Buscar:search 7

Having taken their name from a line in Hooray For Hollywood – inspired by the song’s jarring use in Robert Altman’s Philip Marlowe detective movie The Long Goodbye – there is an aptly cinematic quality to Any Young Mechanic’s music.
With intricate scenes, enthralling narratives and unique characters cropping up across the lyrics, and a kaleidoscopic yet coherently interwoven spectrum of moods and emotions stretching through the music, the Adelaide five-piece bring a fresh language to folk music’s natural propensity to spin a good yarn.
So rather than offering borrowed references illuminated by the cosy flickers of campfire flames, on their debut album The Modern Shoe Is Ruining The Foot, the Australian band’s urgent songs conjure up vivid, widescreen vistas that blend the genre’s enduring charms with a musical dexterity and sharp vision reaching beyond folk’s usual corners.
“We are trying to make folk music for now,” suggests frontman Sam Wilson. “Turning it on its head in a new, sometimes uncanny way, because we don't want to just do the old thing again. I don't think it’s interesting to make things again, so we’re searching for a contemporary edge.”
The roots of this original yet inclusive approach, in part, go back to the Adelaide music scene that helped to forge Any Young Mechanic.

On Air is the second solo release by Alan Parsons following the split of The Alan Parsons Project. One of the creative forces was APP long-time guitarist Ian Bairnson. The concept of the album revolves around the history of airborne exploration.

The theme of “Too Close to the Sun” is escaping the labyrinth of the Minotaur. “Brother Up In Heaven” is an emotionally driven song, about the unfortunate death of Ian Bairnson’s cousin. “One Day To Fly” is a song about Leonardo da Vinci’s search to design a flying machine.

A who’s-who of lead vocalists are featured on this album; Christopher Cross, Eric Stewart, Neil Lockwood, Steve Overland and Graham Dye. The amazing looking artwork was recreated for this vinyl edition by none other than Peter Curzon of Storm Studios. Although On Air might be the most underrated Alan Parsons albums, many consider this as one of his best albums. The package includes an insert with lyrics and pictures.

Our director, Joe Stephenson, was looking for a bold, gothic, and dramatic score mixing traditional Hammer Films tropes with a modern sensibility.

Much like Jekyll and Hyde, this is a score of two parts, recorded with two different orchestras - the Budapest Art Orchestra and The Royal Scottish National Orchestra.
This helped to emphasise the split personality of the score: switching from sparse, haunting horror to the operatic gothic explosions we hear towards the end of the film.

A 30-person choir helped achieve a sense of scale where needed, and Hyde’s textural effects are performed on a variety of rare archaic instruments such as the Viola Da Gamba and Stroh Violin which help to evoke the sense of an ancient evil.

With a gorgeous smoky coloured vinyl, and Sean Longmore’s stunning bespoke artwork, this is a limited release that I’m eagerly awaiting to display on my own shelf.
The future of Hammer Films is bright, and I’m thrilled that fans can celebrate its rebirth with a score that honours the past while eagerly stepping into a new era." - Blair Mowat

Drawing from her constant searching for her own unique sound she filters her love of rhythm and groove through her Nordic sensibility to create an accessible, compelling blend of excitement and introspection. Growing up on the island of Saaremaa in her native Estonia, Britta Virves was a keen piano student playing a strictly classical repertoire. A chance encounter introduced her to jazz: "I wanted to learn guitar. So I went to my teacher Tit Paulus, and he told me to stay with piano, and introduced me to Keith Jarrett, Herbie Hancock, Bill Evans - my mind was blown - a new world opened up." Britta immersed herself in the music and her talent soon attracted attention.

Moving to Sweden to further her studies, she was soon touring Europe with the acclaimed Norrbotten Big Band, under the direction of Joakim Milder, working closely with featured guest vocalist Genevieve Artadi and accompanying Artadi on a duo tour opening for Louis Cole. Each tune on the album draws inspiration from an aspect of Britta's own life. "Simple Things" has the directness of a pop song married to the depth of jazz, as Genevieve Artadi's ethereal vocals float over an insistent backbeat that supports limpid depths of harmony.Other tracks include "Bravery", whoch showcases the subtlety and dynamic control of the rhythm team and is one of Britta's favorite tracks on the album - "I feel it's like a big waterfall that's rushing down and making its path just by flowing naturally." By contrast, "Chances" plays with a neatly delivered set of accents that tie the roots effortlessly

Wild by nature, the Does of the Florian Pellissier Quintet could never be contained in a creative pen that would have forced them never to cross potential geographical limits. Travelers, spending their energy without restraint to let the hard bop of their jazz wander and export itself wherever the groove guided them, they went as far as Africa or South America, from the Cape of Good Hope to Rio. Rio, precisely where, for their last appearance, exposure to a brief electric current had carried them into outer space. A revelation.


