowly eroding loops, gently collapsing textures and shifting layers of timbre and space, Geelhoed crafts a delicate sound world that is charged with friction.

What may at first seem abstract gradually reveals an emotional core. The album evokes the suspended time of a largo, the layering of memory like an excavation, the psychological tension of perceived spatial expansion. These are not literal themes, but associative keys to a music that operates in a distinctly human sonic language.

Emerging from a series of live performances, Processing Music retains a performative sensibility: the music breathes, transforms, and invites attention to nuance. It slowly unfolds a landscape shaped by the subtle interplay between structure and dissolution.

Casimir Geelhoed has presented performances and installations at festivals such as CTM, Sonic Acts, Rewire, Fiber, SPATIAL, and Aural Spaces. He studied computer science, composition, music technology, and sonology in Amsterdam, The Hague, and Utrecht.

Moving Pressure marks its fifth release, and the first one to stretch across a double vinyl with full sleeve artwork. It isn't framed as an album, yet its sequencing carries a narrative weight that lingers between immediacy and introspection.
MP05 welcomes on board Australian producer Connor Wall, whose work fuses tightly wound rhythm and immersive atmosphere, balancing precision with a sense of openness. His sound is rooted in the physical pull of the dancefloor, yet drawn toward zones of suspension and elusion. And Moving Pressure 05 captures that duality very clearly. Momentum sets the tone from the outset - taut drum programming, metallic accents, and structures that build energy in decisive bursts. There's a sense of propulsion that feels engineered for peak hours, exuding a tightening grip on the floor. Gradually, tension loosens up, stretching patterns into spirals, layering vaporous pads and resonant low-end that opens a more interior space.
Together, the two arcs trace Wall's range with clarity: body and mind, force and dissolve. Rather than presenting opposites, they reveal different angles of the same language. An exploration of density, atmosphere, and the subtle thresholds between the two.

Relive the early years of Madness with 'Hit Parade Vol. 1 1979-1986'. This 23-track 2LP set remembers the early years of Madness; containing a selection of their biggest hits and best loved tunes. It includes 23 UK Top 40 hits such as 'One Step Beyond', 'Embarrassment', 'My Girl', and 'Night Boat To Cairo'.

Beautifully packaged in a deluxe, gatefold sleeve, this 2LP collection is pressed on translucent red vinyl. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

Firmly established as national treasures and as one of the UK’s most cherished and beloved bands, Madness are adored by their loyal and huge following. Their consistently sold-out shows illustrate their enduring qualities resulting in their popularity continuing to grow and grow.

Experience the modern era of Madness with 'Hit Parade Vol. 2 1992-2024'. This 22-track 2LP set relives the more modern, contemporary years of Madness; containing a selection of hit singles, fan favourites and much-loved tunes. Including 'NW5', 'Shame and Scandal', 'Sorry', 'Drip Fed Fred', 'Mr Apples' and the Top 10 single 'Lovestruck'.

Beautifully packaged in a deluxe, gatefold sleeve, this 2LP collection is pressed on translucent blue vinyl. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

Firmly established as national treasures and as one of the UK’s most cherished and beloved bands, Madness are adored by their loyal and huge following. Their consistently sold-out shows illustrate their enduring qualities resulting in their popularity continuing to grow and grow.

Enjoy a Madness career-spanning overview with Hit Parade; a 15-track highlights LP, featuring 13 UK Top 40 hits including Our House, It Must Be Love, Baggy Trousers, Lovestruck, and the No.1 single House of Fun.

Pressed on classic black vinyl, the fully illustrated inner sleeve contains new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

Beautifully packaged in a deluxe slipcase, this 4LP box set combines the red vinyl.

Volume 1 and blue vinyl Volume 2 2LP collections. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley,

in conversation with renowned author and journalist Paul Sexton.

AOKI takamasa and Tujiko Noriko’s 2005 album »28« has become a cornerstone in the artists’ respective discographies. 20 years after its initial release, Keplar issues it on vinyl for the very first time. Three years in the making, »28« saw the sound artist and the avant-pop singer-songwriter combine their distinct aesthetics for an album that defied categorisation. Their combination of advanced electronic experimentation and pop appeal paved the way for a new generation of artists and turned »28« into an enduring fan favourite. Remastered by Stephan Mathieu, the reissue comes with a brand-new artwork by Joji Koyama and a changed track listing—authorised by Takamasa and Tujiko—for the vinyl version to fit it on a single LP, while the digital version remains identical to the original release.

