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It has been less than a year since the dreamy 'Words of Love' single, yet Mystic Jungle is back with a new album of free-spirited forays into solar-sonic fantasy.

Despite the short time between releases, Dario di Pace’s third LP, 'Sunset Breaker', has been in gestation for a long while and reflects an arduous journey through studio closures and multiple recording locations. It also shows the stylistic variety that results when a set of songs develops over several years. Despite this difficult journey, Mystic Jungle has produced a rich and multi-colored display of sounds and styles, resulting in his most diverse and adventurous musical narrative thus far.

Standout dance tracks like “Secrets” and “Some Lovin'” feature disco beats and body-moving grooves, with searing guitars, sultry saxophones, and layers of loved-up lyrics and call-and-response vocals that add to the magical motion. Meanwhile, “Innervision” and “Twilight” draw inspiration from lovers rock and neon new-wave dub pop, where yearning vocals, ecstatic pixie hooks, and liquid fuzz leads intertwine with fantasy synths and exotic string instruments from faraway lands. On sunbaked, stoner tracks like “The Road” and “Get Me Higher”, Mystic Jungle blends harmonizing passages of 60s psychedelia, radiant summer soul, and low-down zoner jamming.

NOW is proud to present the next instalment in our ongoing ‘Yearbook’ series, and the final one representing an individual year from the 1980s: NOW – Yearbook 1989. 78 tracks across 4CDs – celebrating a magnificent and eclectic year in pop! This release is available as a standard 4-CD set, and as a special edition 4-CD set in ‘hardback book’ packaging, which includes a 28-page booklet packed with notes about all of the 78 featured tracks. Also available as 42 tracks across 3LPs, pressed in stunning pink vinyl…celebrating a magnificent and eclectic year in pop!

Carwyn Ellis & Rio 18 release their new album "Fontana Rosa". Possibly the world's only musical group to fuse Latin music of all kinds with the Welsh language, this time Rio 18 draw inspiration from slightly different musical corners, including Chicano Soul, Nuyorican pop, and Salsoul disco plus Latin sounds filtered through the cultural spectrum of the USA.

Most significantly though, the album was among the last ever to be recorded by the acclaimed producer Liam Watson at his legendary studio and shrine to all things analogue, Toerag Studios - a huge inspiration and influence on Rio 18's Carwyn Ellis. The "Fontana Rosa" sessions saw Ellis draw together an all-star band at the fabled studio which is perhaps best known through its place in the White Stripes history.

Talking about the story and gestation of the album, Carwyn said:

"I was in Mexico City with Baldo Verdú when I heard that Toerag Studios in London was going to close. It came as a shock - Toerag and Liam Watson, its owner and resident producer had been a massive influence on me. Liam, along with Edwyn Collins, had taught me much of what I know about recording, had hired me as an instrumentalist on countless sessions and had helped me to get started when I began my own solo career. And over the years, I'd still go in to record with Liam whenever the opportunity arose. When I heard that Liam was shutting up shop, I took it upon myself to try and ensure he went out with a musical bang. I rounded up the best band I could get: the aforementioned Venezuelan percussion wiz and singer, Baldo Verdú: American drummer, multi-instrumentalist and producer Shawn Lee: the Isle of Wight's finest drum and percussion master, producer and composer Rupert Brown (whom I'd originally met at Toerag many moons ago): Elan Rhys, one of Wales's finest voices and long term collaborator with Rio 18, as well as being one third of the wonderful folk group, Plu: and Kassin - my Brazilian brother from Rio de Janeiro, bassist and producer with artists such as Jorge Ben, Caetano Veloso, Gilberto Gil and a multitude of others, including Carwyn Ellis & Rio 18.