Furious strides, exhausting gambols, the Does had done so much that they could not escape the obvious call of calm and serenity. Freed from distances, and after a stop in Colombia to mingle with the crowd at the Barranquilla carnival, it was California and its Pacific coast they reached, to rest before the peaceful immensity of the ocean.


One hundred sixty-five million square kilometers, an infinite expanse to contemplate in order to fling wide open the gates to an even vaster space. A spiritual domain conducive to the search for new sounds. That of the open sea, where measuring miles is neither relevant nor meaningful, and where the only compass becomes the musical tracks the Does follow.


Beneath their coppery hooves, to the crystalline sound of the Fender Rhodes and the sweep of electric layers, the path to take revealed itself in this meditative and abstract realm they had never before explored. Invited to join the purely organic textures, the synthetic notes distilled a few aromas of sweetness into an album of ten tracks, where the FPQ abandoned written scores on some pieces in order to be guided only by the inspiration born of a newfound freedom.


Blue when they began their journey five albums ago, their coat has now taken on the colors that illuminate the Pacific coast. That moment when, as you gaze at the horizon swallowing the sun, only glowing shades filter through—reddish, orange, violet.


Departing without haste or frenzy from one of the shores bordering the ocean, the voices of Archie Shepp, Iggy Pop, and DjeuhDjoah still resonating in their antlers, the Does may now be on the opposite shore. Carried all the way to the Japanese coast by Hokusai’s wave…

Die Cut Sleeve with download. It’s a strange betweenworld, bookended by sleep and the jolt of being wide awake in a place where you wonder how you got there. You know the feeling… It seems familiar but the colours are, well, unreal. In a high-ceilinged room, a grand piano plays lush melodies as, meanwhile, somewhere, an Alice In Wonderland clock ticks, cellos are bowed, a swarm of something vibrates and the hallucinatory crowd around Rosemary’s Baby babble. An echoey electronic hum builds and falls like a 50s refrigerator passed through and effects board, things run backwards, staccato strings are plucked… and that’s not the half of it. “I’ve never been happy staying in one particular school of musical thought. The fun has been turning things on their heads, to try something you were not supposed to do.” We’re on an immersive and adventurous travelogue with the former member of the legendary Tangerine Dream, Paul Haslinger - this is a man who knows how to build tension, hold moods, illustrate contempt, lies, passion and pleasure; He can create fear, loathing and love - he’s been unlocking the nuances of such emotions in a hugely successful career as a TV and film soundtrack composer (Halt And Catch Fire, Underworld and the Golden Globe-nominated Sleeper Cell). ‘Exit Ghost’ is his long thought out opus, a moment caught in time, flicking through reference points, taking an ethereal excursion that permeates musical genres as it becomes awash with intricate sounds and cross-pollinating rhythms. Built originally from the warmth of his grand piano ‘Exit Ghost’ resonates with purity and power, from an eerie and evocative betweenworld, that’s at once expansive and rolling, then intoxicating and suffocating in equal measures; modern composition at its most uplifting; cerebral, celebratory, intense and beautiful. “The soul searching in connection with this record was extensive. Finding places of resonance, giving a colour to your memories. It was more challenging because it’s not somebody else’s narrative. Finding the core of your own story can be the most difficult task of all.” Created over the span of eight years and filled with literal and personal references, the album itself is a testament to the search - a quest filled with hints, particles and suggestions.

The re-release of 'Flamma Flamma' by the Intuition Music labe was to mark the 30th anniversary and featured a remastered and re- edited version of the original album released worldwide in 1994. It's appearing for the first time on double vinyl, as well as on CD. The composer himself supervised the remastering and re-editing. After its initial release on CD in 1994, 'Flamma Flamma' climbed numerous international charts and quickly developed from an insider tip to a major bestseller and has been compared with Orff's'Carmina Burana'. The gothic world - both romantic gothic and trash gothic - also embraced the work during long 'Flamma Flamma theme weekends' in castles across Europe.

Nicholas Lens began his trilogy 'The Accacha Chronicles' (Flamma Flamma / Terra Terra / Amor Aeternus) with the first part, 'Flamma Flamma', as a search for harmony between the contradictory elements in nature and human nature. The fusion of nonEuropean musical cultures with Western classical music has been described and appreciated as highly unique. Finally, unlike almost every other requiem, 'Flamma Flamma' not only deals with grief and pain, but also presents death as anatural part of the cosmic life process.