Tujiko and Takamasa first shared the stage together after the turn of the millennium. Both were emerging solo artists, with Takamasa a mainstay on the Progressive Form label and Tujiko forging a connection with Mego in Vienna, Austria. »I simply liked Noriko’s voice and music, and since we often performed at the same events, it felt like a natural progression for us to start working together,« remembers Takamasa. They first collaborated in 2002 for two shows at the Fondation Cartier in Paris and at SonarLab in Barcelona, respectively. The first joint piece was a rework of Tujiko’s »Fly« from »Hard Ni Sasete (Make Me Hard)« by Takamasa, appearing as the album opener »Fly2« on »28.«

After that, the Paris-based Tujiko and Takamasa, still based in Osaka, worked sporadically and remotely on new material. For the first two years of their collaboration, the two met in the context of live events or Takamasa’s visits to the French capital to discuss their process and exchange hard drives while also occasionally sending each other CDrs in the mail. »Aoki made beats and sounds that complemented my music perfectly, building the foundation on which my voice could float,« Tujiko says today. Takamasa used hardware such as the Nord Modular, the Korg Z1, and the Korg ER-1, while also working with different kinds of software and plug-ins as well as Logic. Tujiko was using Cubase, her preferred piece of gear at the time being an AKAI MPC.

After Takamasa moved to Paris in 2004, this enabled the duo to finish the album together in person. Starting with its subtle use of glitches to the almost-anarchic way in which it deals with the structures of a song, »28« came to be an incomparably intricate album. 20 years on, it remains timeless because of its flawless synthesis of the cutting-edge avant-garde ideas of early 2000s electronica with an idiosyncratic but accessible pop sentiment. Both artists look back fondly—though not uncritically, with Takamasa noting a certain »youthfulness« in his contributions—to the album that was titled after their respective age at that time. »Maybe we should make ›51‹ now?,« quips Tujiko. See you in three years, perhaps.

Thelonious Monk once famously said "the piano ain't got no wrong notes", and this mantra is evident in his playing: full of angular, challenging harmonies combined with a harsh and percussive technique. Though his style of playing was unorthodox, he could also play runs and arpeggios with great speed and accuracy. All in all Monk would prove to be a long-lasting influence on jazz piano. All this is highlighted on 1967's Straight, No Chaser, Monk's sixth album for Columbia. On it, you'll find the album's namesake "Straight, No Chaser", a composition by Thelonious himself that became one of the most important blues-based standards in the jazz repertoire. Furthermore, the album features "Japanese Folk Song", a two-century old tune that Ryan Gosling's character is practicing in the movie La La Land. Charlie Rouse plays the tenor saxophone and the liner notes are writting by jazz writer and producer Orrin Keepnews. Straight, No Chaser is available as a limited edition of 2500 individually numbered copies on crystal clear vinyl and comes in a deluxe, heavy duty sleeve.

Iptamenos Discos kündigt Houdini an, die neue EP der Labelgründer Local Suicide. Die Platte enthält drei ihrer dunkelsten und kraftvollsten Originaltracks bis heute, ergänzt durch markante Neubearbeitungen des französischen Electroclash-Pioniers David Carretta und der aufstrebenden griechischen EBM-Kraft Alpha Sect. Die Houdini EP entstand im Berliner Studio von Local Suicide während zahlloser nächtlicher Sessions mit Skelesys in derselben kreativen Phase, die auch ihren gemeinsamen Hit Moustache, die Surface Of The Sun EP und Faster Faster auf Curses’ Next Wave Acid Punx-Compilation hervorbrachte. Das Ergebnis ist ihr bisher düsterstes Material, das ihren Technodisco-Sound in noch härteres Terrain führt - mit hypnotischen Basslines, industriellen Texturen und analogen Vintage-Synths. Damit zählt es zu den mutigsten Releases im Katalog von Iptamenos Discos. Die EP eröffnet mit Obsessions, einem Track zwischen Darkwave und Techno, aufgebaut auf einer brutalen Bassline, analogen Synths und eindringlichen, mantraartigen Vocals. Die wiederholte Zeile „Obsessions, they come and go“ spiegelt den unerbittlichen Sog des Stücks wider und unterstreicht seine klaustrophobische, sich ständig wiederholende Energie. Submission, eine Zusammenarbeit mit Langzeitkollaborateur Skelesys, steht dem in nichts nach: ein düsterer Low-End-Sound, verzerrte, stark bearbeitete Vocals und der Sprechgesang „Resistance, no submission“ durchziehen den Track wie eine Trotz-Erklärung, die Spannung in Kraft verwandelt. Der Titeltrack Houdini ist etwas zugänglicher, behält aber die gleiche schattige Atmosphäre. Unheimliche Orgelmelodien und der Text „The great Houdini, the big escape“ beschwören Transformation und Befreiung herauf, zollen dem legendären Illusionisten Tribut und verleihen der Nummer eine theatralische Note. Der französische Kult-DJ und Produzent David Carretta interpretiert Obsessions neu mit seiner unverkennbaren retro-futuristischen Handschrift. Seit den 1990ern bekannt für die Fusion von industrieller Präzision mit Italo-inspirierten Synths, hellt er den Track mit glitzernden Disco-Melodien und einer erhebenden Stimmung auf – eine Version, die sich bewusst vom dunklen Original absetzt und sofort für die Tanzfläche taugt. Der in Straßburg ansässige Alpha Sect, das Projekt des griechischen Künstlers George McCall, führt Submission in kompromisslose Dimensionen. Verwurzelt in Electro und Body Music mit Punk-Einflüssen, beginnt sein Remix als wuchtiger EBM-Stomper und entwickelt sich zu einem clubtauglichen Track, der Intensität mit Katharsis in Balance bringt.

