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The 20th Anniversary Edition of Beyond Good & Evil and its official soundtrack offer a refreshed yet faithful rendition of the game's original music. Utilizing a full orchestra, we preserved the unique, intimate feel of the compositions, often created through improvised sessions. The soundtrack includes new tracks, some recorded with unconventional instruments, celebrating the creativity that made the 2003 original and the franchise special.

“Beyond Good & Evil – 20th Anniversary Edition and its official soundtrack are a true labor of love that give a beautiful new sheen to the notes and melodies of the game, yet always staying true to the emotions that resonated with the fans back then. While we had the means to work with a full-fledged orchestra this time around, we made sure to keep the quirky, intimate feel of the compositions that were, more often than not, the results of improvised jams and family reunions around an iron anvil or a toy ukulele. This soundtrack is an ode to a sort of colorful, artisanal and unbridled creativity, completed here with new tracks (including parts recorded on a broken guitar with an unconventional tuning), and the perfect celebration of all the little things that made the 2003 original and this franchise so special.”

-Christophe Héral

Nina Ryser's music has always inhabited its own world; a singular and cohesive collection of Keyboard-centric home recordings that marry her undeniable pop sensibilities with a truly bizarre dreamlike aesthetic. With a solo career spanning 7 releases as well as her work in the highly influential art-punk trio Palberta, Nina's artistic voice has been a staple in the American underground for over a decade, her distinctive and consistent sound earning a cult following. Her latest effort Water Giants signifies a departure in both sound and artistic practice - her first solo release recorded outside of her home studio, with a myriad of first time collaborators, it's Nina's most lavish and expansive offering to date, honing in on the heartfelt songwriting at the core of her work. After completing her usual process of demoing the songs for Water Giants, Nina felt that she wanted to try something new, escaping the confines of her minimal studio setup and the limitations of working alone. At the recommendation of several friends, she began working with Lucas Knapp, a Philly based producer who has contributed work to many Dear Life releases (including Florry's The Holey Bible, Hour's Ease the Work, and Joey Nebulous's Joey Spumoni Creamy Dreamy Party All the Time ). Lucas and Nina's recording sensibilities aligned quite seamlessly, breathing new energy into the songs in what she describes as an "effortless collaboration". The result is some of her most pristine experimental pop offerings to date, centering Nina as a dynamic performer and lyricist without foregoing the surreal qualities of her previous work. The album features contributions from many of her peers in the Philly music community, including Jill Ryan (Great Time), Victoria Rose and Nino Soberon (@, Brittle Brian), Eli Kleinsmith (The Knee Jerk Reaction), and her husband Gabe Adels, whom she frequently collaborates with in the synth-pop duo Data. Even the cover art is a departure for Nina, who has previously crafted it herself or with longtime friend/visual artist Izzy Kross, this time assembling a collage of photographs taken by Eve Alpert (Palm) fit for the album's newfound dimensionality. Lyrically, Water Giants stands as Nina's most personal work to date. Taking a cue from her previous release, I Miss My Dog, which was written as Nina was processing the imminent loss of her and Gabe's dog Billy, Nina approached the writing process with unbridled honesty and chose not to edit or overthink her words as she had in the past. The result is a number of candid, heartfelt reflections on love, illness, addiction, anxiety, and the beautiful absurdity of a trash pile on the street. Interspersed throughout the album are Nina's signature woozy instrumentals, which add some escapism to the grounded nature of the material. By putting faith in a newfound collaboration without straying from her natural instincts, Nina has crafted the most dynamic album in her discography, an exciting testament to her songwriting prowess and what can be accomplished by stepping out of your comfort zone as an artist.

Rhetoric & Terror is Berlin-based Hemphill’s second album since leaving Liars back in 2016.

No stranger to reinventing his approach towards composition, Rhetoric & Terror feels like we are – perhaps for the first time – opening a doorway into Hemphill’s personal life, to his disparate sonic influences, his wide-ranging journeys through philosophy, and his own reflections on his role as an artist.

Like different thoughts and feelings emerging in a state of meditation, Hemphill invites you to pause on one ‘scene’ for a moment before moving onto the next. There’s space to get lost here – both emotionally and in the colour of the album’s wide-ranging textures.

With his wife Angelika Kaswalder on vocals throughout the album and multi-instrumentalist Morgan Henderson – a longtime friend of Hemphill’s since Henderson’s time in the post- hardcore band The Blood Brothers - adding woodwind, Nonpareils is no longer simply a solo project – and it’s apparent in this openness.

