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Bosconi Records is proud to present Tangled Waves, a dynamic split EP that brings together the sonic identities of two emerging Italian talents—Roberto Manolio and Giuseppe Angeloro—each making their debut on the label.

Like currents colliding below the surface, Tangled Waves reveals a natural convergence—where distinct styles drift together in subtle harmony.

The A-side features Roberto Manolio, known for releases on Cosmological, Nugs on Board, and Musek Records. He kicks off with Deeply Red, a UK tech house-influenced stomper driven by a fat, aggressive bassline and dreamy delayed chords. A haunting Russian voice sample adds a cinematic, retro-futurist edge—like a lost transmission from a 60s space mission. Next up is Machine City Road, a raw, gritty weapon where grinding synths and sharp textures drive the track forward with the force of a distorted electric guitar. It’s dark, edgy, and full of tension. On the B-side, Giuseppe Angeloro—previously featured on Cimedirapax, Havalon, and Polarity Records—brings a touch of italo-flavored euphoria with A Night Among the Trees. Lush arpeggios and nostalgic synth lines conjure up a dreamy atmosphere, building into an epic, cinematic anthem. Closing the EP is Mind Trip, a gentle, psychedelic excursion built on floating melodies, delayed vocals, and hazy atmospheres. It’s a reflective, emotionally rich track—perfect for the final moments on the dancefloor. Tangled Waves offers a meeting point of two unique sonic voices, flowing along parallel—but deeply connected—paths, resulting in four essential weapons built to last.

Swollen Members rose in the underground Hip Hop scene with a series of classic albums that made them one of the genre's brightest stars. Founded by Madchild, Prevail, and DJ Rob the Viking, Swollen Members have stayed independent under their own label Battle Axe Records. The have returned in 2009 stronger than ever with Armed to the Teeth, which features appearances from Talib Kweli and Tech N9NE.

To celebrate our 50th release, we dug deep into Juan's back catalog and rediscovered four gems that had never been repressed since 1993. After a proper restoration, a new mastering and a precise cut, we are happy to re-introduce those incredible tracks on vinyl and digital. The Future Sound EP is a great example of Juan Atkins' curation for Metroplex Records. Different artists were invited to the studio to give their interpretations of what the label is about.

In Emptyverse, Biemsix crafts a sonic exploration through the infinite expanse of emptiness - a state where all meaning is stripped away, leaving only the raw potential for reinvention. The release captures the fragile yet powerful moment of self-discovery, as awareness emerges from the void. Each track embodies the tension between nothingness and creation, drawing listeners into a space where they can confront and redefine their own transformations. Both a mirror and a map, the record leads listeners through the profound depths of self-discovery. For Biemsix, this collection serves as a personal odyssey, reflecting an emotional state where emptiness is not an end but a canvas for creation and growth. ''What lies beyond meaning?'' w/p: Marco Bianchino remix contribution by: Felix Benedikt Contains insert with D/L Code and bonus track. design: Janu Krohm mastering: Giuseppe Tillieci a.k.a. Neel @ Enisslab, Rome distributed by: Clone

a A1 Bull In The Heather, Other [Selected By] – Catherine Keener
[b] A2 100%, Other [Selected By] – Mike D
[c] A3 Sugar Kane, Other [Selected By] – Beck
[d] A4 Kool Thing; Other [Selected By] – Radiohead
[e] B1 Disappearer; Other [Selected By] – Portia de Rossi
[f] B2 Superstar; Other [Selected By] – Diablo Cody
[g] B3 Stones; Other [Selected By] – Allison Anders
[h] B4 Tuff Gnarl; Other [Selected By] – Dave Eggers, Mike Watt
[i] C1 Teenage Riot; Other [Selected By] – Eddie Vedder
[j] C2 Shadow Of A Doubt; Other [Selected By] – Michelle Williams
[k] C3 Rain On Tin; Other [Selected By] – Flea
[l] C4 Tom Violence; Other [Selected By] – Gus Van Sant
[m] D1 Mary-Christ; Other [Selected By] – David Cross
[n] D2 World Looks Red; Other [Selected By] – Chloë Sevigny
[o] D3 Expressway To Yr Skull; Other [Selected By] – The Flaming Lips

[a] A1 Bull In The Heather, Other [Selected By] – Catherine Keener
[b] A2 100%, Other [Selected By] – Mike D
[c] A3 Sugar Kane, Other [Selected By] – Beck
[d] A4 Kool Thing; Other [Selected By] – Radiohead
[e] B1 Disappearer; Other [Selected By] – Portia de Rossi
[f] B2 Superstar; Other [Selected By] – Diablo Cody
[g] B3 Stones; Other [Selected By] – Allison Anders
[h] B4 Tuff Gnarl; Other [Selected By] – Dave Eggers, Mike Watt
[i] C1 Teenage Riot; Other [Selected By] – Eddie Vedder
[j] C2 Shadow Of A Doubt; Other [Selected By] – Michelle Williams
[k] C3 Rain On Tin; Other [Selected By] – Flea
[l] C4 Tom Violence; Other [Selected By] – Gus Van Sant
[m] D1 Mary-Christ; Other [Selected By] – David Cross
[n] D2 World Looks Red; Other [Selected By] – Chloë Sevigny
[o] D3 Expressway To Yr Skull; Other [Selected By] – The Flaming Lips

DUVEL & GIT HYPER - De Rode Draad

Duvel is een pionier binnen de Nederlandse Rap-scene. Met z'n herkenbare stijl en vooruitstrevende visie heeft hij menig artiest geinspireerd en is zijn naam in steen gehouwen. Dit geldt eveneens voor DJ en producer Git Hyper, wiens naam sinds de 'golden era' van de Rap niet is weggeweest. De samenwerking van Duvel & Git Hyper vormt dan ook een nieuwe HipHop mijlpaal. De solide productie ligt in handen van Duvel en Git Hyper en vormt de fundatie voor de scherpe teksten van Duvel, ondersteund door klinkende namen als $keer&Boo$, Faberyayo, Nosa en Maximilli. Het album wordt uitgebracht door Redrum Recordz, het underground label wat Duvel ooit z'n eerste wapenfeiten bracht. Tezamen met de geschiedenis die hij met Git Hyper heeft, is de muziek het kloppende hart en HipHop 'De Rode Draad'.