Acclaimed Scottish composer Craig Armstrong releases his new work Pacific via his own label CMA Records. Written for piano, cello, and electronics, the three-movement piece was originally commissioned in December 2024 by Christian Kellersman, a pioneering figure in contemporary classical and jazz music, for his new live event series Berlin Confidential, co-curated with Alexander Szlovák. The series aims to promote innovative new music projects, with a particular focus on emerging musicians and composers.

Armstrong was among the first artists invited to perform as part of Berlin Confidential, premiering Pacific at Berlin’s historic Meistersaal concert hall in March 2025. The concert featured Armstrong on piano alongside cellist Lena Angelina von Almen and producer and musician Guy Sternberg, combining acoustic instruments with live electro-acoustic treatments to create a rich and atmospheric sound world.

Recorded in May 2025 at Lowswing Studios in Kreuzberg, Pacific continues Armstrong’s ongoing exploration of blending acoustic and electronic sound in a natural, seamless way. Over several days in the studio, Armstrong, von Almen and Sternberg developed the work’s intricate textures and dynamic interplay, resulting in a recording that captures both the intimacy and expansiveness of the original live performance.

Speaking about the inspiration behind the piece, Armstrong says: “I wrote this work during a time of great instability in the world, I wrote “Pacific” as an Elegy dedicated to the many suffering in today’s conflicts and in the hope that peace will prevail.”

Across its three movements, Pacific 1 is elegiac in nature, with the main themes stated and developed throughout the piece, punctuated by recurring piano motifs. The movement is reflective and atmospheric, with subtle electronic interventions. The second movement is arrhythmic in nature, following shifting time signatures that reflect a sense of uncertainty - the music is searching and static, ending without resolution but leaving hope for one to come. Pacific 3 moves towards peace and resolution, bringing the work to a close with quiet strength and emotional release.

When speaking about the creative process and his collaborators, Armstrong said: “Lena’s beautiful playing , tone and expression worked so beautifully on Pacific, Lena was also a great collaborator and was always willing to experiment and try new musical approaches. Lena is such a natural musician and she brought so much emotion and beauty to the piece. I wish her all the best in her future musical journey.”

He continues: Guy is a unique combination of being a brilliant engineer and mixer and a prolific very talented musician/composer. I was very fortunate to spend time with Guy in his studio in Berlin. His sensitivity to the project and his electronic programming made a wonderful contribution to the composition. His collaboration and friendship made the days working in Berlin such a great experience I would like to thank Emma Ford for her dedication, enthusiasm and guidance on Pacific”

For both von Almen and Sternberg, the collaboration was equally meaningful. Von Almen reflects on the experience of recording the piece, saying: “As a musician, it is always a great privilege to work on a piece together with the composer, and of course I felt even luckier to go through the process of creating something new with an artist like Craig Armstrong. Figuratively speaking, it felt like knitting a silk scarf: using the finest materials and taking the utmost care during the recording, we have realised another beautiful and touching work by Craig, which will bring us and certainly many others great joy. I feel very honoured to have been part of this and to have experienced this warm encounter.”

Sternberg adds: “Diving into Armstrong’s music while working on this record felt like examining a diamond under a microscope, discovering endless beauty within simplicity. Perfection and complexity emerging from simplicity, where every note, tone, noise, and gesture has meaning. I’m deeply grateful to have been part of this process, and for the freedom Craig gave me to express myself through his music, to let our sonic visions merge into one. It’s been both a lesson in music-making and in setting the ego aside, if only for a moment.”

Reflecting Armstrong’s belief in the role of music as a force for empathy and reflection, proceeds from Pacific will be donated to charities working towards peace: Médecins Sans Frontières and the Red Cross.

The limited-edition vinyl release has been pressed on Eco Vinyl at SeaBass Vinyl, a sustainable plant near Edinburgh. The record features striking cover art by Dirk Rudolph, who has designed several of Armstrong’s previous releases.

DJ support: Chris Stussy, Prunk, M-high

Legendary Dutch artist Michel de Hey makes his debut at PIV with an oustanding EP. Two hit originals and two massive remixes from underground maestro S.A.M. and upcoming Dutch House talent Marijn Jansen. A complete package perfect for warm up, peak time or late hour action.

Previously we’ve mentioned influences from the 1970s self-reflective work of Nick Drake & John Martyn to the lovelorn tragedy of troubadours such as Elliott Smith and Jeff Buckley creating a fusion of 1960s/70s folk and blues.

