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Serenda is a London-based DJ and producer of Guyanese and Greek heritage, known for her rich, eclectic sound rooted in house but never confined by it. Her sets fold between soulful depth and experimental edge, always delivered with a bold, contemporary vision.

Her sets are grounded in rhythm and instinct, built less around genre than sensation. She blends percussive house, warped club music, and raw, organic textures; crafting dancefloors that feel immersive and visceral and emotioanlly charged . There’s a physicality to her sound that edges toward the primal. For Serenda, DJing is a form of play - fluid, responsive, and deeply connected.

She deconstructs and distorts house music with intent, letting in pressure, dissonance, and emotional rupture. Her sets draw on the “timeless mindless states” of Mancuso’s The Loft, unfolding as rituals that don’t smooth over the chaos, they work with it.

Following the release of her debut EP The Prophecy on Josh Caffe’s Love Child label, she made her mark with a headline show in Fabric’s Room 2 and a Rinse FM residency. A regular in London’s queer underground, Serenda is also shaped by New York’s experimental club scene, where experimental sound and unfiltered expression mirror her own ethos.

Afro-diasporic and South American ritual in tension with city life, instinctive rhythm against digital overstimulation. Her fascination with world-building and quantum physics runs through everything she creates, fusing sonic design and sensory experience into one evolving landscape

2026 repress

A timely reminder, if one were ever needed, of the mic skills of Gang Starr’s Guru, new 45 single B-Boy Mastamind is also a timely reminder of the production skills of Krash Slaughta. Last heard of round these parts earlier in the year with MF Doom remix Air and before that with his Phill Most Chill collabo Definition Of Ill, Krash is at home with the remix or edit as he is with the original material. This one finds our man using a ‘pella on which ol’ Baldhead Slick comments on his OG mic status to young pretenders over a phat beat and a sitar-led-sample that positively reeks of the ‘Age of Aquarius’ with an equally dope but totally different vibe to the jazzy DJ Krush original effort. Comes in a limited run of 200 camouflage-splatter and 100 standard black slabs of wax. Check!

8th release by Fresh & Low on their own RAWAX Treasures Series!
This time we have the honor to re-issue "Burnin Love" - origially released 25 years ago on i! Records!
Re-mastered & vinyl only!

RAWAX proudly presents Swayzak - Lokal/ Yardam from 1998!
We are very happy to re-issue this beauty with a new mastering,
Don't feed the Discogs Sharks!

Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy.

The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail.

The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music.

Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers.

For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail. The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP.

This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music. Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.

'it’s his loosest, dreamiest dispatch yet, an enveloping and atmospheric collection that constantly comes together and breaks apart.'

Maxo releases his new album Mars Is Electric. Earlier this week, Maxo released a third haunting video, directed by Vincent Haycock, from the visual world of ‘Mars’ for the title track. Maxo previewed the album with the release of singles “Human?” and “Donahoo’s Chicken” this spring, which arrived with equally raw, inventive, and unnerving music videos.

Mars Is Electric is Maxo’s first official release since he dropped two critically acclaimed albums in 2023 with Even God Has A Sense of Humor and Debbie’s Son. His fifth full-length album finds the Southern Californian artist self-aware and mature. Having lived the last decade of his musical life intentionally creating specific bodies of work rooted in imagery, observation, and capturing moments, Maxo spent this previous year freely creating without a specific plan, relieved from all obligations and restrictions.

“This is the first time that I really didn’t care, I didn’t approach things so seriously,” the artist shrugs off, meaning that without expectations or specific goals, his creativity flourished. This opening finds the artist having conversations he’s been avoiding, having lived silently in the pain of those topics for the past few years. Exploring uncomfortable themes about personal life, relationships, and family fractures, life before and after the loss of innocence, and an abundance of existential spirals.

The exploration was not only thematic but also musical in nature. During the creation process, Maxo was immersed in a wide array of music from past to present - France Joli, $amaad, Steve Spacek, Cherelle, DJ Quik, Lisha G - influences that seeped their way into these songs. The album opens in a loose, dreamlike state—experimental and searching, mirroring the emotional fog of someone looking for something real to hold onto. But as it progresses, so does Maxo’s energy as he fiercely rides and weaves on songs with a contagious confidence, producing some of his most kinetic and lyrically impressive music to date.