Michael Nau's solo career began with songs crafted and composed in private moments, later to be shared with musical compatriots and reimagined with auxiliary input on records like Michael Nau & The Mighty Thread, Mowing, The Load EP, and Some Twist. These early drafts were stashed away in the vault as Nau strode forward, but after a taxing spring of touring in support of his latest album Less Ready to Go, and recording and self-releasing the stripped-down informal release So On So On, Nau found himself hunkering down at home and rediscovering old gems in his archives. The search yielded a new digital collection of Nau's initial forays into solo work, bundled together as Demo Versions, 2014 to 2017. In their initial incarnations, these songs were less about the end result and more about the discovery. "They're the seed," Nau says of the material. "These recordings are essentially the writing of the songs_ written and recorded at the same time. There's something exciting about them for that reason. It feels magical any time the start of a song arrives, let alone gets `finished.'" These early drafts don't just serve to shed light on the creative process or expose the malleability of Nau's songwriting approach; they often frame the material in an entirely new context. Demo Versions' opening track "The Glass" is a bare-bones affair of acoustic guitar, bass, and vocals_a breezy Sunday morning song that sounds markedly different than the layered lounge-rock approach that later appeared on Mowing. "Light That Ever," with its wall-of-sound production, serves as a climax to Some Twist, but in its infant stage on this collection, it's a beautiful, intimate folk song. Ultimately, all ten songs off Demo Versions, 2014 to 2017 reveal a new side to these fan favorites, with Nau's lush arrangements and unorthodox accompaniments largely absent, and the simple beauty and grace at the heart of the material at front and center.

Tatsächlich ist der Manager des Clubs Porgy & BessɎ Christoph HuberɎ der Ratzer seit ȒȖ Jahren für ein spezielles Silvesterkonɞ zert im Club buchtɎ mitverantwortlich für dasɎ was man auf Vienna Red hörtɍ Die Ergebnisse dieses langjährigen Auftritts sind auf Vienna Red zu hörenɎ einer LiveɞAufnahmeɎ die das Trio in eben diesem Porgy & Bess Jazzclub dokumentiertɍ Eine intime und elegante AngelegenheitɎ bei der Ratzer und sein hochgradig interaktives RhythmusɞTandem abwechselnd inbrünstig swingenɎ verführerische Bossa Novas erforschen und die Tiefen der Emotiɞ onen in bewegenden Balladen auslotenɍ

Fields of the Nephilim"s debut Burning the Fields EP together with their Returning to Gehenna EP, all remastered. Not issued on CD for decades, packaged in the original red artwork. Plus, a bonus disc -remixes and demos from "85 & "97, also remastered. In a 6-panel 2CD package with sleeve notes, interview and unseen early photos by gothic commentator Mick Mercer. Not available on vinyl for over 20 years until the sold-out RSD24 version. Now packaged in the green sleeve artwork that came after the limited red version. Plus, a bonus disc - now on vinyl for later remixes and "85 & "97 demos, also remastered.

Glossy Mistakes Reissues Resonance 001, a Proto-House & Trance Milestone from Belgium from 1992
Glossy Mistakes is proud to announce the reissue of Resonance 001, the groundbreaking debut EP by Belgian producer Fabrice Lagrange, created in collaboration with Frank Beekman and originally released in 1992. Long overlooked, this forward-thinking record captures a pivotal moment in the early European evolution of house and trance-melding minimalism, emotion, and club-oriented experimentation into a sound that remains strikingly fresh over three decades later.
Resonance 001 stands among the earliest European records to explore the fertile intersection of hypnotic house rhythms and atmospheric trance. The A-side, featuring The Awakening Earth and Pure Self, channels a stripped-down yet euphoric energy-deeply inspired by the spirit of Detroit techno but undeniably forward-looking. As Frank Beekman recalls: "This record was recorded in a very simple studio, with minimal gear, inspired by the Detroit techno sound."
On the B-side, the EP ventures further into experimental territory. Paris By Night offers a dreamy, tech-tinged house excursion, leading into Redondanz, a meditative downtempo closer that perfectly encapsulates the release's subtle charm.
The enduring appeal of Resonance 001 lies in its restraint: crafted with minimal tools, it delivers maximum emotional depth. It seamlessly blends hazy trance atmospheres, early house grooves, and ambient-inflected textures, capturing the open-minded, exploratory ethos of early '90s electronic music.
Now remastered for vinyl by Wouter Brandenburg, Resonance 001 returns in pristine form-faithfully preserving its original character while bringing new clarity to its timeless sound.

Chicago recording artist Reggie Soul (real name Reginald Stone) recording career consisted of three 45singles spread over 3 separate labels. Firstly, the funk outing “I Got Jody” backed with the soulful “I Feel So Bad” for the Red Balloon label. “I Feel So Bad” was a Lee Sain composition which Lee himself recorded under the title of “Baby Don’t Leave Me” for the Broach label. Reggie’s “I Got Jody” also came out a second time on Nation Time Records as the flipside to “Soul Walkin’” a cover version of the James Brown song but mis-credited as the performing artist Reggie Smith?

Reggie’s third release “My World of Ecstasy/Mighty Good Loving” was released on the Scott Brothers owned Capri Records label in 1968. The fledgling Capri Records Company having been set up in premises at 409, East 47TH Street in Chicago’s Southside, used the front of the building as a record store with the rehearsal studios situated at the rear, the final recording sessions took place initially at some of the smaller independent studios across the city before using the major Columbia and RCA Recording Studios as Capri Productions grew. Reggie co-wrote both sides of his Capri 45 with Charles and Walter Scott respectively. The arrangements were provided by John Jackson and Bill McFarland who alongside Claude Williams provided the horn section to many of the Scott’s future productions. The Scott Brothers were also the house band at one of the Southside’s most popular night clubs ‘The Bonanza Lounge on 7641, South Halsted. Besides performing, they used the club to scout for potential artists for their label and it is believed that’s where their business relationship with Reggie Soul initially began.