Hailing from Aachen, the Brandwerk resident Danieli is less a producer and more a sound archaeologist. An artist who uncovers the hidden rhythms of nature and translates them into deep, textured techno. His debut EP on a.r.t.less, "Shifting Clouds," is the consistent continuation of this path. The title is not just a name, but a mission statement and a metaphor for his entire approach: music that is organic, fleeting, and full of emotional depth. The four tracks are a journey through soundscapes distilled from field recordings, synths, percussion with analog warmth and dub ethos. From the atmospheric melodic expanses of the title track, "Shifting Clouds," and the almost microscopic detail of "Minutiae," to the hypnotic evolving pull of "Between Layers" and "Reduce", this EP is a masterclass in subtle dynamics. For Mojuba sublabel a.r.t.less, this release is a more than welcome extension of its own sonic cosmos as well as its artist roster.

Dijon hatte mit Absolutely (2021) bereits bewiesen, wie man musikalische Narrative durch Performance-Visuals neu definiert. Nach diesem Generationen-Debüt zog sich Dijon zurück, gründete eine Familie und ließ Fans gespannt auf das Nachfolgewerk warten.Am 15.08.2025 veröffentlichte Dijon sein neues Album "Baby".Das neue Album entstand hauptsächlich in Isolation zu Hause, in enger Zusammenarbeit mit musikalischen Mitstreitern wie Andrew Sarlo, Henry Kwapis und Michael Gordon. Baby ist erneut ein definierendes Werk von Dijon, das bereit ist, die zeitgenössische Musiklandschaft zu prägen und damit auch für Vinyl-Enthusiasten von großem Wert sein wird.

In 2019, a brutal epileptic seizure changed my life - the first of more to come. I was forced into solitude, and in that quiet, music became my lifeline. In the following years, I poured everything I had into creating between you and me: a raw, DIY album that is a distillation of my lived experience during this time. The album explores emotional authenticity, freedom of expression, and acceptance: not as abstract concepts, but through visceral experiences that have fundamentally reshaped my art and my sense of self. As a listener, I invite you to explore your vulnerability by joining me in mine. This album is truly between you and me.

Ozzy Jones is a Dutch-Australian interdisciplinary artist whose music blends electronica with indie. Drawing from personal struggles and raw emotion after his seizures started, his debut album between you and me explores vulnerability, male identity, and authentic self-expression. Rooted in Amsterdam's vibrant creative scene, Ozzy's work fuses sound, visuals, and storytelling to create a deeply immersive and honest artistic experience.

Making this album was an absolute joy. We used Rothko’s artwork as a major influence. His use of colour fields, blending, mood and scale really helped us build an album of tracks that could stand on their own and also work together as a coherent whole across all the tones we had been working with. It was also a chance to fall back in love with our 909, 808 and 707.

While working on music for several other projects, the “Rothko” project got renamed Loud Ambient because it did not really sit right with the My Brutal Life series. We often talked about what people make of The Black Dog and whether they think we only make ambient music. We do not. Over the last year or so, one of us would be working on something and someone else would say, “That is a Loud Ambient track.” The name stuck. We liked the funny side of it.