The name of the album – Rhetoric & Terror – describes this split that Hemphill is making from the conceptual nature of his first solo album (2018’s Scented Pictures), and the new direction that he – perhaps – hopes to continue taking. The title comes from a chapter in Giorgio Agamben’s book, “The Man Without Content”, where he describes the concepts of rhetoric and terror to describe two different types of writers: the rhetorician and the terrorist. The terrorist is a misologist who is only into the feeling; the rhetorician is committed to logic and form.

“With Rhetoric & Terror, I wanted to start with emotions and feeling. I was playing with my kids, listening to Cocteau Twins, I have a wonderful partner, and it seemed very contrary to any sort of growth to sequester myself from this life in order to get into character as a musician. Instead, I tried to remove the boundaries between my creative life and my. responsibilities and have it all be one fluid thing. All things at all times, and trust that this will guide my music rather than more intellectual concepts or limitations.”

Despite its catalysts being in philosophy and conceptual art, Hemphill has created an album that’s deeply “emotionally available”. It’s also helped him take a new stance on life that combines his life as a partner and parent in a kind of unity with his role as the artist. It’s plain to hear as a listener – Rhetoric & Terror, despite its intimidating name, is welcoming
and playful, even during its most intense moments.

Opium Warlords' sixth album "Strength!" out on Svart Records in September 2024! Opium Warlords, led by Sami Albert ”Witchfinder” Hynninen (Reverend Bizarre, The Puritan, The Candles Burning Blue), return with their sixth album Strength! It is a versatile but tight combination of pussy techno, sludge, industrial pop, hardcore punk, drone, shamanistic pulse, noise, heavy metal, old school gothic rock and march music. It is a take on European rhythmic patterns: stagnant factory beat – no groove, no swing, just a rhythm of industrialism that pierces through different genres and styles. Comparing to the dark and oppressive Nembutal (2020), Strength! is significantly more light-hearted, with its postmodern lyrics emitting from sources such as shampoo bottles and television UFO series to the Pan-Europa myth or morbid lore of death-hungry Transylvanian Iron Guard. However, the sting of irony and sarcasm is balanced with more serious subjects: Strength! is a hate/love letter to Europe and a self-reflection on Machiavellian and Nietzschean philosophies of strength and elitism. True to the band’s soul everything is covered with pure toxic misanthropy. Strength! 2LP/digital/2CD will be released 13th of September on Svart Records. Album’s first outtake, Erotomania, is out right now via digital services worldwide.

Opium Warlords' sixth album "Strength!" out on Svart Records in September 2024! Opium Warlords, led by Sami Albert ”Witchfinder” Hynninen (Reverend Bizarre, The Puritan, The Candles Burning Blue), return with their sixth album Strength! It is a versatile but tight combination of pussy techno, sludge, industrial pop, hardcore punk, drone, shamanistic pulse, noise, heavy metal, old school gothic rock and march music. It is a take on European rhythmic patterns: stagnant factory beat – no groove, no swing, just a rhythm of industrialism that pierces through different genres and styles. Comparing to the dark and oppressive Nembutal (2020), Strength! is significantly more light-hearted, with its postmodern lyrics emitting from sources such as shampoo bottles and television UFO series to the Pan-Europa myth or morbid lore of death-hungry Transylvanian Iron Guard. However, the sting of irony and sarcasm is balanced with more serious subjects: Strength! is a hate/love letter to Europe and a self-reflection on Machiavellian and Nietzschean philosophies of strength and elitism. True to the band’s soul everything is covered with pure toxic misanthropy. Strength! 2LP/digital/2CD will be released 13th of September on Svart Records. Album’s first outtake, Erotomania, is out right now via digital services worldwide.

Obsidian, the upcoming album from Pennsylvania's own riff-titans Crobot, and likely the band's most introspective journey yet, is set for release on the extraordinarily lucky 13th Friday. Produced by Crobot, recorded at The Machine Shop Studios in Austin, TX, and engineered, mixed, and mastered by Alberto De Icaza, the 12 tracks on Obsidian dive into the deep, murky waters of the human condition, threading ancient myths with personal demons across its tracks.

While the band's primary songwriters - Bishop and Yaegley - tend to leave their songs somewhat ambiguous, the upcoming album's new tunes touch upon very personal growth, conflicts, and reflections. "Each song descends into the darker reaches of the psyche," Bishop says, "set to a relentless rhythm of heavy, pulsing beats and gut-wrenching guitar solos, and offers a stark reflection of internal struggles." "'Obsidian' is almost a rebirth of our career," Brandon adds. "We were able to take a different approach to the writing and recording of this album, so the experience was very rewarding and different from past projects. Conflicts and reflections make you a better person, even in those darker moments, but I know I become a better person for it. I think that's what symbolizes this entire album for us. It's been a real breath of fresh air."