So this was my dream team, assembled to make beautiful music one more time at Toerag (I have to add at this point that Shawn and Rupert hit it off so well at our sessions that they booked their own session shortly afterwards! Look out for the brilliant Shawn Lee's Toerag Orchestra 'Percussion Discussion' album). Toerag, if you're not familiar with the place, made its name as London's foremost analogue studio for some 30 years, recording directly to tape which in essence means musicians playing live, together in a room until they get it right. And the sound? Oh the SOUND!! And this is all Liam Watson's doing, his sonic aesthetic - a real master engineer. The studio is perhaps best known as the place where the White Stripes recorded their monster hit album 'Elephant' but for me it's where I got to record with James Hunter, Lay Low (from Iceland), Quruli (from Japan), Fabienne Delsol (from France) and made many lasting friendships, learnt a great deal about popular music, as well as making a bunch of my own best recordings with Colorama.

Over the course of five days we laid down as much music as we could. We had some visitors too: guitar slinger Little Barrie (Primal Scream, The The and Liam Gallagher among other things, but also my dear bandmate in Edwyn Collins's band): sax and flute maestro Jim Hunt (Amy Winehouse, Primal Scream, Duffy and very many others): and Diego Laverde Rojas, the Colombian Latin harp virtuoso.

This time the music had a slightly different edge - although we still maintained our Brazilian/Welsh connection on 'Deffro'r Dydd' (written with and sung by Elan Rhys), our Cumbia vibe and some Merengue ('Mariposa' and 'Te Adoro', sung by Baldo Verdú) and even a traditional Afro-Venezuelan tune ('La Quichimba', again sung by Baldo) - the main influence for me this time was Latin music as recorded in the USA, both new and old. 'No More Secrets' is a straight up slice of Salsoul disco, while 'Hei Ti' is a punky funky but of Nu Yorican pop somewhere between ESG and the Beastie Boys. But one of my main influences in the last couple of years has been the current wave of Chicano Soul coming from California, particularly via the Penrose and Big Crown labels. I was turned on to this music when I was in Japan in early 2023 - Takashi-san at Pleased To Meet Me Records in Nara played me the Altons' 'Float' and I was hooked!

And that music has a similar aesthetic to Toerag: music recorded live to tape by excellent engineers, performed by fine musicians and singers. So our songs 'Impossible', 'Heartbreaker' and 'Lovesick' are very much in this vein. And that just leaves the title track, 'Fontana Rosa'."

Piero Piccioni undoubtedly was the most “dandy” of Italian film music composers. The most stylish one, in art as in life. On the centenary of the composer’s birth, CAM Sugar celebrates his art with a compilation that draws from both his well-know and lesser-known works, alongside a precious handful of tracks that, surprisingly, have remained fully unreleased until today. The result is a journey of rediscovery of the unique, dazzling and unmistakable sound of the Turin-born composer. The silky, sensual and emotional “Piccioni's touch” can be detected in every single composition he happened to work on during his long career which spanned jazz, bossa nova, funk, disco, and orchestral music. It is a touch that gives harmony and coherence to a corpus of soundtracks that stands out as one of the most prestigious and important discographies in the world: eternal music destined to last forever, without ever sounding out of place, just like the timeless elegance of Italy and Piccioni.

Mr Bongo proudly presents the third album by Melbourne/Naarm multi-instrumentalist, Don Glori, entitled ‘Paper Can’t Wrap Fire’. A kaleidoscopic genre-surfing odyssey that brings together the worlds of jazz, soul and funk. Feeling both contemporary and classic, familiar yet novel, it’s an assured third release that sees an artist in full flight, showcasing their creative prowess and the uniqueness of their musical voice.

Steering in a new direction, Don Glori (aka Gordon Li) has delved headfirst into his songwriting with ‘Paper Can’t Wrap Fire’. Deftly showcasing his talents as a writer and bandleader, he brings with him a whole host of friends from the creative crossroads that is Naarm. It’s an album enriched with more soul, R&B, and funk-oriented songs than his previous jazz-rooted productions, yet there’s still plenty of jazz material for those familiar fans of Don's earlier works.

The album’s title is an old Chinese proverb, roughly translated as 'you can’t deny the truth'. This underlying thread is woven between the songs. “A lot of them are in some way about truth-seeking, observations and the masks you put on to deal with life (hence the cover art)”, Don mentions. Take, for instance, the sensational soul single 'Brown Eyes' featuring silky lead vocals by ML Hall. A dissection of the minority experience, and the power and comfort in building those communities. Elsewhere, 'Disaster' is a satirical take on the structures serving everyone but the artists, and 'Flicker' tackles notations of truth and clarity after introspection.