Surviving witness accounts always cite Reggie as a solo performer which begs the question who are the credited ‘The Soul Swingers’ on the Capri 45? Well, it transpires that this was a pseudonym used by the Scott Brothers present on the recording, Charles (Chuck) drums, Tommy (bass guitar) and Walter (Rhythm guitar).

At the beginning of Soul Junction’s working relationship with Scot-Tees a further Reggie Soul unissued session was mentioned and sure enough two tape boxes arrived one containing “My World Of Ecstasy/Mighty Good Loving”, great, but disappointingly the second named tape had been reused as a rehearsal tape of several recognizable riffs of later Scott-Tees productions, doh!

Then months later lady luck intervened, a box containing two unmarked acetates held together with a nut and bolt was found. After considerable investigation, it transpires that they are the missing Reggie Soul tracks which we now present to you. Both songs are A.C Carson compositions, The A-side “So Many Miles Away” is a wonderful crossover song that shares some lyrical similarities to fellow Capri stablemate Judson Moore’s released Chicago Music Bag 45 “Lisa” while the flipside of our release features Reggie’s interpretation of Judson’s “Groovy Thang”. So, at long last Soul Junction are able to present to the lost Reggie Soul sessions that several veteran soul scribes who known their onions have likened to another great Chicago recording artist, the mighty, Tyrone Davis.

Polar Bear's groundbreaking debut 'Dim Lit' (2004) is being released on vinyl for the first time, marking over two decades since its arrival reshaped the UK jazz landscape

Led by drummer and composer Seb Rochford, the album introduced a band whose fearless approach to improvisation, rhythm, and texture would go on to influence a generation. Blending raw energy with intricate composition, 'Dim Lit' set the blueprint for Polar Bear's signature sound - expansive, unpredictable, and entirely their own.

From the outset, 'Dim Lit' positioned Polar Bear as one of the most forward-thinking groups of their time. The album bridged jazz, electronic elements, and avant- garde sensibilities, carving out a new space in the contemporary music scene. The interplay between Rochford, saxophonists Pete Wareham and Mark Lockheart, bassist Tom Herbert, and electronics specialist Leafcutter John created a dynamic, shape-shifting sound that blurred genre boundaries. With its hypnotic grooves, explosive improvisation, and unexpected sonic detours, 'Dim Lit' remains a vital document of a band redefining what jazz could be.

This first- ever vinyl release offers a new perspective on 'Dim Lit's deep, layered soundscapes, giving longtime fans and new listeners alike the chance to experience the album in a fresh, immersive format. Edition Records now represents all digital rights to the Polar Bear catalogue, ensuring the band's visionary work continues to reach audiences worldwide.

Le Chatroom, a record label established in 2016 by the English producer Kouslin, searches for the missing link between underground bass music and outer national sounds. Its music is defined by the blend of synthetic and organic tones, modern / classic instruments and low- end heavy percussive rhythms.

Pushing artists from all around the globe that share the same love for this newfound sound, Kouslin's aim with Le Chatroom is to promote musical diversity, open-mindedness and experimentation at a time when unity between cultures is crucial. With 'LCR001' the label advances into a new physical environment from which this release should be experienced.

Real talk and native percussion establish the steady climax of 'Brothers', the A-side of Le Chatroom's inaugural wax release. Kouslin cuts through this sediment with a bright flute, before the state of the sound switches into something far darker and meditative. By placing several samples at irregular intervals, the Londoner achieves a fascinating charm that'll unite us all.

Booming bass in 'Gyals' lingers with a steady pace while percy tribal hits forge a raw groove that's far from common. With this movement, the producer from Bristol disintegrates the sense of a generic production and sticks to his true nature. Through this it becomes clear that Galtier has his polyrhythms down to a science.

Londoner Sheik clinches the B-side with a craze that unveils a nearly psychotic sense of sample architecture. Pushing crystal clear 808 kicks in- between the haunting atmospheres and a wall of pressure simply becomes one of his most inventive takes documented on wax. If you love to swerve through a minefield, the odd 'Oxram' would be your favourite pick off this first outline.

The three producers that feature on 'LCR001' pass on their fundamentals to conjure Le Chatroom's philosophy red-handed. Together they do the imprint's name justice by handing over critical bass repertoire that'll excite many!

PHASE SHIFTING INDEX is a time capsule record of Jeremy Shaw's vast original artwork that includes audio excerpts, voiceover passages and music composed by There in Spirit and Konrad Black. Shaw's seven-channel video, sound and light installation-that premiered at Centre Pompidou in 2020-uses science fiction, documentary, visual effects and synchronisation to induce an ecstatic experience in narrative temporality. Each video details the belief systems of one of seven fictional subcultural groups spread across time that aspire to induce parallel realities that could redirect the evolution of the human species through embodied forms of ritual, ideology and movement. The vinyl release serves as a gathering of the piece's key audio elements, focussing on their importance to the engineering of the artwork and their stand-alone listening qualities. Side A of the record follows the dramaturgy of the artwork in full-swing, including audio segments from four of its five distinct chapters. Written by long time collaborators Konrad Black and Jeremy Shaw together as There in Spirit, "Cross- Temporal Sync" soundtracks the strobing peak of the installation at the moment when all seven disparate videos fall into a unified choreography in which every person on every screen performs the same ecstatic series of slow-motion movements. The pulsing, hypnotic dirge aligns with the locked choreography in mood and action, caught somewhere between ecstatic trance and somatic takeover. A steady sub line, clipped stabs and a swooping choral gasp harmonise with the dancers movements onscreen while restrained filters open slowly to reveal a submerged melody that builds in intensity towards the chaotic rupture of Black's "Mosh". Here the score breaks into digital shards as heard through analog bodies colliding and pixelating into each other. The dancers eventual dissolution into "Particles" sounds like the field recording of a disembodied neural cosmos. The B-side of the record contains a narrative outline edit of the artwork comprised of music, excerpts and pieces of narration from each video. Listeners can follow along in an accompanying thirty-six page booklet of full-bleed film stills documenting each of the seven groups as they move through the five chapter dramaturgy. Composer Konrad Black's authentically backwards-glancing production and sound design is as disparate as the groups represented on screen. From the bespoke-16mm-tribal-techno of "The Cyclical Culture" and retro-cyber-funk of the "Zero-Ones," to the VHSdark- wave of "The Violet Lux" and skewed vocal/piano minimalism of the "Quantum Modern," each group exists in its own custom-made world out-of-time. The record ends where it began, with the full sequence of "Ramping" playing out as each subcultural world begins to lose control, galvanise, sync, rupture, atomise and scatter throughout the universe, only to loop back into another inevitable beginning. Phase Shifting Index premiered at Centre Pompidou, Paris, in 2020 and has since been exhibited in nine international venues including ARoS, Denmark, MONA, Tasmania, MAC, Montreal and Hamburger Bahnhof, Berlin

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

A young doctor on the verge of greatness finds his career and life shattered after choosing to treat two children rather than the town mayor. The deaths of one of the children are inexplicable. What if he had saved a monster?