With Loud Ambient, everything just fell into place creatively. Surprisingly for us, the tracklisting never changed, just small tweaks here and there. That rarely happens. It marks a first for us as a band. All the stars aligned and the confidence in this album is the strongest we have ever had.

Loud Ambient was made to dance to, something we have not done in a while. We welcome the return to the dancefloor with both hands. Will you join us?

Slip is Paul Abbott’s response to his 3 day residency at OTO in 2023. It’s a continued exploration of the acoustic-digital hybrid drum setup Abbott has been developing for some time, which involves drum kit and synthetic sounds combined closely—through an entanglement of limbs and cables—in an intimate but strange relationship with each other.

Paul Abbott hasn’t had any formal musical training, but has a long history of making music, having collaborated for years with Seymour Wright, Pat Thomas, Michael Speers, Cara Tolmie, Anne Gillis and many others. Eventually, led by a profound suspicion of what is fixed or limited, Abbott began finding other ways to organise sound - or what he calls ‘material’:

“I wanted a way to 'persuade' or guide the possibility of something happening - my activity or the events of an algorithmic composition - for example, but without certainty or formalism. It felt to me, during playing, that certain ideas had a particular sort of shape, but more than the form of a line. I began to write alongside (before/after) playing the drums, and ‘characters’ began to enter the scene as a more wobbly, and therefore appropriate option to notation. Working with these characters allowed me to simultaneously approach body, imagination, language and music: without dividing things up or separating these aspects from each other. It allowed me to leave things messy and entangled, whilst trying to deal with form and specificity: wanting to have some things feel or respond differently to other things at other times.”

In approaching his residency, Abbott developed a fixed cast of characters - crystal, lleaf, reiy.F, reiy.C, strike, nee, qosel, sphu and aahn. They each communicate using different kinds of movement and drum kit/s, and Abbott choreographed them as ‘dances’ based on different feelings, or outlines of behaviours suggestive of ways of moving (body, drums, sounds). He then arranged these characters into ‘compositions’: one for each performance day, with each composition featuring multi-layered activity - options for behaviours, ways to move around the rooms, play drums, develop synthetic sounds, change the lights or re-distribute the sound in the space.

After the performances, Abbott took home 9 hours of recordings split into up to 28 multitrack channels for each day, and re-organised his cast once more into a performance for 2LP, CD and digital. It’s an enormous amount of work - but Abbott is activated by the process. For him, the pleasure of unstable edges, possibilities, slippages, is the vital attraction. Like all living organisms, Abbott’s characters have malleability and responsivity. They stimulate a bundle of possible behaviours, a tendency to act a certain way, a temperament, a boundary of respective limits or affordances.

It’s an affective way of working, inclusive of Roscoe Mitchell, Sun Ra, Nathaniel Mackey and Milford Graves. In ‘Pulseology’(2022), Milford Graves reminds us, ‘Breath varies, so cardiac rhythm never has that (metronomic) tempo. It’s always changing. All the alignments of the heart are determined based on the needs of the cells, specifically tissues and organs. The heart knows if it needs to speed up.’ In Slip, to slip, in a heartbeat, is to descend not into the grid of the even metre accorded to the heartbeat, but into a play of mutability and modality. To change is the condition of the heart.

Do you believe in spring? Simon Wangen (cello) and Philipp Sutter (piano) pose this question as the title for their new project. Whereas Bill Evans made a demand in 1981, the two Cologne-based musicians believe that in times of uncertainty, crisis, and environmental destruction, it is ok to set a questin mark here. But politics and world events aside: Do you believe in spring? Of course! It's never too late to start something new, get creative, and test your own limits. Simon Wangen is a classically trained cellist, Philipp Sutter a trained jazz pianist. Their different musical roots merge on this instrumental album into a lively mix of neoclassical, new jazz, and Cinéma Nordique. Ten pieces come across as sometimes dark, sometimes wild, sometimes delicate, always focusing on the dialogue between the two instruments that harmonize so well. The subtle use of electronic effects constantly opens up new perspectives and builds a bridge to contemporary sound aesthetics. Cello and piano—this combination has been established for centuries, but can still add new facets today. Do you believe in spring? begins stormily and turbulently, oscillating between romantic, sad, and beautiful moments, and leads from a rather dark beginning to the final and eponymous piece in C major, which leaves the listener with a glimmer of hope. Do you believe in spring? From October 24, 2025!