As the work and vision coalesced into a body of work, Maxo found that he was unlocking a creative language with his collaborators that felt wholly new - a new understanding of why and how he was making art for this world. What emerged from this year-long process was a new musical journey and a future where Maxo refuses to be another bad example of what could be, refusing to mind the blueprint set down. Maxo is the sole voice on the album featuring production by lastnamedavid, Quelle Chris, Baird, Groove, and more.

Listen to Mars Is Electric above, see full album details below, and stay tuned for more from Maxo very soon.

Cody Currie with a new EP! Jamiroquai in the studio with Masters at Work and Todd Terje and u got the vibe!

The London super soul talent did 5 more tracks for his label Toy Tonics. Being part of the Toy Tonics crew since day one almost.. he has been sharing studio, stages and free time with the Berlin label bunch for more than 5 years now. The new EP shows his talent as a musician who plays bass, guitar and keyboard on the highest level again as well his skills as a superb electronic producer. The new sound for the edgy dancefloor of 2025. It's not dancefloor tools, it's real music for dancers. Taste & quality.

“Great Doubt” is the third full length LP by Danish composer Astrid Sonne. Throughout her acclaimed discography, Astrid Sonne has been carefully crafting different moods through electronic and acoustic instrumental endeavours. On “Great Doubt” this skill is refined, now with the distinct addition of the composer's own vocal in front. The tone of each track is unmistakably Sonne’s, structured around contrasts through an impeccable sense of timing. Lyrics on the album are sparse, merely highlighting different scenes or emotional states of being, leaving the music to fill in the blanks. Yet they also form a pattern of ambiguity, consolidated through the album title, searching for answers through looking at how and what you are asking, questions for the world, questions of love. The viola, a trusted companion since Astrid Sonne’s youth, appears effortlessly throughout the album, fully integrated into the sonic universe; through a pizzicato driven arrangement in the poignant track “Almost” or along with booms and claps in mutated cinematic stabs during “Give my all”, paraphrasing Mariah Carey's 1997 ballad. Yet the string section also gives way to explorations of woodwinds, counterbalancing the bowed movements with digital brass and airy flutes. Finally, beats and detuned piano are fresh additions to the soundscape, cementing how Sonne’s practice is always evolving into new territories. In fall 2022, Astrid Sonne relocated from Copenhagen with its peers of artists such as ML Buch, Erika de Casier and Smerz, to live in London, where musicians of the South-East London scene like Coby Sey, Lolina, Still House Plants and Mica Levi provide a new inspirational framework. “Great Doubt” bears witness to both of those geographical locations, yet finds itself in its own unique space, in many ways due to the presence of Sonne's voice throughout. A voice that has always been present in her work, but never fully explored as a solo instrument before now. Astrid Sonne elaborates on the wish to work more in depth with the voice: “I come from a tradition of choir singing where I’ve used my voice as a way of creating unity with other voices. I’ve disciplined my voice in a certain way and this album is an exploration of me trying to find my own voice as an instrument, as a communicator, as a new way of being honest.” Questions take up a central role throughout the album. The doubt is both a blessing and a curse, always lying in-between, acting as both what holds back and drives forward. A metamorphosis not going anywhere. The great doubt takes place in a space of courage, chances, love, loss, gifts and surprises. Genre: Electronic / Experimental

LA-based composer/arranger E. Lundquist (aka Eric Borders) returns with ‘Art Between Minds’. Having cut his teeth in the LA hip-hop and beats scene and explored realms of cosmic-funk under previous monikers, E. Lundquist’s music displays a rich tapestry of influences including the cinematic & experimental jazz-infused library music that influenced his previous LP ‘Multiple Images’. Now he is back with another ample helping of his hallucinogenic sonics, utilizing a bevy of vintage gear to replicate that warm glow of ’70s jazz-funk. From the Fender Rhodes MKI to the ARP Odyssey, to the Mellotron, the keys and synths he employs on these tracks display a genuine appreciation for the groove-driven music of The ‘Me” Decade.

The album plays like the score to a cult classic B-movie. The sun-drenched haze of “Soliloquy” could easily be what you hear during the calm before the storm in a Blaxploitation flick and the laidback crawl of “Euphoria” seems ripped right out of a fuzzy ‘70s blue movie. But there is a certain sophistication here, like the way the horn section, slinky guitar, and trippy synths combine on “Escape” to sound like liquid one moment and like a summer breeze the next.