Monster, the manga created by Naoki Urasawa, is an acclaimed psychological thriller that has been a huge critical and commercial success. The complex and gripping story, which follows the moral choices of a surgeon confronted with a serial killer he has saved, has attracted a wide international audience. Monster has won several awards and is regarded as one of Urasawa's major works, affirming her place as a master of suspense in the world of manga.

Kuniaki Haishima is a Japanese composer best known for creating the soundtrack to the anime Monster. In addition to his contribution to Monster, Haishima has also composed music for TV series (Terra Formars and S-CRY-ed) and films (Tokyo Tribe and Helter Skelter).

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

As we saw with their debut release "Breukelen Story", Masta Ace & Marco Polo once again drop a deluxe edition of their sophomore LP "Richmond Hill". This new version includes 4 bonus tracks not previously available on the album—three remixes (one featuring Talib Kweli) and one brand new song from Ace & Marco.

"Richmond Hill", the highly anticipated follow up to Masta Ace and Marco Polo's "Breukelen Story", is inspired by Marco's childhood in the titular neighborhood, a small town in Ontario, just outside of Toronto. Between interstitials about Marco's passion for hip-hop and cartoons, his struggle with addiction, and the support of his parents, Marco Polo and Masta Ace tackle the issues of the day head-on with clarity, the rapper using his decades-worth of rapping experience to slice through the producer's warm soul samples and crisp percussion. A cinematic journey that explores how the past echoes through the present, the album welcomes guest appearances from notable names from all eras of rap history, including Inspectah Deck, Coast Contra, Blu, Che Noir, Speech of Arrested Development, Masta Ace's longtime collaborators Stricklin and Wordsworth, and many more.



















s Below The Clouds [Remix] (feat. Talib Kweli)

[u] Get Shot [Marco Polo Remix]
[v] Below The Clouds [Roselle Remix] (feat. Blu)



















[s] Below The Clouds [Remix] (feat. Talib Kweli)

[u] Get Shot [Marco Polo Remix]
[v] Below The Clouds [Roselle Remix] (feat. Blu)

Marconi Union, one of the most influential names in contemporary ambient and electronic music, announce their twelfth studio album, The Fear of Never Landing, set for release 6th June via Just Music. The news is paired with the release of first single Eight Miles High Alone, out 20th March on all major streaming platforms.

Known for their ability to craft cinematic, immersive soundscapes that blur the lines between ambient, electronic, and experimental music, the Manchester-based duo once again push the boundaries of sonic exploration. The Fear of Never Landing takes us on a dynamic journey that’s atmospheric, diaphanous and never short of mesmerising. While the new record is certainly infused with a sense of hope, there’s more than a soupçon of anxiety too, as the title suggests.

A 55-minute odyssey presented as one seamless piece divided into nine movements, they transcribe the nexus of modern living into a mostly wordless odyssey. The album encapsulates Marconi Union’s ability to translate the complexities of the human experience into sound, all while maintaining a stunning sense of cohesion.

While the music feels effortless, the creative process was anything but. During the two years it took to complete the album, members Jamie Crossley and Duncan Meadows faced creative struggles that even led them to briefly question the band’s future. A pivotal moment came when they performed a live soundtrack to the 1975 skateboarding film Downhill Motion, rekindling their connection to atmospheric composition. By testing new material live and returning to their roots, Marconi Union redefined their creative process, leading to some of their most emotionally impactful work to date.

“We’ve always made atmospheric music but we had started to lose that aspect. Other than some rough ideas, we had no sense of what we were doing anymore, a kind of musical wilderness. Eventually a couple of things fell into place, and it was like, ‘Ah, okay.”
With a foundation to build upon, they went back to basics and decided to take their time going forwards. “We tried out a few new tracks live which gave us the opportunity to see what worked and what didn’t. We've never given ourselves that luxury before.”

The first track to be shared, Eight Miles High Alone, is a mesmerizing sequencer-driven track that builds an immersive, atmospheric soundscape. Its hypnotic pulses and intricate layers evoke a sense of solitude and weightlessness, perfectly capturing the album’s blend of tension and introspection. “Eight Miles High Alone was the first piece that we managed to complete and helped to inform our approach to the rest of the album.”

Formed in Manchester in 2003, their debut album, Under Wires and Searchlights (2003), introduced their signature sound, but it was their 2011 release of Weightless that brought international acclaim. Developed in collaboration with a sound therapist, Weightless was scientifically recognised as “the world’s most relaxing song”, praised for its ability to reduce anxiety and heart rates. With over 900 million streams and widespread coverage across media, the track remains a cultural phenomenon.

Over the years, Marconi Union has continued to evolve, producing critically acclaimed albums such as Signals (2021), Ghost Stations (2016), and Tokyo+ (2017). Their work has been hailed for its emotional resonance and sonic depth, with The Quietus noting their ability to find “beauty in the bleakest places” and The Sunday Times describing them as “amongst today’s most talented musicians.”

Beyond their studio albums, Marconi Union has collaborated with visual artists, provided soundtracks for installations, and remixed notable acts like Max Richter and Vök. Their invitation by Brian Eno to perform at Norway’s Punkt Festival further cemented their reputation as innovators in the ambient music sphere.

With The Fear of Never Landing, Marconi Union once again showcases their unmatched ability to create immersive soundscapes that resonate deeply. The album reaffirms their position as masters of atmosphere and emotional storytelling, making it an essential addition to their storied catalog.