Zak Olsen, the creative force behind the guitar riffs of Australian doom psych band Orb, is set to release his highly
anticipated solo album, Ghost Notes, under his Traffik Island moniker. 12 Esoteric Instrumentals for Ethereal Beings
feels like going on an acid trip through a haunted house, where folk melodies merge seamlessly with jazz rhythms and
psychedelic textures. Creating freakout moments such as the track ‘Pandemoniom!’ featuring Kenny Ambrose-Smith of
King Gizzard and haunting folk horror moments on ‘winds’ Fans of esoteric instrumentals and spooky soundscapes alike
will find much to love in this haunting collection. Frank Maston of Maston captures the essence of Ghost Notes perfectly:
“Olsen has created a monster - channeling Joe Meek, Goblin, and Broadcast in this cursed disc of groovy fugues. Traffik
Island may be alive and well in these tracks, delivering premium melodies with ease, but the undead certainly had their
say. Mixing terrifyingly sick beats with warped organs, sinister synths, and spooky found sounds, this is the horror movie
soundtrack we deserve. An instant Halloween classic.”

Heiko Maile und Julian Demarre, vertraut mit dem Schreiben von Popsongs und Filmmusik, arbeiten seit dem Album-Klassiker "MEANWHILE" von Camouflage Mitte der 90er Jahre zusammen. Während Heiko seine Arbeit am perfekten Popsong kontinuierlich weiterführte, kam es bei Julian und Heiko unabhängig voneinander zu ersten Engagements im Bereich Filmmusik. Seit die beiden begannen, auch gemeinsam an Spielfilmen zu arbeiten, wuchs in ihnen stetig das Bedürfnis, eine Liebeserklärung an die elektronische Musik der 70er und 80er Jahre zu schreiben. Mit manch esoterischen japanischen Keyboards aus den 70er Jahren, die für den Klang von morgen entwickelt wurden, entstand so ein Werk für alle Tage danach - das genreübergreifende Album NEOSTALGIA, eine einzigartige und facettenreiche Mischung elektronischer Stile, verbunden mit einer Prise Krautrock. So finden sich dann auch auf so manchen Stücken Intros/Outros, Flöten, Flanger-Gitarren oder Vocoder, und sogar solche, die die Sechs-Minuten-Marke spielend erreichen.

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

The core members of Jaubi are true masters of their craft, coming from a rich lineage of accomplished musicians. Kashif Ali Dhani is a classically trained tabla master from the Punjab gharana, and is the accompanist of choice on the local scene for some of Pakistan's great classical vocalists and instrumentalists, as well as in Europe and the USA. Zohaib Hassan Khan is a 7th generation sarangi master, who has performed globally, and is one of only 3 professional sarangi players left in Pakistan. Multi-instrumentalist, composer and Jaubi bandleader Ali Riaz Baqar aka Ila Zair began his musical journey as a hip-hop enthusiast, evolving into a jazz guitarist following the exposure to the genre’s rich sampling culture. He then became a disciple of the Senia-Shahjahanpur gharana, a lineage of musicians specialising in the sarod. His playing now focuses on merging North Indian classical music with modern jazz harmony on a traditional, unaltered 6-string electric guitar.

The collaborative relationship between the core group and wider collaborators dates back to April 2019, when 22a label founder and multi-instrumentalist Tenderlonious and EABS/Bloto keyboard and synth maestro Marek ‘Latarnik’ Pędziwiatr travelled to Lahore, Pakistan to take part in some improvised recording sessions with Jaubi. Nothing whatsoever was written down during the recording sessions – no sheet music, no song titles. It was sincere, bottled lightning. All egos were left behind, with hearts and souls being opened and poured into the music. The result has been described as spiritual jazz-fusion meets psychedelic Hindustani classical with nods to golden era hip hop.

An adventurous and absorbing record ‘A Sound Heart’ is the next chapter for Jaubi, both sonically and spiritually. The title is inspired from a verse in the Holy Qu’ran (26:89), where one comes to God with a spiritual or sound heart (Qalb) which is sincere, without doubts and free of materialistic attachments. Importantly it refers to a state where the heart is spiritually healthy and content with only God. A Sound Heart’s basis is goodness, rooted in love. In this case, it is the love for one’s creator. The album also acts as a tribute to fallen heroes, paying respect to the greatness that has come before, casting new light via cross-cultural collaboration and improvisation.