To marry that meaning with the level of musicianship on these tracks is what really stands out. Don has set out his stall here as an artist who can write songs that hit home in the heart, as much as they do in the head. It’s a journey infused with a glistening jazz finesse, layered with nourishing vocal harmonies and powered by an instantly relatable human soul.

Recorded over two hot summer days in Rolling Stock Studios in Collingwood, Naarm, the lineup of musicians is built up of Don's friends and family. Featuring the backbone team of Tim Cox, Al Kennedy, Joel Trigg, Robyn Cummins and Lachlan Thompson, who were part of Don's touring band before he relocated to London, and a stunning selection of vocalists in the form of ML Hall, Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. Also gracing the album are trumpeter extraordinaire Audrey Powne, saxophonist Joshua Moshe, and Alcides Neto who sprinkles some Brazilian magic into the record.

Taking influence from artists including Azymuth, SAULT, Jordan Rakei and Lynda Dawn, as well as from London musical beacons such as NTS and Total Refreshment Centre, Don has run with this, leaned in and come out with a record truly unique to himself and his distinctive core, with no mask necessary.

La Scimmia Records presents: PLANISFERO by Roberto Porzio LSCM05

Renowned Neapolitan keyboardist and composer Roberto Porzio (Parbleu, Psyché, Fitness Forever, The Funkin' Machine and others) makes his highly anticipated solo debut album with Planisfero—a breathtaking sonic journey where tropical rhythms, Mediterranean lyricism, and cinematic orchestrations collide, shaping an intimate and personal musical landscape.

Planisfero blends salsa, samba, and vintage sound library aesthetics with the bold energy of an imaginary Afro-Cuban orchestra. Entirely written, arranged and composed by Roberto, the album is recorded completely live, with no digital shortcuts, becoming a manifesto to pure musicianship and analog authenticity—a rare gem in an era of synthetic production.

Step into a new musical geography—where imagination knows no borders

The 1968 debut album from Norwegian guitar legend Terje Rypdal stands as a significant entry in the late 1960s jazz landscape, exemplifying the transition from psychedelic rock to a more intricate, freeform blend of jazz elements. Collaborating with legendary musicians like Jan Garbarek, Rypdal's work on this album showcases his innovative talent.

Recorded during three sessions in Oslo in 1968, Bleak House marks Rypdal’s departure from the psychedelic group The Dream as he ventured into new musical territories. He would go on to become one of the most recognizable instrumentalists in European jazz, with releases on the ECM label filled with his searing, evocative guitar sounds that evoke a future tundra.

Though only 21 at the time, Rypdal was already creating music that was incredibly mature, smooth, and sophisticated. While it undeniably captures the essence of the 60s, it remains enjoyable today. The album, originally released on Polydor, features slight Latin and blues influences, along with big-band arrangements that are both well-crafted and enchantingly loose.

The reissue of Bleak House offers much to unpack. Historically, it represents a bridge in the European transition from jazz-rock to a unique avant-garde/free jazz hybrid. Even at this early point in his career, Rypdal's ability to incorporate post-bop, fusion, and avant-garde elements into a cohesive album was an impressive feat of imagination. Rypdal has always been a bold composer, capable of weaving intoxicatingly discordant melodies, as exemplified in tracks like "Winter Serenade", or evoking an unearthly sadness in his more reflective pieces.
Bleak House is a timeless and important recording, and it is a pleasure to hear it in this 180g virgin vinyl format.
A must-listen for anyone interested in the evolution of modern jazz.