Don't Die Before You're Dead', AJ Traceys lang erwartetes drittes Album, an dem er mehr als drei Jahre gearbeitet hat, markiert einen Meilenstein in seiner Karriere - seine Rückkehr nach einer selbst gewählten Pause und eine erneute Bestätigung seiner Position als eine der einflussreichsten Stimmen der britischen Musikszene.

Mit einem so deutlichen Titel wie 'Don't Die Before You're Dead' wird sich das Album aller Erwartung nach mit Themen wie Ehrgeiz und Widerstandskraft auseinandersetzen, sowie damit das Leben in vollen Zügen zu genießen - Werte, die AJs Weg von Ladbroke Grove an die Spitze der britischen Rap-Szene bestimmt haben.

Es ist ein reifer Sound des kreativen Westlondoners und ein Moment, in dem AJs Wachstum und Entwicklung in seiner Karriere zum Ausdruck kommt. Die Fans können sich auf ein Werk freuen, das nicht nur seine Entwicklung als Künstler zeigt, sondern auch die Grenzen der britischen Musik weiter verschiebt.

AJ Tracey kann auf zahlreiche Nominierungen für den BRIT Award, einen erstklassigen Auftritt auf der Pyramid Stage in Glastonbury und eine Reihe von Charterfolgen zurückblicken. Seine mit Dreifach-Platin ausgezeichnete Single Ladbroke Grove wurde zur meistverkauften Independent-Single des Jahres 2019. Seine Vielseitigkeit zeigte sich in Kollaborationen mit Jorja Smith, Stormzy, Headie One und Aitch.

Don't Die Before You're Dead', AJ Traceys lang erwartetes drittes Album, an dem er mehr als drei Jahre gearbeitet hat, markiert einen Meilenstein in seiner Karriere - seine Rückkehr nach einer selbst gewählten Pause und eine erneute Bestätigung seiner Position als eine der einflussreichsten Stimmen der britischen Musikszene.

Mit einem so deutlichen Titel wie 'Don't Die Before You're Dead' wird sich das Album aller Erwartung nach mit Themen wie Ehrgeiz und Widerstandskraft auseinandersetzen, sowie damit das Leben in vollen Zügen zu genießen - Werte, die AJs Weg von Ladbroke Grove an die Spitze der britischen Rap-Szene bestimmt haben.

Es ist ein reifer Sound des kreativen Westlondoners und ein Moment, in dem AJs Wachstum und Entwicklung in seiner Karriere zum Ausdruck kommt. Die Fans können sich auf ein Werk freuen, das nicht nur seine Entwicklung als Künstler zeigt, sondern auch die Grenzen der britischen Musik weiter verschiebt.

AJ Tracey kann auf zahlreiche Nominierungen für den BRIT Award, einen erstklassigen Auftritt auf der Pyramid Stage in Glastonbury und eine Reihe von Charterfolgen zurückblicken. Seine mit Dreifach-Platin ausgezeichnete Single Ladbroke Grove wurde zur meistverkauften Independent-Single des Jahres 2019. Seine Vielseitigkeit zeigte sich in Kollaborationen mit Jorja Smith, Stormzy, Headie One und Aitch.

Green Sonic Opaque w/ White Ink Cassette & Red Opaque w/ White Ink Cassette. Minecraft is a dreamscape, a limitless world where anything is possible. Minecraft is a tool, a means of bringing the imagination to life. Minecraft is a community, a platform on which inventive minds of all ages can share their creations and ideas. Minecraft, of course, is also a game, the most popular and best-selling video game of all time. Created in 2009 by Swedish programmer Markus "Notch" Persson, this cultural phenomenon speaks volumes of our current zeitgeist's love for virtual spaces, but its unprecedented success couldn't be pinned on one factor alone. Countless layers of thoughtful artistry flow through Minecraft's singular experience, not the least of which is its transportive soundtrack by C418, the project of German composer and musician Daniel Rosenfeld. Minecraft Volume Alpha, the first installment of a two-part OST, helped breathe life into the game's voxel-based universe. Upon release, fans and critics were universally enamored with C418's beatless, nuanced electronic pieces. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music "remarkably soothing." The Guardian compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. Polygon distilled Volume Alpha to its essence: "It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime."

Single Sided Repress!
We've watched the movies, seen the photos, heard the stories. As in all of New York City, crime was as rampant in the subway as it was on the streets. Thefts, robberies, shootings and killings were a frequent reality throughout the 1970s. In 1979, a group of angered residents led by Curtis Sliwa began taking crime prevention into their own hands, donning red berets - looking very much like a gang and calling themselves the Guardian Angels. This funky track produced by the Legendary Patrick Adams and uptown empresario Peter Brown is an ode to what was hapenning at the time. Like many of the P&P records of the time, this wasn't dance music for flashy downtown clubs, it was the real uptown funk! With bass as heavy as rolling stock, and field recordings from the subway tannoy echoing along almost empty train carriages late at night, Margo Williams's vocals supply the inner city funk menace with some almost ethereal soul.' At a crossroads between funk, soul and an emerging Hip Hop culture this track apealled to both the disco crowd and the bravado of the uptown b-boys.

Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musiker und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