Now Cardiff-based indie folk singer-songwriter Ivan Moult returns with his most personal work to date, Stood Out In The Storm, due to be released on November 7th through Bubblewrap (home to The Gentle Good). The album follows the acclaimed Songs From Severn Grove (2023), which drew praise for its warmth, intricacy and timeless songwriting, cementing Ivan’s reputation as one of Wales’ most compelling contemporary voices.

While Songs From Severn Grove captured moments of renewal and joy - written in lockdown and
during the early days of fatherhood - its follow-up takes a braver, more vulnerable step. Stood Out
In The Storm was written in the aftermath of a personal crisis and charts Ivan’s gradual process of
healing and recovery. The record traverses darkness and light, despair and resilience, offering a
deeply honest exploration of fragility, survival and hope.

Ivan’s signature sound remains at the core: a seamless blend of 1960s/70s folk and blues infused
with modern textures, drawing influence from John Martyn, the late great Terry Reid and Ry
Cooder. On Stood Out In The Storm, that familiar intimacy is expanded with a greater presence
of guitars and organs, adding new depth and urgency to the sound. As with his previous records,
Ivan wrote, played, recorded and mixed the album at his Cardiff home studio, and the record sits
as a companion piece to Songs From Severn Grove.

Over the years, Ivan has gained support from BBC Radio 6 Music, BBC Radio Wales and KLOF
(Formerly Folk Radio UK), earned festival slots at Cornbury Festival, Festival of Voice and Sŵn,
and shared stages with the likes of This Is The Kit, Becca Mancari and Willy Mason. Now, with
Stood Out In The Storm (out November 7th), he offers his most powerful and affecting work yet –
an album born of struggle, but defined by resilience.

“Exquisite”- Folk Radio UK 

“Beautiful” - Huw Stephens, BBC Radio

“Utterly wonderful” - Adam Walton, BBC Radio Wales

”There is a wonderful delicateness that resonates through Ivan’s heartfelt lyrics, deamy music and vocals. Ivan is able to take listeners on their own journey of growth through his soft melodies and blissful atmosphere”
- Amplify The Noise

Karen Willems is a Belgian drummer/percussionist active in various fields. Started as a drummer in rock and pop bands. With a number of musicians she built up a tradition within improvised music and sound art. Since 2020, with ‘TERRE SOL’ Willems is searching for personal modifications within her play of instruments and objects, with the focus on solo work and compositions.

"When I make music, there’s no plan. I draw my inspiration from everyday life. Small encounters, people, and the greatest source, of course, is nature. There we find all the beauty, all the sounds we need. With my solo work I try to stay far away from my familiar drum set. Only then I can create a special universe. Eccentricity and playfulness go hand in hand with exercises in tension and release, and calls for connection in antisocial times. It's difficult in this world obsessed with productivity and results, and you really have to be crazy to release music these days. So ‘A Fool’s Guide to Reality’ is a fitting title." Karen Willems

All music performed by Karen Willems using citer, casio, fieldrecordings, tambourin, mikado, xylophon, pots, bells, kindergarten instruments, snare, noisebox, crispy shakers, synths, effects...

Something is brewing in the state of Norway! Kronstad 23 are the latest trailblazers from northern Scandinavia: a creative force exploring the boundaries of musical genres, including but not limited to: psych rock, jazz, post-rock & scandinavian folk music. The group of young players follows the footsteps of Motorpsycho, Elephant9 & El Paraiso’s own Lotus, Fra Det Onde & Kanaan, carving out their path through the musical landscape in seemingly effortless ways! One minute you’re floating on cosmic Pharoah Sanders waters, the next you’re ascending on electrified if-Tortoise-played-Allman Brothers-style jamming.


The band describes their approach as: “Sommermørket is an escape from inhumane technology and politics in search of something that feels authentic. The music breathes in the little that is left of old air and rises slowly into the hazy summer twilight like brittle thoughts that try to connect and fade away.”


Kronstad 23 was formed in Kronstad, Bergen, Norway in the Autumn of 2023. As old friends and musical collaborators, they rekindled a creative spark that had been dormant for over 10 years. Rarely rehearsed and often caught on first take, Sommermørket was recorded live on tape in the studio of Keyboardist Øyvind Vie Berg in Bergen, Norway. The record captures three sessions across one year, from spring and late summer in 2024 to winter of 2025.

Embrace The Abandon is the new project by THE MON, the solo vision of Urlo, vocalist, bassist, and founding member of the Italian heavy-psych veterans Ufomammut.