Throughout this incredible journey, meditative ragas blend with Herbie Hancock-esque motifs, joined by lament-filled contemporary melodies intertwining with the intricate sounds of the sarangi and earthy layering of the tabla. A true masterpiece of composition from start to finish.

Gemeinsame Auftritte mit weltbekannten Gitarristen wie Jon Gomm, Joscho Stephan oder Peter Finger, sowie Engagements als Live-Bassistin bei Alli Neumann oder der Band AnnenMayKantereit. Mit letzterer spielt Chassée bis heute in ausverkauften Hallen in Deutschland, Österreich und der Schweiz und veröffentlicht ihr 4. Studioalbum auf Roof Music!

'Attachment Theory' (VÖ: 06.09.24 via ROOF Records) ist das neue Album von Sophie Chassée. Insgesamt zehn Songs, die Herzensbrüche und kaputte Beziehungen verhandeln, als gäbe es da tatsächlich eine Theorie, eine Formel, um diesen verdammten Schmerz erträglicher zu machen. Und wenn es sie gibt, dann, das macht 'Attachment Theory' klar, muss diese Formel lauten: Gezupfte Gitarren a la Ben Howard, Tracy Chapman oder Andy McKee addiert mit einem wunderbar zarten, warmen Colbie-Caillat-Gesang und multipliziert mit großen Folk-Popmomenten, wie man sie noch aus frühen Taylor Swift-Songs kennt. Dazu Lyrics, die so klar alles 'Toxische' zurück in die Dunkelheit der Nacht singen, dass da nur noch Licht bleibt, etwa in 'What Fathers Do: Your words don’t met your actions/ You never heard of self reflection'. Mit 'Attachment Theory' erscheint nun bereits das vierte Studioalbum der Singer-Songwriterin. Da sind viele Genres, mit denen man Chassées Musik zu beschreiben versuchen könnte: Modern Fingerstyle, Folk oder Acoustic Pop. Vielleicht reicht es aber auch, diese Songs als das zu benennen, was sie sind: Große, ehrliche, tiefe Lieder. Solche, die die Landschaft vorbeiziehen lassen, Pflaster über die Wunden auf der Seele kleben – und die Hoffnung ein bisschen heller leuchten lassen.

Following last year’s Cyber Sunshine single and Vantage Point EP, plus the former’s expansion into a Deluxe Remix Pack EP just this Spring, trusty Dutch trance traders Match Box are miraculously back with their fourth consecutive glistening Goddezz release. This time, it’s a double offering whose boundless celestial charm again centres around the star we owe it all to: think of High En3rgy as the sunset daydream and Clint’s remix the sunrise epiphany.

Spanning 8 minutes and 7 seconds that slip by all too soon, High En3rgy is a lucent, dreamlike journey not easily forgotten. Layering a faintly melancholic and hauntingly simple melody over a nonetheless pulsating bassline, it accomplishes something rare: an emotive marrying of the wistful and the rousing. The effect is a plucky, heartening sound that walks a tightrope between nostalgic reflection and enduring anticipation. It’s delicate yet driving - the gorgeous sonic expression of a sunset daydream that could leave you leaning either way.

Whether you emerge from that musing trance with a lump in your throat or a fire in your belly, Clint’s remix is the impossibly ideal next step. Faithfully refracting its originator’s sound whilst instantly supercharging the mood from spirited to high-spirited, its giddy rhythm and buoyant-turned-bouncy beat inject pure, immediate, perhaps emergency enlivenment. It’s more than fun, playful or invigorating: it’s irresistibly, heroically stirring - and once its sunrise synths come scorching over the horizon, you’re passing through gleeful exhilaration into sublime elation, with no hope of holding back any tears.

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

WWM012 is Brenko's long-awaited release, a mini album that takes you on a musical journey through various emotions and soundscapes.

The project maintains a consistent feel, making it a cohesive work of art.
Brenko showcases a great talent for blending electronic and ambient elements, creating an album that’s both innovative and deeply engaging.

The album opens with "Alpha Wave," pulling you into a hypnotic electronic vibe with its pulsing rhythm and layered sound waves, creating a calming, introspective sonic landscape. This sets the tone for the whole release, offering a deep, meditative listening experience.