Mit nur drei Akkorden und plakativen Texten revolutionieren die RAMONES im Jahr 1976 in Form ihres selbstbetitelten Debütalbums "Ramones" die zunehmend im Bombast erstarrende Rockszene mit dem rohen Energieausbruch des Punk. Die New Yorker beeinflussten über Jahrzehnte einige der bekanntesten Rock-, Punk- und Metal-Bands wie BLACK FLAG, NIRVANA, METALLICA, CIRCLE JERKS, WHITE ZOMBIE, PEARL JAM und GUNS N' ROSES - um nur einige zu nennen. MOTÖRHEAD haben den RAMONES sogar einen Song gewidmet. Die Band verkörperte den Punk-Underground, den sie beginnend im Jahr 1974 mit ins Leben gerufen hatten. Die Amerikaner blieben ihrem Sound und Stil über mehrere Dekaden treu, inspirierten Generationen von Musiker und erlangten ewige kulturelle Bedeutung, obwohl sie selbst kaum große kommerziellen Erfolg feiern durften. Die Redux-Serie von Magnetic Eye wurde als Hommage an klassische Alben aus der Musikgeschichte ins Leben gerufen. Zusammen mit "Ramones Redux" präsentieren wir auch das Begleitalbum "Best of Ramones Redux", das weitere Klassiker und Raritäten aus dem ebenso umfangreichen wie einzigartigen Katalog der US-Punk Legende enthält. Die Magnetic Eye Redux-Reihe lässt ausgewählte Künstler handverlesene klassische Alben aus der Geschichte des Rock und Metal komplett neu interpretieren und respektvoll in das neue Jahrtausend übertragen. Bisher hat das Label solche Meilensteine wie PINK FLOYDs "The Wall", HELMETs "Meantime", BLACK SABBATHs "Vol. 4", JIMI HENDRIX' "Electric Ladyland", "Dirt" von ALICE IN CHAINS, AC/DCs "Back in Black", SOUNDGARDENs "Superunknown" und den JETHRO TULL-Klassiker "Aqualung" in Redux-Versionen veröffentlicht. Unter vielen anderen haben sich solch herausragende Künstler wie MATT PIKE, PALLBEARER, THE MELVINS, ALL THEM WITCHES, KHEMMIS, ASG, ZAKK WYLDE, MARK LANEGAN, SCOTT REEDER an diversen Redux-Projekten beteiligt. Angeschnallt und zugestiegen bei Magnetic Eyes neunter Expedition ins Redux-Abenteuer, mit dem wir den legendären US-Punk Pionieren RAMONES die gebührende Ehre erweisen!

ARCHITECTS are back and charging forward in the heavy rock world with their latest sonic masterpiece, The Sky, The Earth & All Between. After two relentless years on the road-featuring massive European summer tours with Metallica and top billing at festival stages across Europe, (Rock Am Ring, Rock Im Park, Hellfest, Download, Graspop, Full Force to name a few and headlining Bloodstock) - the band has returned to the studio to deliver their most powerful collection of songs yet. With the creative force of Jordan Fish (Bring Me The Horizon) behind the boards, Architects have captured the explosive energy of their live performances while elevating their signature melodic edge. This album reflects the perfect blend of raw intensity, emotional depth, and innovative production. Already making waves, singles like "Curse" and "Seeing Red" have drawn rave reviews from all major metal press worldwide. "Seeing Red" the "anthem powerhouse" landed because of global success in the top 10 of charts worldwide-amassing over 45 million streams along the way. The Sky, The Earth & All Between builds on the momentum of their 2022 album, the classic symptoms of a broken spirit, which stormed to the top of the UK Rock and Metal Charts. With this new release, Architects are once again set to push the boundaries of modern heavy music, cementing their status as one of the most exciting and essential bands of our time.

Tresor resident DJs LNS and DJ Sotofett have for some years been developing a style at the club‘s Globus floor, and their new EP is a die cut of exactly the classic techno, electro, and house music they play.
Here are no productions drenched in reverb, no hi-fi obsessions or generic algorithmic patterns – this is Globus Trax, the duo's third release on Tresor Records, four tracks consisting of real TR-909 workouts, rude and driving basslines, live runs through the mixing desk, and a Blake Baxter cover version with LNS on vocals.
LNS & DJ Sotofett programmed an EP to perfectly fit their warehouse style of DJing, bringing out colour and variation in a spectrum more similar to a club compilation than a dogmatically reduced concept. With a single repeated vocal sample, Globus Trax opens bombastically with ClickClickClick, a dub -infused UK garage house track anyone in the world can easily describe in the course of a second.
Following this comes Gearbox which is a hefty slab of big room electro featuring a centerpiece arpeggio and the warmest harmonic pads on the EP's four tracks, which not-so-subtly makes reference to the pioneering band that shares a name with Globus and Tresor's home, the Kraftwerk.
The house vibe returns on Destination 909, which is nothing but a manifesto for the TR-909, where the beloved drum machine's jacking beats meet galactic strings and synthetic bass, only to be ripped apart in a slamming break that sees the machine take centre stage as it cuts in-and-out of the mix, again a clear nod to the duo’s sets in the club.
LNS steps up on vocal duties and DJ Sotofett keeps the 909 running for their final cut, taking a deeper dive into the realms of classic techno and paying tribute to “The Prince of Techno” Blake Baxter by covering his Reach Out originally released on Tresor Records in 1995.
The 12” was cut by DJ Sotofett himself at Manmade Mastering, where he resurrects the lost art of late-90s loud cuts with sonic presence and punch, optimal for the club-focused 12” format, and is the first to come in the new Tresor Sleeve, boasting an embossed logo on either side.

Divine Dances. In plural form.
The fourth album from DjeuhDjoah & Lieutenant Nicholson couldn't have a more explicit title.


Masters of emotions and feelings, the duo has always known how to express melancholy and nostalgia with precision. Yet this time, all their efforts have concentrated on a single goal: taking listeners by the hand—no, by the ear, obviously!—to bring everyone back to the dance floor and explore a variety of atmospheres together.


And naturally, a variety of styles. Funk, ndombolo, electro, hip hop or zouk, each new vibration discovered carries away the previous one to form a dancefloor where all eventually come together.
Divinely light.


The body, surrendered to this call to dance in all its forms, has been so caught up in the whirlwind of groove that the mind has fallen in behind it to continue as one. Words explode into syllables that metamorphose into notes, then perfectly align with those from the score.


One second. A bit of attention. Caught by an irrepressible groove, then comes the moment to slalom through melodies to discover, at the turn of a rhyme, a new meaning. Approached head-on, certain overly serious themes would empty the room and bring the atmosphere down to lead levels. The diagonal approach, humor, and apparent nonchalance of the two men are the best weapons at their disposal. Their Trojan horse to put substance into their form(s). To evoke transidentity, consent, economic malaise as well as the spiritual, or to tell little stories of frustrated loves, seemingly insoluble but which will end well.


Anthony Hilaire for Creole words, Sarah Solo for hip-swiveling soukous, Patrick Bebey for pygmy flute notes, and Grégoire Mahé to bring electricity to DjeuhDjoah & Lieutenant Nicholson's songs; styles blend in a musicality worked into its smallest interstices.