Structured in two complementary chapters — Songs of Abandon (November 7th, 2025) and Songs of Embrace (March 6th, 2026) — the project tells a journey of duality: loss and surrender on one side, acceptance and rebirth on the other.
The first chapter, Songs of Abandon, is perhaps the most intimate and vulnerable work Urlo has ever created.
Born in a moment of solitude and personal darkness, the album originated from a radical exercise: writing one song a day, for nine consecutive days, using only acoustic guitar and voice.
A collection of stripped-down, emotionally raw ballads. Rooted in acoustic textures and intimate songwriting, these songs explore loss, vulnerability, and the quiet spaces left behind — a personal exorcism of what could have been but never was.
Later, these sketches were shaped into fully realized tracks, with lyrics and subtle layers of sound — not to overwhelm, but to underline the fragile, raw atmosphere that pervades them. The result is a stripped-down, emotionally charged collection that embodies an inner search: the power of music as a tool to face abandonment, to dig into oneself, and ultimately to glimpse the possibility of an embrace.
With Embrace The Abandon, THE MON reaffirms itself as one of the most personal and uncompromising projects.
It is a body of work that fuses vulnerability and strength, speaking directly to the listener with sincerity, leading them through shadow towards light.
An intimate yet powerful sound experience, intertwining the minimalism of acoustic folk with the dark, visionary tension that has always defined Urlo’s artistic path.

Acclaimed experimental hip-hop artists Pink Siifu and Turich Benjy are thrilled to announce the release of a limited edition vinyl of their groundbreaking 2023 collaborative album, IT’S TOO QUIET..’!!. This exclusive pressing includes six previously unreleased bonus tracks, offering fans an expanded auditory journey through the duo's innovative soundscape.

Originally released on October 31, 2023, IT’S TOO QUIET..’!! was lauded for its genre-defying fusion of underground hip-hop, alternative trap, and electronic influences. The album showcases Pink Siifu's visionary artistry and Turich Benjy's dynamic versatility, creating a sonic experience that is both immersive and boundary-pushing. The project fea-tures collaborations with notable artists such as Nick Hakim, WiFiGawd, Vayda, Lance Skiiiwalker, and Kamilah, among others.

Critics praised the album's eclectic production and cohesive vision. HipHopDX noted that "IT’S TOO QUIET..’!! is a grab bag of deliriously joyful rap songs that span all sorts of popular subgenres," highlighting the album's ability to blend diverse musical elements seamlessly. In Search of Media commended the album's high energy and eclectic sound, stating that it "combines both their skills as emcees poignantly."

In addition to the original 17 tracks, this special release includes six unreleased bonus tracks, providing listeners with new material that delves deeper into the duo's creative synergy. All packaged in a beautiful 2LP vinyl in gatefold sleeve — don't miss out!





[d] A4. lookin..’!![gorgeous] featuring WifiGawd, Vayda produced by Tony Seltzer, iiye

In 1964, Martin Denny looked beyond the Hawaiian and Asian influences of his previous records to find another place to plant his umbrella in the sand, as well as in your drink: the sounds of Latin America. With this new sound to hang his exciting arrangements on, Latin Village has long been considered one of Denny's high-water marks, and Jackpot is thrilled to have this long-cherished LP back in print. This is an album that rips through what was considered "The Now Sound From Overseas," a sophisticated mash-up of sambas, bossa novas, and Latin jazz. From the first track, "Angelito" (the hit song written by Réne y Réne, later to also be covered by Trini Lopez & Herb Albert), all the way through to its closer, "Flying Down To Rio" (a song which Roxy Music later referenced in their 1972 song "Virginia Plain”), the album is a hypnotic listen. Latin Village also drops in some serious jazz numbers, with respected compositions such as "On Green Dolphin Street" by Kaper & Washington (which has been covered by Miles Davis, Bill Evans & Sarah Vaughn), "Malagueña" the sixth movement in Ernesto Lecona's Suite Andalucía & "Corcovado" by Antônio Carlos Jobim (who merged samba with jazz to create bossa nova). Latin Village is comforting in its familiarity within Denny's sonic world, but steps refreshingly out of the smoke-filled Tiki bars of his previous records and straight into the sunlight where this music still strolls around in a listener's heart, soul, and mind. “Latin Village is a triumph of Martin Denny’s search for a new style, post-exotica.” – ALLMUSIC, 4 stars.

Wahnsinnig authentischer 90er-Jahre-Vaporware-Jazz, kreiert für den Weather Channel von Paul Coleman, einem Chicagoer Bandleader der 60er und 70er Jahre der Bands Fabulous Epics, Rasputin's Stash und Crystal Winds. Es existieren nur 500 Exemplare auf Cloud Coloured Vinyl weltweit.