While E. Lundquist’s artistry will eventually take him to new plateaus of sound, where he is right now is undoubtedly a high watermark in his career. He has become a torchbearer for jazz-funk in a new jazz revolution, updating the sub-genre with his delicate balance of digital and analog elements that will easily appeal to fans of Kamaal Williams, Surprise Chef, BADBADNOTGOOD, Khurangbin, Robohands and similar.

Woo, formed in 1975 by brothers Mark and Clive Ives in London, is known for its experimental blend of folk, jazz, ambient, and electronic music. Their sound, characterised by the delicate integration of acoustic and electronic elements, has earned them recognition in ambient and healing music spheres. Over decades, the duo has produced over 1,500 tracks, evolving a unique style that evokes dream-like atmospheres and a meditative, soothing quality perfect for moments of reflection.

Dedicated to intertwining the serene beauty of music with the nurturing process of planting seeds when the first new signs of life emerge in the growing season. A carefully crafted collection of ambient & minimalist soundscapes, occasionally branching into the new age. A soundtrack for quiet moments of sowing, nurturing, & witnessing the slow reward of growth.

Each artist will release a recycled cassette and digital format. We plan to release one cassette each month from November through June, aligning our releases with the ideal growing period. Each physical release will precede its digital counterpart by a few months, allowing the music to be experienced in its intended form first, with the tangible connection of a cassette and seeds before becoming accessible to a broader audience in the online sphere. This staggered release allows listeners to engage with the music more profoundly and intentionally, akin to the patience and care required in gardening. Best get that portable cassette player on eBay!

Each release will serve as a soundtrack to quiet moments of sowing, nurturing, and witnessing the slow, rewarding growth process, both in plants and in the listeners' lives. Whether tending to a window sill garden or simply seeking a peaceful retreat in sound, "Music to Watch Seeds Grow By" is an invitation to pause, listen, and cultivate.

Early DJ support including Tom Ravenscroft, Deb Grant, Vladimir Ivkovic,Ruf Dug, Eva Geist, Domenic Cappello, Fergus Clarke & Sofie K.

Released in September 1974, the album is regarded as one of the band’s finest and featured a new line-up of the band which saw the departure of Robert Calvert and Dik Mik, but the arrival of keyboard player and violinist Simon House.Featuring such classic tracks as 'The Psychedelic Warlords’, 'Wind of Change’, 'D-Rider’, 'You’d Better Believe It’, 'Lost Johnny’ and 'Paradox’, the album was formed of studio recordings and over-dubbed live recordings made at concerts at Edmonton Sundown in London in January 1974. 'Hall of the Mountain Grill’ was another UK Top Twenty hit for the band.This new edition has been newly remastered from the original master tapes and cut at Abbey Road studios and fully restores the original LP artwork. It also features a bonus 12-inch 45 rpm EP featuring four tracks issued as singles in 1974.

Students of Decay presents The Dip, a new full-length recording by Berlin-based artist and composer Thomas Ankersmit, marking his debut with the label and sixth album to date. Comprised of two expansive, sidelong pieces composed entirely on the Serge Modular synthesizer, it signals a subtle yet significant shift in Ankersmit’s trajectory, imbuing the hyper-physical, psychoacoustic intensities of his live performances with introspective, atmospheric, and even melodic elements.

Primarily known for a site-responsive approach to sound, often realized in the moment of performance, Ankersmit’s turn toward the studio in the last few years has opened up a new dimension within his practice. It is in this quiet rupture that The Dip emerged, a study in internality and suspended states, rich with cinematic undercurrents and ghostly spatial suggestion. Here, electricity itself feels transfigured – becoming supple, even organic – within an environment shaped entirely by analog signals.

Over the past two decades, Ankersmit has established himself as one of the foremost practitioners of the Serge, the notoriously idiosyncratic and expressive instrument that has remained central to his work. On The Dip, he harnesses its potential not for brute force or disorientation, but for spaciousness, resonance, and lyrical abstraction. Without resorting to additional processing or effects, he draws out tones that feel simultaneously raw and refined, articulated and blurred – intricate structures that seem to breathe and evolve of their own volition.