Gathered on this dance floor illuminated with 80s disco brilliance, you observe brassy notes slithering under the electronic veneer, synthesizer keys splashed by furious hip movements. To raise your eyes to connect with the spiritual is to watch the sky become constellated with crystalline Fender Rhodes notes, destined to fall like rain on the heavy bass of afrobeat groove.
Smiles attached to faces, no one should think they can get through the ten tracks of Divine Dances while remaining seated : he's doomed to fail.


OUT MAY 2025 DELUXE WHITE VINYL 180 G /CD / DIGITAL

The vinyl is a collaboration between two indie labels KXNTRAST and U JAZZ ME.

The record was pressed on 180g vinyl with printed innersleeve.

HER NAME WAS YUMI is the title of hoshii's second studio album, created by saxophonist Kuba Więcek in late 2022. On this album, the musicians deliberately free themselves from the burden of European music genres, exploring sounds that carry a spark of hope and a free spirit. In the musical layer, they focus on deep synthesizer basslines, intensification of electronic sounds and an extensive layer of samples, redefining their approach to composition.

The album title refers to YUMI (夢美 - from Japanese "beautiful dream") - a friend of hoshii who brings him to Earth when he feels tired of life on the distant planet Versus. However, even among earthly sounds, loneliness becomes inevitable. At the right moment, YUMI, overcome with longing, decides to fly and find her friend.

HER NAME WAS YUMI is a musical journey full of experiment, freedom and a new sonic identity. The album shows hoshii in a new version - even more conscious, bold and not limited by genre frames.

Kuba Więcek - alto saxophone, electronics

Grzegorz Tarwid - synthesizers

Max Mucha - bass guitar, synthesizers

Miłosz Berdzik - drums, glockenspiel

Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together. The follow up to “American Landscapes “ entitled “ The Day The Angels Cried” releases June 6 and coincides with a world tour. The duo weaves an intricate Lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well. Van Wissem’s work comes from a tradition of avant-garde minimalism and lends itself well to the director’s stark cinematic works. Jarmusch has played guitar in bands on and off since the late ‘70s. Van Wissem’s compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called “New Music for Early Instruments.” The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem’s compositions, and sees himself as someone filling in the background to Jozef ’s foreground, like the “scenic” on a film shoot, the one who paints the backdrops. “The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury.” .According to Van Wissem: We started with layers of instrumental parts.. Jim recorded a otherworldly Passerelle bridge guitar part to which we added vocals. This became the title track " The Day The Angels Cried" The lyrics for this song came to me during a vision I had in a dream. It was much like a vision Swedenborg writes about. In it he converses with angels. In my vision the angel looked down from the heavens upon the earth engulfed in flames. Recent events in Los Angeles and other parts of the world, have led me to believe that this dream was a premonition. “The Day The Angels Cried” ( Inc 040/41) releases June 6th on Incunabulum Records, right before the duo start their World tour. releases June 6, 2025 Jozef Van Wissem Voice, Baroque And Renaissance Lutes, 12 String Electric Guitar, Slide Guitar, Electronics, Found Recordings Jim Jarmusch Voice, Electric Guitars, Acoustic Guitars, Passerelle Bridge Guitar, Electronics, Found Recordings

A timeless rock & roll band for the modern world, The Prescriptions sharpen their sound with Time Apart. Produced by Ben Tanner (Alabama Shakes) and Brendan Benson (The Raconteurs), the album funnels a half-century of American and British influences including taut power pop, explorative indie rock, jangling heartland hooks, and New Wave nuances into something sharp and singular. The result is a warm, widescreen follow-up to The Prescriptions' 2019 debut, Hollywood Gold, its songs balanced halfway between classic craftsmanship and progressive exploration. Fiery and forward-looking, Time Apart explores both sides of the pop/rock divide. It's a 21st century album rooted in everything that made the classic stuff so compelling sharp songwriting, ringing refrains, percussive stomp, and guitars that chime one minute and churn the next. Time Apart is an album for the heart, head, and hips. The Prescriptions have been never been shy about nodding to the hook-driven rockers who came before them, but here, they carry those influences into uncharted territory, uncovering something that's truly theirs along the way. It was time together that created Time Apart, and The Prescriptions have never defined their ambition or abilities so clearly before. Tracklist: 1 April Blossoms 2 Long Past Tonight 3 Love is Red 4 I Get Lost 5 Compartmentalize 6 Fire Moon 7 On Satellite 8 Not The Issue 9 I Might Try 10 Baby Be Nice 11 Camp Hill

A timeless rock & roll band for the modern world, The Prescriptions sharpen their sound with Time Apart. Produced by Ben Tanner (Alabama Shakes) and Brendan Benson (The Raconteurs), the album funnels a half-century of American and British influences including taut power pop, explorative indie rock, jangling heartland hooks, and New Wave nuances into something sharp and singular. The result is a warm, widescreen follow-up to The Prescriptions' 2019 debut, Hollywood Gold, its songs balanced halfway between classic craftsmanship and progressive exploration. Fiery and forward-looking, Time Apart explores both sides of the pop/rock divide. It's a 21st century album rooted in everything that made the classic stuff so compelling sharp songwriting, ringing refrains, percussive stomp, and guitars that chime one minute and churn the next. Time Apart is an album for the heart, head, and hips. The Prescriptions have been never been shy about nodding to the hook-driven rockers who came before them, but here, they carry those influences into uncharted territory, uncovering something that's truly theirs along the way. It was time together that created Time Apart, and The Prescriptions have never defined their ambition or abilities so clearly before. Tracklist: 1 April Blossoms 2 Long Past Tonight 3 Love is Red 4 I Get Lost 5 Compartmentalize 6 Fire Moon 7 On Satellite 8 Not The Issue 9 I Might Try 10 Baby Be Nice 11 Camp Hill