""Ein Manager des Weather Channel war mit Corky Browns Tochter unterwegs und versprach mir eine Menge Geld, wenn ich Originalmaterial schreiben und dem Weather Channel vorlegen würde. Ich schaltete sofort in Superman-Modus und begann, jeden Tag einen Song zu schreiben und zu programmieren. Ich arbeitete Tag und Nacht daran, diese Songs so schnell wie möglich zu kreieren. Sie wurden ein paar Mal gespielt, bevor der Weather Channel aufgekauft wurde. Aber wir wurden nie bezahlt."" – Paul Coleman 2025

Crate digger and music enthusiast James Endeacott compiles ‘Unlock Your Mind With Morning Glory’ for Two-Piers Records – A glorious heady mix of the weird and wonderful eclectic music from his radio show ‘Morning Glory’

“One weekday afternoon towards the end of 2017 I sat in The Lyric pub on Great Windmill Street, Soho with my dear friend Raf. I’d just finished another of my weekly Soho Radio shows and was starting to think about the next one. Raf had been on as a guest playing some of his favourite tunes of the day. We had a few drinks, told a few stories and started to plot and scheme. It was always a dream of mine to have a daily radio show. Radio had always informed and excited me from my early teens listening to John Peel under the blanket when I should’ve been either sleeping or revising right up to the present-day musical excursions of NTS, WFMU and numerous internet based stations.

We decided to speak to Adrian and Dan who ran Soho Radio to see if they’d be up for us doing a daily morning show. To our surprise they were into the idea and within 5 minutes Adrain came up with the name Morning Glory. We all liked it. We were all excited. It was all systems go. In December 2017 Raf and myself started a daily 2 hour show. We did the show together, got guests in and the musical policy was whatever we felt like that day. After several months Raf found the mornings too much. Off he went into the distance occasionally coming back with a smile, and a bag of new music. I carried on alone and then suddenly in March 2020 the world stopped, and we went into lockdown.

We set up in my house in Catford, Southeast London and carried on. The show became 3 hours a day and I started to invite friends, record labels, record shops, bands etc.. to supply me with hour long mixes that I played every day. The show took off during this time. My musical tastes expanded as I spent all day long searching for new sounds from around the globe. People started to send me more and more music. I became obsessed with the show. The audience started to take to social media and ask for certain tracks or artists to be played. I got listeners to make me mixes to play on the show and I did several phone interviews with musicians while playing some of their favourite tunes.

I was grateful that Soho Radio left me to my own devices. They never told me what to do or what to play – they trusted ma and I trusted my instincts.

The music on this compilation is not a ‘best of’ it’s just how I felt when I compiled it at the start of 2025. Apart from a couple of tracks they are all things I’ve come across since the show started in December 2017. If I did a list of tracks now I’m sure it would be completely different. Surely that’s the point. We never stick in one place. We are always moving and searching. Always trying to unlock our minds. Put it on. Take your time and let it take you somewhere” James Endeacott 2025

Uncharted musical terrains beyond jazz standards, precise and beautiful vocal arrangements, pop minimalism, Portuguese folk, R&B and playful loops. This is how we could define the first album “Un a Un”, by the Portuguese musician and singer based in Barcelona, Marta Garrett, which has been produced and multiinstrumented by Leo Aldrey and with the collaborations of guitarist Santi Careta and bassist Ramon Vagué. An album that tells us about the melancholic but hopeful search for a sense of belonging and the impulsive fight against fear and insecurity.

Many Amerindian cultures share the belief that the future lies behind us, while the past is what we face ahead. This challenge to Western chronology is, however, rooted in common sense: the open possibilities of what is to come are, in theory, what we cannot see—the uncertain—whereas the events that have already happened unfold before our eyes and are available for us to learn from.



This second album by Chilean producer, live performer, and DJ Valesuchi could be described as an experiment with time through music. Some years after relocating to Rio de Janeiro, she released Tragicomic LP (2019) on MAMBA rec—a label founded by the boundary-pushing Brazilian party Mamba Negra—and the self-released EP Cascada (2024). In both works, we can already appreciate her musical imprint: rhythmic and emotional timbral lines—wet, filtered, mathematical,

devotional, multilingual, fantastic, and unreal. However, in Futuro Cercano (Discos Nutabe, 2025), we can hear a leap: the sedimentation of her lived experiences in electronic communities across Latin America, her search for a universal yet personal language to convey emotion and new spiritual meaning, finds in this release a consistency and spontaneity that is rarely heard these days.