In the vibrant streets of Tembisa, South Africa, amidst the sprawling urbanity connecting Johannesburg and Pretoria, the story of Moskito began. Formed in 2001 by Mahlubi "Shadow" Radebe and the late Zwelakhe "Malemon" Mtshali, the group first emerged as a powerhouse of pantsula dancers. However, their undeniable passion for music soon led them down a new path_ one that would cement their place in kwaito history. Spending countless hours on the street corners of their township, where they were born and raised, Shadow and Malemon danced and sang with an infectious energy that attracted crowds. It wasn't long before the duo decided to channel their talents into a kwaito group, and after adding friends Patrick Lwane and Menzi Dlodlo, Moskito was born. (Pantsula dancing emerged in the 1950s among Black South Africans in townships and continually evolved until it became intertwined with kwaito music culture. The stylized, rapid foot movements and characteristic low-dancing became associated with kwaito as it took over South African urban culture into the early 2000s.) With limited resources, the group displayed immense creativity, recording demos using two cassette decks and instrumental tracks from other artists. They would rap and sing over an instrumental playing on one deck while the second deck records their performance. Their determination paid off when they submitted their demo to Tammy Music Publishers, who were captivated by Moskito's style. "Kwaito was the thing `in' at the time. If you did music you did kwaito. We wanted to fit in and actually it was easy," says Radebe. "We didn't have engineers in the group, so the first time in a real studio was with Percy and Thami to record Idolar." That same year, the group released their debut album, Idolar, under Tammy Music. The album was an undeniable success reaching gold status selling over 25,000 units and earning them a devoted fan base across South Africa and neighboring countries like Botswana, Swaziland, Namibia and Zimbabwe. Moskito collaborated with industry legends such as Chilly Mthiya Tshabalala, who was known for his work with Thiza and Spoke "H." They drew inspiration from Thami Mdluli a.k.a Professor Rhythm, who had dominated the disco scene back in the 80s and 90s. Mdluli helped with musical arrangements and executive produced the album and signed on producer-engineer Percy Mudau, while Shadow and Malemon took pride in composing most of their songs. Like many of the rising kwaito artists of the time, they didn't have music production or engineering backgrounds so they required support from engineers together their ideas down on tape. They were inspired from South African kwaito icons like Trompies, Mdu, Mandoza, and Arthur Mafokate, alongside international heavyweights like Snoop Doggy Dogg, Dr. Dre, 2Pac, and R. Kelly, Moskito created a sound that was uniquely theirs_a perfect blend of local flavor and global influence.

''Stop'' is the emblem of Italo-Disco par excellence even if in 1983 it was inserted by Carlo Favilli and Stefano Zito on the B-side of the 12''of the nascent label House of Music. However, the song, although recorded in a hurry and with evident sound defects, is the perfect example of the musical genre that was developing in Italy in those very early 80s. ''Stop 4 Remixes'' is long-awaited answer that followers have been waiting for over 4 decades and now it lives with its own light with 4 new versions that testify how the piece was a driving force for the entire Italo-Disco movement."Pushed Up'' is the remix by Woody Bianchi, who according to Claudio Casalini (who does not allow any discussion on this matter) is the best Italian disc-jockey for the technical quality of the mixes and the artistic choice of the pieces to play. It would take a book to retrace the stages of his prestigious career. So here just a bravo' to Gino (Woody Bianchi). Ditto with potatoes for Danilo Braca who works assiduously in the clubs of the Big Apple, spinning only tracks by Italian composers and arrangers. Once again this Italian DJ-producer (Danyb is his old nickname), author of two very pregnant extensive versions: ''The Remix'' and ''Re-Visited'', shows his ability as a 'remixer', known everywhere, but especially in Ibiza especially where the DJs ((DJ Harvey included) often use his ''edits' existing only on pen drive. Among those who have madly loved ''Stop'' near Florence there are certainly Luca Pardini (Dirtyelements), Guido Sonato and Edoardo Guccione (Drunkdrivers) who when they are together form the renowned they Tuscan trio of DJ-producers Dirtyelements & Drunkdrivers with very interesting and successful experiences on Pusic Records, Masterworks Music, Samosa Records and Lego Funk. The approach to sounds in their ''Acid Re-Solution Remix'' is absolutely decisive. Here too, skill and passion seasoned with a pinch of art and... why not?... madness !!!