On her debut album, Lucy Gooch stays true to her electronic foundations, while incorporating more acoustic instrumentation and digging deeper into her folk roots through songwriting. But at the heart of Lucy's music is her rapturous vocal, with which she has experimented more than ever over the course of her first full-length. Many of the pieces on 'Desert Window' started out as vocal improvisations from which she pulled a narrative. Taking cues from the incantatory chanting found in middle English poetry such as 'The Names of the Hare', as well as the prescient imagery in contemporary works like 'The Hearing Trumpet' by Leonora Carrington (1974). "To a larger extent, this became an experiment in placing my voice in a more narrative way, while remaining oblique," Gooch explains. While her previous work could be compared to drawn-out landscapes punctuated with moments of romance and radiance, this album feels grounded in materiality and the everyday. Gooch's voice is at times strident, while elsewhere restrained and broken. "I lost connection to my voice and then had to rediscover it, which was exhilarating. There were these bursts of energy where I'd be messing around and occasionally stumble upon something". There are hushed melodies and exhausted squalls, creating dissonance and space. The result is an atmospheric balance between Kate Bush and Cocteau Twins harmonies, Vangelis major chords, and a juxtaposition of folk ambience reminiscent of the offset madrigals of The Third Ear Band and Italian cult film composers Goblin. It is a complex and elegant album, an all-consuming series of songs that reach into jazz, electronica and classical song construction.

On her debut album, Lucy Gooch stays true to her electronic foundations, while incorporating more acoustic instrumentation and digging deeper into her folk roots through songwriting. But at the heart of Lucy's music is her rapturous vocal, with which she has experimented more than ever over the course of her first full-length. Many of the pieces on 'Desert Window' started out as vocal improvisations from which she pulled a narrative. Taking cues from the incantatory chanting found in middle English poetry such as 'The Names of the Hare', as well as the prescient imagery in contemporary works like 'The Hearing Trumpet' by Leonora Carrington (1974). "To a larger extent, this became an experiment in placing my voice in a more narrative way, while remaining oblique," Gooch explains. While her previous work could be compared to drawn-out landscapes punctuated with moments of romance and radiance, this album feels grounded in materiality and the everyday. Gooch's voice is at times strident, while elsewhere restrained and broken. "I lost connection to my voice and then had to rediscover it, which was exhilarating. There were these bursts of energy where I'd be messing around and occasionally stumble upon something". There are hushed melodies and exhausted squalls, creating dissonance and space. The result is an atmospheric balance between Kate Bush and Cocteau Twins harmonies, Vangelis major chords, and a juxtaposition of folk ambience reminiscent of the offset madrigals of The Third Ear Band and Italian cult film composers Goblin. It is a complex and elegant album, an all-consuming series of songs that reach into jazz, electronica and classical song construction.

The Armed Man: A Mass for Peace was commissioned by the Royal Armouries to mark the transition from one millennium to another. It reflects on the passing of ‘the most war-torn and destructive century in human history’ and looks forward in hope to a more peaceful future. The Armed Man is dedicated to the victims of the Kosovo conflict, whose tragedy was unfolding as it was being composed. It was first performed in 2000 by the London Philharmonic Orchestra and the National Youth Choir of Great Britain, conducted by Jenkins himself. The 25th anniversary edition includes a cover redesign; a history of the commission by Guy Wilson, Master of the Armouries; updated biographies for contributors; and new notes from Julian Lloyd Webber reflecting on the debut performance, plus a note from Sir Karl himself.

DJ Sodeyama returns to Sound Of Vast under his The People In Fog guise this June with the nine track 'Too Much Knobs And Cables' LP.

Over the past three decades DJ Sodeyama has been a staple in Japan's underground and beyond across the globe as a DJ and releasing material under his own name via the likes of Radio Slaves' Rekids, Dynamic Reflection, Nina Kraviz' трип and more. Here though, he makes a welcome return under his The People In Fog alias to Tokyo's Sound Of Vast, the platform that's played host to all of his material under this alias as well as others like The Mole, Shinichiro Yokota, San Proper and more.

Across the nine-track 'Too Much Knobs And Cables' LP, The People In Fog once again radiantly showcases his depth and understanding of true underground sounds. From the classic Deep House aesthetic of opener 'Red Morning', 'CC Love' and 'New Life' to more classic Chicago House inspired cuts like 'Animal Kingdom', 'Jack Out' and filtered Disco house jams like 'Dance To The Air', 'New Life' and 'Miraval'.

Sodeyama also dives deeper beyond House once again in true long player fashion to deliver the unique 80's tinged, funk-infused and vintage synth/drum machine laced 'Night Driver' and the cinematic closing piece 'Sun Moon Lake', which leans into a Balearic leaning sonic world via drifting guitar melodies, arpeggios, acid licks and a crunchy rhythm section.

The Understated Debut That Launched a Peerless Career: Bob Dylan Is the Clearest Connection to the Singer-Songwriter's Folk Roots
Pressed on MoFi SuperVinyl for Reference Playback: Mobile Fidelity 33RPM SuperVinyl Mono LP Features the Direct Sound Dylan Intended

1/4" / 15 IPS analogue mono master to DSD 256 to analogue console to lathe

Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the initial efforts of giants like Elvis Presley and the Rolling Stones.

Nodding to Woody Guthrie and re-imagining Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He authoritatively displays the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his then-20-year-old age.

Sourced from the original master tapes, housed in a Stoughton jacket, and pressed on MoFi SuperVinyl at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180g 33RPM mono SuperVinyl LP brings the contents of this seminal release as close as they've ever come to live-in-the-studio quality. Transparent to the source, Dylan's voice, acoustic guitar, and harmonica come across with exceptional realism — the "husk and bark" to which Robert Shelton referred in his legendary New York Times review of a Dylan appearance at Gerde's Folk City — courtesy of the format’s nearly non-existent noise floor, groove definition, and quiet surfaces.

Heard in the original mono configuration, Dylan’s vocals are in the heart of the musical action and as one with the accompaniment. This reissue paints an incredibly accurate portrait of the concrete mass of sound that features no artificial panning and offers a straight-ahead immersion into the music producer John Hammond recorded in just two days in November 1961.

Though much has been made of the commercial indifference that greeted the album upon its low-key release, focusing on sales figures and the reaction of a public not yet hip to Dylan's name miss the forest for the trees. Distinguished from the era's other folk efforts by way of the singer-songwriter’s determination, brazenness, and lived-through-this worldliness, Bob Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010: "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin."

Mono is how almost everyone first heard Dylan’s opening salvo. A career like none other starts here.

MoFi SuperVinyl:

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.