The result is a kind of auditory hallucination, a “cinema for the ears,” wherein impressions, emotional arcs, and imagined topographies unfold. Each side of The Dip plays like a single gesture unfolding in time – a spatial narrative constructed through vibration, density, and the movement of air.

The Dip follows acclaimed works on PAN, Touch, and Shelter Press, and reaffirms Thomas Ankersmit’s position as one of the most focused and probing voices in contemporary experimental music. Quietly radical and meticulously constructed, it is less a departure than a deepening – a descent into a more private sonic world, where the boundaries between perception, memory, and pure signal dissolve.

Suburban Architecture are pleased to announce the sixth instalment in their 'Architecture Dubs' series of limited edition 10" vinyl releases. While previous editions have seen some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material, this final release from the series sees the remix duties handled by the duo themselves.

Following on from the now sold out release of Architecture Dub #001 to #005 (featuring remixes from Peshay, Blame, Nookie, Ray Keith and 4Hero among others), edition #006 features a pair of VIP versions, previously only heard in Suburban Architecture DJ sets.

The A-Side features a rework of the track that started it all, 'Visions '96', the title cut from the duo's 2019 debut EP. The familiar pitched Rhodes pads, ominous vocals and intricately chopped Apache breaks of the original are all present, but new layers of atmospherics, tougher drum programming and a full, deep bass all serve to elevate the track in this 2025 rework.

On the flip, 'Future Jazz '95', originally featured on the duo's 2020 sophomore EP 'Alternative Futures', gets a musical rework. Maintaining much of the structure of the popular original, the original vocals and some of the drums remain while, Rhodes, Bass, Atmospherics and more are all replaced, delivering a cut which manages to feature largely new material while retaining the feel of the original.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

More than thirty years after their seismic arrival, the legendary Wu-Tang Clan remains as relevant as
ever, whether inspiring an acclaimed TV series or securing a historic Las Vegas artist residency. With a wealth of talent that may never be duplicated, the group’s impact has been amplified by the solo careers of all nine members. Masta Killa has been an important part of this legacy, with four acclaimed solo albums containing countless Wu classics. Now, in the midst of the last Wu-Tang Clan tour ever, Masta Killa is back with the highly anticipated new album Balance. Executive produced by Wu-Tang mastermind RZA, the collection is vintage New York hip-hop at its finest, with thunderous drums courtesy of beatsmiths like Easy Mo Bee, PF Cuttin, Nick Price, and RZA himself. Lyrically, Killa proves his sword is sharper than ever, sharing wise words alongside a diverse set of guests including Method Man, Snoop Dogg, RZA, Raekwon, N.O.R.E., Cappadonna, AZ, Uncle Murda, and more. “What the world and the musical universe needs now is balance,” Masta Killa explains. Capturing a wide spectrum of moods and content, Balance embodies its title perfectly.

ll star cast from 4 different cosmic corners comes the more electronic side of Hamam. T hink of it as the dorian gray of Frankfurt airport , but instead it's at the hamam in istanbul. Fattish - no stranger to electronic versions of loved and cherished turkish songs, Fattish delivers a monster cinematic piece, strings section...the whole lot...check anything he puts his hands on, this one made it to the wax Kozmonotosman - our man on the moon, he visits regularly so if u need any rocks or bits ask him he will bring u, I got loads of rock so u can ask me alternatively.

My man delivers a super dope and groovy number from a not so well known jam from the 70's . Just get down and boogie on this. Kurt Adam - one of the new faves of the Hamam camp, delivers a taverna cut in a housey affair. Don't be fooled by the electronics, I drink raki to this any day at the drinkery. Hold me down if u can m gonna dance in euphoria, hear the wolfman roarrr.

The rediscovery of Terry Callier is of the high points of in the history of Acid Jazz Records, who present the reissue of the 7” version of the song that started it all - ‘I Don’t Want To See Myself (Without You)’. A true classic of the modern soul scene.

‘I Don’t Want To See Myself…’ was the final release from Callier, whose career encompassed recording for Prestige, Chess’s Cadet label and Elektra, before this one- off single on the independent Erect label.

Despite the record fetching huge sums by the 1990s, his career had been largely unexplored, until Acid Jazz founder Eddie Piller decided to track him down. After several attempts, Eddie finally found him working as a computer programmer, and in July 1990 Acid Jazz reissued the single.