In a time when all cultural expression is not only expected to be taggable, but is also increasingly produced from templates that precondition our perception—favoring categorization and connections to works or scenes of the past—the tracks on this album are generically unclassifiable. They represent an openness to experiment without prejudice with electronic instruments and rhythms that are asancestral as they are futuristic. They publicly reveal an intimacy born from the compositional process, a bond formed through the encounter—sometimes tense, sometimes harmonious—between human will and that of the machines themselves. Or, as Valesuchi put it, "cyborging my friendship with the machine and becoming a tempest." Tempest as an eruption of the unknown into the present, the result of opening oneself to a nearly meditative state to uncover the deepest feelings through improvisation on cybernetic feedback and loops. And in that improvisation, to develop “técnicas para estirar o medir el tiempo”

“techniques to stretch or measure time” as she sings in 22, the album’s first track. “Connecting knowledges” as a portal to access that future so near it lies behind us, and to anticipate it as intuition and prospection.



That’s why Futuro Cercano is more than just electronic music: it is a technological ritual, an immersion into the secrets that machines hold as artifacts of human and non-human knowledge, as mysterious objects that allow us to connect with our own otherness—the personal alien hiding beneath the skin that opens us up to uncertainty as possibility rather than catastrophe.

Zum 30-jährigen Jubiläum des legendären HELP-Albums veröffentlicht War Child Records eine streng limitierte 7”-Box-Edition (nur 500 Exemplare, einzeln nummeriert, mit bislang unveröffentlichten Fotos).

Das 1995 in nur einem Tag aufgenommene und von Brian Eno gemischte Album gilt bis heute als bedeutendstes Charity-Album aller Zeiten. Es vereinte Größen wie Oasis, Blur, Radiohead, Massive Attack, Portishead, Neneh Cherry sowie das Superprojekt The Smokin’ Mojo Filters (Sir Paul McCartney, Paul Weller & Noel Gallagher).

Das Album entstand als Reaktion der Musikindustrie auf den Jugoslawienkrieg und brachte mehr als £1,25 Mio. für die Kinder in Bosnien ein.

Ein unverzichtbares Sammlerstück – Musikgeschichte und Charity vereint in einer einzigartigen Edition.

Conceptualized and written during the chaotic fall months of 2020, Hiss Golden Messenger’s O Come All Ye Faithful recorded shortly after the widely hailed Quietly Blowing It is a meditation on grace, loss, hope, and community. Explains songwriter M.C. Taylor, “Big, brash holiday music the type that we hear in big box stores in the middle of December has never resonated with me, and this past year it felt absolutely dissonant. I wanted to make a seasonal record that felt more in step with the way that I, and so many others, experience this time of year: quiet, contemplative, searching, and bittersweet.” Contributors to O Come All Ye Faithful include many members of Hiss Golden Messenger’s extended family, as well as special guests like GRAMMY Award winner Aoife O’Donovan, Nathaniel Rateliff, Erin Rae, and Buddy Miller. The tracklist includes new tunes written by Taylor, classic hymns, and renditions of songs by Spiritualized, Creedence Clearwater Revival, and Woody Guthrie, all arranged in the inimitable Hiss Golden Messenger style. Adorned with a beautifully spare design created by celebrated artist Cody Hudson. The deluxe vinyl version of O Come All Ye Faithful includes an additional collection of remixes by Revelators, Taylor’s spiritual jazz and dub-influenced project with Cameron Ralston.

Unearthing old gems, remastering and bringing them back to the forefront is what Private Parts are up to for release number 07 in the catalog. Original London Tech masters Rob Pearson & Dave Mothersole originally released Wanting You in the early 00’s, but with the extreme prices on Discogs it seemed like the right choice to get this re pressed for your pleasure.

Wanting you is everything you ever wanted from those timeless sounds of London Tech. Dubbed out vocals, tribal rhythms, pulsating acid lines and a groove to keep you locked right in.

Flipping to the B, and the biggest thank you to Rob himself for spending weeks searching old DAT tapes in his loft to find the original pre master of the driving remix from the late Iteration X. They don’t come more heads down, and hypnotic than this. Throbbing bass stabs, luscious chords and in true Iteration X style, a roller that you could keep you shaking for days on end.

It only seems fitting to dedicate this re issue to Simon Copleston, Mr Iteration X. Thank you for the music!