The next track, "Lisolia's Voice" introduces a more structured and dynamic melody. Here, Brenko plays with complex rhythms and diverse sound textures, striking a balance between energy and melody. The smooth transitions and use of synthesizers evoke a sense of journey and discovery.

"The Sky Vanished" takes the album to a darker, more intense place. The aggressive beats and distorted sounds create a stark contrast with the earlier tracks, exploring themes of tension and release while maintaining a constant energy that keeps you hooked.

With " Subconscious Activity" the album shifts back to a reflective tone. This track features a slower rhythm and ambient sounds that float freely in space. The skillful use of sound effects and pauses creates a sense of depth and mystery, inviting full immersion in the music.

" Beginner's Luck" changes the pace significantly with its mix of precise percussion and enveloping melodies, making it more dancefloor-friendly while still fitting the album's overall vibe.

"Sirius" experiments with organic sounds and vocal samples, adding a human dimension to the album by blending elements of concrete music with electronics.

The album concludes with "I Stayed Motionless In Air" a track that captures the project's essence perfectly. The ambient sounds and ethereal melodies create a peaceful and conclusive atmosphere, inviting reflection on the journey you've just experienced.

Alliyah Enyo’s genius 2022 ‘Echo's Disintegration’ album infused William Basinski's "Disintegration Loops" with choral smoke, and she now returns with an even more immersive followup alongside ambient enigma and Kelela producer Florian T M Zeisig, making heady and translucent loop-finding vocal soundscapes.

In 2022, Enyo worked with the Edinburgh Sculpture Workshop on an epic two-hour composition made from tape loops inspired by selkies, mythical creatures in Celtic folklore. Contemplating memory, grief and time itself, Enyo devised a "sonorous myth" installation and performance that drowned her voice in the deep sea, using echo to help parallel the communication of humpback whales. It was powerful enough for her to net the award for Sonic Arts at the Scottish Awards for New Music last year, and it's this material that she revisits here, entering into a dialog with Berlin-based producer Florian T M Zeisig, here adopting a new avatar - Angel R.

On the A-side, Enyo distills two hours of the original composition into 11 haunted fragments that ooze in and out of each other like a dream. Reworked at Glasgow's Green Door studio, she sculpts her voice into weightless Radigue-style incantations, leaning into the tape loops' corroded inconsistencies. Enyo's voice becomes the selkie's song: wordless echoes that sound as if they're being dragged slowly towards the sea bed. There are remnants of folk forms in there; we hear traces of church music and Celtic ballads - but she obscures her influences with dubbed reverb, distortion and repetition. Phrases disappear and re-appear, time becomes a loop, best absorbed in a single sitting to properly perceive its graceful, sinking bliss. By the end of the side, Enyo’s vocals are completely waterlogged, dimmed against Robin Guthrie-like shimmers, all brassy, blurred incantations emanating from the depths of a floatation tank.

Florian T M Zeisig responds on the B-side with three flooded, longer-form pieces that will appeal to anyone who devoured his album of corroded Enya loops a couple of years ago. Enyo's voice is now reduced to a whisper, blistered and gauzy expressions that float over dense pads on 'Untitled I' before getting lost in the weeds completely on the muggy 'Untitled II'. On the closing 'Gates of Heaven', he sculpts Enyo's voice until it's just an illusory, hypnotic reflection, slow-fading into the aether.

Calm's superb Before album is the gift that keeps on giving as Hell Yeah serves up a collection of the best remixes from it. Willie Graff, Gallo and Aura Safari all step up on a fresh 12" that lands this summer.

Before arrived on double vinyl in 2022 after a CD-only release in Japan in 2021. Since then it has become a Balearic mainstay and go-to record for lovers of lavish downtempo sounds. Now, remixes of three tracks from it all appear on this one record with Ibirican-American Willie Graff going first. He is a deep house don who has held several key residencies around the world while dropping his sublime sounds on the likes of Leng, Music For Dreams and many more. His remix of 'I Love You' is a gloriously horizontal one with blissful piano keys rippling over the bubbly drums and bass. Yearning reed melodies add an emotional romantic edge to make this a standout in any setting. Then comes Gallo, the Balearic Gabba Sound System member and resident at Berlin Balearic nightspot Buena Onda. His 'Tropical Hinterhof' remix of 'I Love You' is expertly exotic and soothing as mellifluous keys rain down over a groove as smooth as silk. It's a heart-achingly beautiful sound that will make for truly special moments on the dance floor.