Over the next decade Terry resumed his recording and performing career, releasing new music, and was finally recognised for his brilliance as an artist. In 2006 Eddie found himself once more in conversation with Terry and they agreed on releasing a 7-inch version of the single, with an edit created by Andy Lewis.

This single is long since deleted, and now sells for upwards of £30, so with the full co-operation of his daughter Sundiata and licensed from Terry Callier Music, it is set for reissue in March 2025, backed with ‘If I Could Make You’.

The mighty Ron Sexsmith, will release his wonderful new album Hangover Terrace. Ron is one of Canada"s most accomplished singer-songwriters. He has collaborated with Daniel Lanois, Mitchell Froom, Ane Brun, Tchad Blake, and Bob Rock. His songwriting appears on albums from Rod Stewart, Michael Bublé, k.d. lang, Emmylou Harris and Feist. Film-maker Doug Arrowsmith made an acclaimed documentary about Ron in 2010 called "Love Shines". In 2017 Ron published his first book, a fairy tale entitled "Deer Life".

Lathe of Heaven kehren mit ihrem zweiten Album Aurora zurück, einer kühnen Erweiterung ihrer klanglichen und thematischen Palette, die sich wie eine Reihe lebendiger, emotionaler Vignetten entfaltet. "Aurora" ist eine bisher unerforschte Variante des Lathe of Heaven-Sounds, die eine delikate Balance zwischen ihren Punk-Wurzeln und einer fesselnden New-Wave- und 80er-Jahre-Post-Punk-Ästhetik bietet, die Einflüsse aus dem britischen und finnischen Post-Punk der mittleren 80er-Jahre mit subtilen Nuancen aus dem Underground-Pop der 90er-Jahre und der Gegenwart kombiniert. Aufgenommen mit Ben Greenberg bei Circular Ruin und gemastert von Brad Boatright, ist das Album klanglich beeinflusst vom melodischen Rock von The Cure, Musta Paraatis Gothic-Post-Punk-Synthie und intensivem Schlagzeugspiel und A Flock of Seagulls' Art-Pop-Gesang und Gitarrenriffs. Textlich schreckt Aurora nicht vor schweren Themen zurück. Aurora ist als eine Sammlung von Science-Fiction-Kurzgeschichten gedacht, die von Themen wie Antikolonialismus, Vielfalt und Gleichberechtigung beeinflusst sind und sich in den Texten niederschlagen. Diese Geschichten sind von den Romanen von Ursula K. le Guin, Octavia Butler, Greg Egan und Peter Watts inspiriert und führen den Hörer in mythische, kühne und etwas beunruhigende Realitäten. Der Titeltrack "Aurora" spielt in einer dystopischen Zukunft, in der die Erde aufgrund von nuklearem Fallout längst verlassen ist - er erforscht Themen wie Verlust, Liebe und Hingabe. "Oblivion" befasst sich mit dem Phänomen der semantischen Sättigung - wenn man ein Wort oft genug sagt, verliert es seine Bedeutung. "Exodus" ist eine Neuinterpretation des Schiffsparadoxons von Theseus und erzählt von der Erfahrung, das Bewusstsein in einen neuen, perfekten Körper zu übertragen. An anderer Stelle steht "Portrait of a Scorched-Earth" für einen direkten Akt des Widerstands. Als einer der emotionalsten Songs des Albums bricht er mit der üblichen lyrischen Abstraktion der Band und ist eine schonungslose Abrechnung mit den Schrecken der modernen Kriegsführung und der Vertreibung, die in der gelebten Tragödie von Gaza wurzelt. Lathe of Heaven hoffen, dass "Aurora" ein breites Spektrum an Emotionen hervor ruft und zum Nachdenken über den Zustand unserer Realität und der Menschheit anregt. Es ist literarisch, ohne prätentiös zu sein, politisch, ohne zu predigen, und emotional, ohne mit der Wimper zu zucken. Jeder Song hält ein Stück eines zerbrochenen Spiegels, und was zum Vorschein kommt, ist eine prismatische, verwundete Schönheit, die mit tausend Gesichtern zurückstarrt. "Aurora" erhebt den Anspruch, "ohne Angst in das traumlose Vergessen zu zittern". Sie sind herzlich eingeladen.