Peletronic comes back on Fortunea Records with another great 4-tracker! After his successful Hazy Jane EP and the broken beat contribution ‚Goldfinch’ on the latest 10 year anniversary compilation, he delivers us four brand-new contemporary and intensive cuts on here. Restless, the title-track of this record, is a sub driven deep house work out with boasting swelling loops and an irresistible vocal sample. Afterwards dreamy acid lines and energetic drum patterns prepare you for several ‚Timeless Travels’. ‚Malibu Orange’ on the B-side captures the elusive late-hours in the morning. And the record ends with the minimal flamboyant beats of ‚1160 Dub'. A lovely homage to his favorite district in the Austrian capitol. The Restless EP will come out on the 23rd of may. This record is limited to 200 copies. There will be no repress!

Over and through the hot cement of North East L.A., an almost-dry riverbed winds like a snake through the city. Coyotes lap at its trickling stream by moonlight, as pedestrians rush past it by day without a second glance, their thoughts tangled up in the distractions of life in a sprawling metropolis. Here, amongst the many avenues and gentle hills, we find Coffin Prick (alias: Ryan Weinstein).

Loose Enchantment, this latest Coffin Prick record, is music conceived of in a different frame of mind for humans living in a world nearly-disenchanted with itself. The album consists of eleven new pieces of music recorded by Coffin Prick himself at his home in Los Angeles, a great city of quicksand-like commitments and those who love them enough to uphold the ends of their collective bargains. A record as much about the confusion of modern life as it is endeavored to expose the lusts in the very loins of creation. Sounds enchanting enough for you? Let’s look a little more closely…

On the heels of 2023’s Laughing (Sophomore Lounge), Coffin Prick got busy. And fast. Playing shows into the year with a newly minted live band, while simultaneously working day and night in his home studio laying the ground for what would become Loose Enchantment. Whereas he was essentially a recording know-nothing at the inception of his last LP, he’d learned a thing or two about better capturing his ideas by this point, taking the sidesteps and victories born of the experience Laughing provided and turning the bright lights on them. As many of Los Angeles’s drivers choose to do, it was time to take some surface roads. Odes to self-delusion, the mysteries of creation, cleanliness, and the secrets in other people’s lives.

A little Loose Enchantment for everyone, basically.

With Harmonia, Trikk takes us on a rich, multi-faceted trip of club music. Spread across five singles, the project explores a wide spectrum of styles, tempos, and textures—all while staying rooted in the heart of the dance floor.

Sagrado marks the peak of the project, with Trikk once again on quality control. It hits the heart and essence of the project—club music to the core. The track begins with a tight framework of kick drum, claps, and a bubbling bassline, a welcoming foundation for the elements that follow. Gradually, it opens up into a wide musical sunrise, as Trikk demonstrates his sure instinct once more—balancing warmth with his distinctive style.



The project took off with Rigor, a peak-time statement that paired massive, tactile sound design with surprising moments of piano serenity—setting the stage for both bold and nuanced. Luxo followed, weaving together industrial grit and organic warmth, further expanding Trikk’s musical language. With Fortuna, the project stepped into the glow of summer, as Trikk joined forces with Kenyan vocalist Sofiya Nzau. The latest single Raiva unites two worlds, blending Trikk’s rhythmic, new-wave-infused sound with MEUTE's commanding brass power.



Harmonia is a carefully woven narrative of rhythm, design, and identity—an artistic statement built to move.

With Harmonia, Trikk takes us on a rich, multi-faceted trip of club music. Spread across five singles, the project explores a wide spectrum of styles, tempos, and textures—all while staying rooted in the heart of the dance floor.

Sagrado marks the peak of the project, with Trikk once again on quality control. It hits the heart and essence of the project—club music to the core. The track begins with a tight framework of kick drum, claps, and a bubbling bassline, a welcoming foundation for the elements that follow. Gradually, it opens up into a wide musical sunrise, as Trikk demonstrates his sure instinct once more—balancing warmth with his distinctive style.



The project took off with Rigor, a peak-time statement that paired massive, tactile sound design with surprising moments of piano serenity—setting the stage for both bold and nuanced. Luxo followed, weaving together industrial grit and organic warmth, further expanding Trikk’s musical language. With Fortuna, the project stepped into the glow of summer, as Trikk joined forces with Kenyan vocalist Sofiya Nzau. The latest single Raiva unites two worlds, blending Trikk’s rhythmic, new-wave-infused sound with MEUTE's commanding brass power.