Italian collective Aura Safari then offers two different remixes. They are master musicians who have served up a superb double album Islands Dreams here in late 2023 where they showcased their escapist blend of dub, jazz, Afro-cosmic, Balearica and boogie. First up, 'Feel It' (Aura Safari Desert mix) is six minutes of oriental melody over loose drums. There's a playful feel to the dancing piano keys and richness in the percussion that makes this one a sophisticated sound for both early evening warm-ups or moments of late-night reflection. 'Kunpoo' (Aura Safari Daydream mix) has a nineties feel with its gentle breaks, hypnotic string loops, and sustained chords. They break over you in gentle rays of earth and euphoria to ensure utterly blissed-out results.

These four versions all bring sophisticated dance floor energy to the timeless originals.

PYJÆN is the reflection of 5 souls. Their joy, their happiness, their worries and experiences come together in one unified higher identity. PYJÆN’s story will be expressed not only musically but also with other visual arts.

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Consisting of guitarist Dani Diodato, trumpeter Dylan Jones, saxophonist Ben Vize, drummer Charlie Hutchinson and bass player Benjamin Crane, PYJÆN have been touring in the UK this year with dates at iconic venues such as the Jazz Cafe, Vortex Jazz Club and Ronnie Scott’s as well as playing Glastonbury, Love Supreme and Brainchild Festival.

Described by Jazz Wise Review as having “a groove propelled with dynamism and formidable technique”, PYJÆN seamlessly meld funk, afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music.

Their debut self-titled album ‘PYJÆN’ was released on 20th September 2019, both digitally and physically with 300 limited copies of Vinyl being distributed across selected UK record stores, as well as Bandcamp.
The album will also be supported by a graphic novel, which will tell the story of PYJÆN and the influences and stories behind the songs.

Having established himself as one of the most energetic and exciting Jazz musicians within the already thriving worldwide scene, New Zealand born, London based Drummer & Producer Myele Manzanza has made a major impact upon the global music landscape.

 A founding member of Electric Wire Hustle, Myele has released five solo albums, and racked up tours and collaborations with Jordan Rakei, Theo Parrish, Miguel Atwood-Ferguson, Recloose and Amp Fiddler amongst others . Myele has developed a strong live presence in his new London base; his quartet has shared stages with the likes of Hiatus Kaiyote, The Bad Plus, Alfa Mist, and drawing packed houses to top venues such as The Jazz Café and Ronnie Scott’s. Last year, the first two instalments of his 'Crisis & Opportunity’ record series saw him garner praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Huey Morgan, The Guardian, Complex, Jazz FM, Lefto, Worldwide FM, Jazzwise and more.

Following the release of his last offering, a chance conversation between Myele and a young Barista at a local coffee shop occurred - their topic (centred around the trials and tribulations of following your musical passions) sent Myele down a spiralling path of internal reflection, spawning a new lease of creative energy and examination of new ways to approach his craft. The third addition to the heralded series, ‘Crisis & Opportunity Vol.3 - Unfold’ sees Myele change his approach from drummer / improviser, altering his sonic output to a more electronic dance music output, opting for a more producer / beatmaker focussed role. Sharing production duties with Lewis Moody (Zeitgeist Freedom Energy Exchange) and taking a more producer / beatmaker focussed role. His initial instinct was to create music that could be played in a club, but also incorporate elements music of the Jazz and technical musicianship he’s renown for.

Articulating his thoughts on the record’s genesis, Myele explains: ‘‘As the process developed, I was also drawing a lot of inspiration from vocal driven soul, RnB and songwriter-driven music to a point where I had lit a new creative fire. Reconsidering the direction of the album, I was left with the creative question “What broader ranges of emotion might my music be able to access, and what kinds of art could be made possible if I were to open up my music to hold space for singers and for stories?”

First single ‘Silencing The Sun’ features the vocal talents of fast-rising fellow Kiwi artist Wallace, whose spectral tones glide gracefully over the pulsating rhythm section and twinkling keys. On second single ’Therapy’ UK Soul royalty Omar weaves his trademark magic over a solid 4/4 beat, soulful key stabs and lush synths, bottling lightning into dancefloor alchemy. Final single ‘Unfold’ sees Rachel Fraser deliver a delicate and introspective vocal performance over stripped back instrumentation as cold, angular electronics juxtapose the warmth of piano keys and sweeping strings. With a wealth of additional incredible talent (such as China Moses and Rosie Frater Taylor) enlisted to further compliment the record’s grainy synth textures, emotive chord changes, driving low end sonics and expressive percussion, the scene is set for a beautiful, shifting and engaging listening experience.