Do you believe in spring? Simon Wangen (Cello) und Philipp Sutter (Klavier) werfen den Titel für ihr neues Projekt als Frage in den Raum. Wo Bill Evans 1981 eine Forderung formulierte, sind die beiden Kölner Musiker der Ansicht, in Zeiten der Unsicherheit, der Krisen und Umweltzerstörung durchaus ein Fragezeichen setzen zu können. Aber abgesehen von Politik und Weltgeschehen: Do you believe in spring? Natürlich! Es ist nie zu spät, etwas Neues zu beginnen, kreativ zu werden und die eigenen Grenzen zu testen. Simon Wangen ist klassisch ausgebildeter Cellist, Philipp Sutter studierter Jazzpianist. Die unterschiedlichen musikalischen Wurzeln verschmelzen auf diesem Instrumentalalbum zu einer lebendigen Mischung aus Neoklassik, New Jazz und Cinéma Nordique. Zehn Stücke kommen mal düster, mal wild, mal zart daher, stets die Zwiesprache der beiden so gut harmonierenden Instrumente im Fokus. Der dezente Einsatz elektronischer Effekte öffnet immer wieder neue Perspektiven und schlägt eine Brücke zur zeitgenössischen Klangästhetik. Cello und Klavier - diese Besetzung ist seit Jahrhunderten etabliert, aber kann auch aktuell immer wieder neue Facetten hinzubekommen. Do you believe in spring? beginnt stürmisch und aufgewühlt, changiert zwischen romantisch - traurig - schönen Momenten und führt von einem eher düsteren Beginn hin zum letzten und namensgebenden Stück in C-Dur, das die Zuhörenden mit einem Hoffnungsschimmer entlässt. Do you believe in spring? Ab 24.10.2025!

Smashed Sunset Vinyl, limitiert auf 400 Exemplare. Energiegeladen - so lässt sich The Birch am besten beschreiben. Treffende Riffs, druckvolle Rhythmen und alles eingebettet in psychedelische Klangfarben - so erschaffen sie eine Atmosphäre purer Ekstase. Vicious Mind ist ein Abstieg in die moderne Psych-Rock-Welt. Mit seinen sieben Tracks zeigt es auf Seite A eine eher düstere Facette der Band, die sich auf Seite B in eine weichere, mehr Rock'n'Roll-geprägte Stimmung auflöst. Mit einer Reise ins Ausland verschlug es The Birch nach Miami Beach, wo sie ihr zweites Studioalbum aufnahmen - ein Aufenthalt, der dem Album durch die Eindrücke aus dem ,Land of the Free" eine neue Note verlieh. Twangy Gitarren und eine geradeaus treibende Rhythmussektion führen den Hörer in psychedelische Klanglandschaften, die durch einen konstanten Beat lebendig gehalten werden, der einen durch die 30 Minuten von Vicious Mind begleitet.

One Instrument welcomes Morning Seance, composer and sound artist, originally from Italy and based in Vienna. On this debut LP, Morning Seance traces a drifting narrative composed of unstable harmonies, fluid structures, and ghostlike forms. The album unfolds like a dream told in fragments, oscillating between fluctuating pulses and decaying transmissions, from nocturnal stillness to acoustic mirages. The first half of the record moves through zones of suspended tension and evanescent contours, where tracks like “Be faster than your own depression” and “The tenderness of our own autobiography” sketch fragile architectures of affect. The second half enters a more spectral terrain — “Breakfast in a night club,” “A visit to the Brion-Vega tomb” — not places, but agglomerates of sonic sensation, detached from any personal frame.

With each piece, the music dissolves and reconstitutes itself, resisting finality or form, and doing so with an indestructible joy that hums beneath the wreckage. This is degenerate ambient music: anti-geometric and subject to emotional weather — not a refuge, but a slow collapse of structure and purity, where atmosphere gives way to excess and disobedience.

The album is crafted entirely from a single source: the Roland Alpha Juno-1. Despite this constraint, it achieves a vast sound spectrum, transforming one synthesizer’s voice into a layered landscape of textures and moods.

The electronic music of Morning Seance is built on constant variation and intricate, looping patterns with no clear beginning or end. This variation is not simply applied to an audio element, but enacted as a compositional logic — avoiding mechanical combinations and obvious rhythms. The result is a mutable mass of audio matter and tonal debris, guiding the listener through richly divergent environments.