Harmonia is a carefully woven narrative of rhythm, design, and identity—an artistic statement built to move.

"1980 was a huge year in pop music with every genre competing for hits. We have already included many tracks on the records of the 1980 Yearbook, the 80-84 Final Chapter, and their extras so far in our appreciation of the year…

Those tracks were generally the bigger hits of the year, with their chart achievement a factor in their inclusion – however – that’s not the whole singles story of the year, and our celebration of 1980 wouldn’t be complete without shining a light on some of the years’ singles that have been compiled much less frequently over the years.

Welcome to THE VAULT for 1980… Some of the tracks included were Top 40 hits, some missed the chart completely. Some were representative of massive selling albums, and some were big hits in the U.S. and not in the U.K… but all are part of the wonderful pop story of 1980. "

This edition explores identity, presence and the fragmentation of self.
It features a standout work by iconic Los Angeles photographer Parker Day, whose hyper-saturated portraits dissect the construction of persona and the tension between surface and essence.
Design is handled by legendary New York illustrator Braulio Amado, injecting the project with bold typographic energy and haunting visual language.

The zine includes poetry by Cristiano Grim, alongside original music by:
Foie Gras – drone and reimagined Americana from San Francisco / Los Angeles
Machino – Mexican electronic producer out of LA, blending distorted guitars, psychedelic riffs, and cinematic pulse into a sound that feels like driving through a neon fever dream
Valley Latini – dark Latin pop performer from New York
David Oliver Rose – post-punk rude boy from New York
Nick Hadad – dark ambient producer based in New York

FAKE4-MASK VS PERSONA presents a 25-page, 11x11” offset-printed, paired with a 12” 180g vinyl record featuring all contributing artists.
Audio mastering by Spaventi Studio.
It operates as both an aesthetic object and a critical inquiry, merging the disciplines of literature, music, photography, and design into a single act of publication as performance.

Horizon is a new collaborative album by Resavoir and Matt Gold. Across the 10 tracks the two Chicago-based producers combine their distinct sensibilities to create a hypnotic and inviting love letter to their shared admiration for "60s and "70s Brazilian music. Resavoir leading man Will Miller - the acclaimed trumpeter, composer, and producer who"s worked with SZA, Whitney, and more-makes room at the table for Gold - a seasoned multi-instrumentalist and accomplished guitarist who has collaborated with the likes of Makaya McCraven and Greg Ward - and the results are distinctly new for both of them. The sunny and expansive tunes on Horizon are as immersive as they are endlessly replayable, a dynamic and joyous body of work.

'Quiet Pieces' initiates Abul Mogard’s personal imprint Soft Echoes with a definitive self-portrait of calm, contemplative, and discreet inner landscapes made audible. It is the first solo album on vinyl in four years. RIYL Alessandro Cortini, William Basinski, The Caretaker.

While sifting through archived material left idle from earlier projects, a chance encounter with a late uncle’s trove of beloved 78rpm classical and opera records prompted the reworking and completion of what would eventually become the album. Spinning dusty records at 33 and 45rpm, Abul Mogard recombined their enduring spectres with unfinished sketches from his archive. The resulting soundscape blurs distinctions between his memories and those of another, exquisitely short-circuiting the senses with its waking, dream-like lucidity.

This was a process I hadn’t explored in my earlier works. I began sampling brief moments from these records, altering them with studio effects and playing them at slower speeds. In many cases, I wasn’t entirely sure how the original music sounded. These fragments, once further processed, became a source of inspiration for my new compositions. Over time, I realised that the old pieces from the archive and the new material derived from the samples naturally complemented each other.”

The resulting pieces hover over a threshold, a liminal space that harmonises the old and older material. Voluminous waves of quiet and loud undulate between consonance and dissonance, conjuring imagery of a decaying grandeur that humanity’s decadence has surrendered to the elements. Abul Mogard’s seemingly abandoned yet vast landscapes are nevertheless intimate with timbral frissons of red-lined distortion. Elusive, yet as tangible as sea spray or smog, they affect the olfactory senses with a rarified, synesthetic quality that modestly engages one’s emotional register – a hypnotic, distinguishing feature long hailed as one of the hallmarks of his work. A fidelity to memory and dream recall is sensitively probed in the journey from the stately symphonic stasis of 'Following a dream' to the almost industrial, untethered brutality evoked by a looming silhouette that’s never fully visible in 'Constantly slipping away', culminating in the foreboding coda of 'Like a bird'. Those pieces appear to shield the album’s sentimental core, where the tempestuous play of light and shadow of 'In a studded procession' escalates to breathtaking, panoramic climax, while 'Through whispers' evokes an out-of-body-like experience encountered with visceral poignancy.

Looking back, Mogard notes an unexpected influence: “I realise being inspired by Phill Niblock, whose work I had barely known at the time but explored after his passing in 2024. His album 'Boston Tenor Index' changed the way I approached dissonance. It encouraged me to push my sound further, to the edge of a space where I began to feel uncomfortable.”

The album artwork, created by longtime collaborator Marja de Sanctis, features a photograph taken at the Temple of Jupiter Anxur, an archaeological site overlooking the Mediterranean Sea. Captured with an iPhone, the image traces the residual presence of construction techniques and architectural forms of the Romans, where material history is transcribed through contemporary tools. The convergence of ancient and modern technology aims to reverberate the site’s lasting spiritual presence – an echo persisting in what is now perceived as a quiet, emptied space. The spiral gestures towards infinity and light. Past and present dissolve into one another, reflecting 'Quiet Pieces' meditation on sound, memory, and time.

RIYL Alessandro Cortini, William Basinski, The Caretaker

Born at Theme Ltd, one of London’s most exciting new music studios in the heart of Camden, ‘Driver’s Seat’ is an unapologetically bold and enduring work. MICHAEL, staying true to his name, delivers a debut project that is authentic and unfiltered, offering a glimpse into his true self. Staying true to the ethos of Theme Ltd, he channels his optimistic spirit into tracks that radiate hope and possibility. ‘Driver’s Seat’ combines infectious raw technique with a mesmeric, intimate journey into the mind of a true artist. The collaboration with Theme Ltd is unmistakable, evident in the crisp precision of the audio. This is elevated by the use of their new Live Studio, acoustically treated to perfection by audio legend Paul Gilleron, who also lent his expertise to iconic venues like the O2 and Roundhouse.

‘Drivers Seat’ opens with ‘In The Rain,’ where veteran vocalist Chili graces the track with her soothing yet powerful voice, perfectly complementing a timeless R&B instrumental reminiscent of Anita Baker / Patrice Rushen. MICHAEL uses this introduction to immerse listeners in his musical utopia. The next track, ‘Drivers Seat’—the project's namesake—oozes effortless cool, with a memorable chorus and a captivating melody that leaves listeners both intrigued and enamoured by the enigmatic MICHAEL character. The B side continues the motif of positive self-expression and praise with ‘Satisfaction’ an optimistic celebration of love. The prospect of joy is more ambiguous in the ultimate track ‘And I Love You’ cruising down an infectious baseline, crafted in collaboration with resident producer Theme, the soft beautiful vocals take us to the natural end of a uniquely wonderful debut project.

Emptyset, James Ginzburg and Paul Purgas, explore both spatial and physical properties of sound; specifically the perceptible boundaries between it and noise. They have produced installations for Tate Britain and the Architecture Foundation in London. Emptyset"s new album Dissever continues their exploration of the histories of 20th century electronic sound and media. Dissever delves into the intertwined evolution of cosmic rock, minimalism and electronic music, viewed through their prospective dreams and overlapping technological ambitions. Premiered at Tate Modern as a live performance, Dissever was part of the exhibition Electric Dreams, a large-scale survey of the global history of art and technology. The resulting album is astoundingly sublime, rich with sonics that are as thrilling and immediate as they are singular and dense with complexity.