The album introduced a lush, complex dream world that the singer, composer, and producer created and inhabited largely on her own. She produced all the songs, and wrote and performed everything on the self-released collection outside of a re-imagined cover of Pink Floyd’s “Green is the Colour” and 2 other tracks (“The Time,” “Give It Back To You”), which started as instrumentals written by Survive’s Kyle Dixon (who composed the Stranger Things soundtrack with his bandmate Michael Stein), to which Ainsworth wrote melodies and added lyrics. Ainsworth, who’s relocated to Los Angeles from Toronto since 2017’s Darling of the Afterglow, explains that the collection revealed itself to her “as a play taking place in Mother Nature’s vanishing home,” aka Phantom Forest, and that she’s singing from 3 perspectives: herself, Mother Nature, and Greek Chorus. For instance, of the album’s opener, “Diamonds Cutting Diamonds,” she explains: “The Greek Chorus sets the scene, narrating and offering direction on how to enter Phantom Forest. It’s my hope that the listener will imagine the narration to be directed to them as well, as they begin the journey of the album.” You’ll get a sense of this from the collection’s edenic cover art and the playful, pastoral video for the album’s first single, “Can You Find Her Place.” Its inspiration came from Ainsworth’s love for Italian Renaissance painter Botticelli’s 15-century masterpiece “Primavera,” an allegorical representation of the burgeoning fertility of the earth in spring. She notes: “The video features the Greek gods of the painting in a choreographed Baroque style dance.” Keeping with the personal feel of the collection, her sister Abby Ainsworth directed the clip. In line with the classical and historical depths of Phantom Forest, Ainsworth, who holds a Masters Degree in film scoring composition from NYU and studied composition as an undergrad at McGill, notes that although the album might be considered pop, she approached it as an orchestrator. “Even if I’m dealing purely with synths,” she says, “The songs are like a score, each one an evolving journey. I love to use strings so I’ve included my string arrangements on ‘Tell Me I Exist’ and ‘Can You Find Her Place.’ I recorded live musicians on drums, bass, and guitar on ‘Edge of the Throne,’ ‘The Time,’ and ‘Floating Dream,’ and wove those live elements into my programmed elements.” Phantom Forest is a beautiful, vast collection that mixes the historical and the hands on, with hooks about the apocalypse and people obsessively using face-recognition software to see what paintings their face match with, in search of some kind of connection. It’s a journey that holds up to close listening (and lyric reading) and to dance floors, but that can also exist on a purely emotional plane. In all cases, it asks that you listen, and take some kind of action.

Der schwüle Ton von Eliana Glass ist nicht zu überhören - sie wechselt zwischen einer unkonventionellen, suchenden Qualität und ihrer ergreifenden, ehrfurchtgebietenden Bandbreite. Auch ihr Klavierspiel besitzt dieses mitreißende Hin und Her zwischen dem Jenseitigen und dem schmerzlich Menschlichen - jede Melodie ist ihr eigenes, einzigartiges, schmerzhaftes Reich. Glass' spärliche, meditative Musik fängt oft, wie sie sagt, die ,Verdichtung des Alltags" ein, ein Bild, das zu der bittersüßen, flüchtigen und abstrakten Natur ihrer Arbeit passt. Glass' Debütalbum E erscheint bei Shelter Press und ist nicht nur ein zärtliches Porträt ihrer lebenslangen Beziehung zum Klavier, sondern auch eine Destillation ganzer Lebenszeiten. Vier Jahre lang arbeitete Glass mit dem Mitbegründer und Produzenten von Public Records, Francis Harris (Frank & Tony, Adultnapper), und dem Tontechniker Bill Skibbe (Shellac, Jack White) zusammen, um das Album E in verschiedenen Studios in Nashville, Brooklyn, Memphis und Benton Harbor, Michigan, aufzunehmen. Glass' experimentelle, improvisatorische Werke erinnern an den sinnlichen Minimalismus von Annette Peacock, die freudige Rätselhaftigkeit von Carla Bley und die wehmütige Intimität von Sibylle Baier. Ihre Verehrung für die Größen des Leftfield Jazz und der freien Improvisation ist unüberhörbar, aber immer gefiltert durch ihren unverwechselbaren, naturalistischen Sound. ,Dreams" ist eine majestätische Interpretation von Peacocks gleichnamigem Stück aus dem Jahr 1971, ,Sing Me Softly the Blues` ist eine minimale, fesselnde Neuinterpretation von Baiers Jazzstandard mit einem von der norwegischen Sängerin Karin Krog adaptierten Text, und ,Emahoy` ist eine schmachtende Hommage an die äthiopische Pianistin, Komponistin und Nonne Emahoy Tsegué-Maryam Guèbrou und ihre 2006 erschienene Kompilation Éthiopiques. Glass' Musik basiert auf einem taktilen, sprunghaften Klang und ihrer stimmlichen Kraft und Vielseitigkeit. E's glatte Stöße von Kontrabass und Schlagzeug kitzeln den Gehörgang und betonen die Schlagfertigkeit ihrer unverwechselbaren tiefen Stimme, die sonore, androgyne Gelassenheit mit flatterhafter Zartheit verbindet. E hat auch eine rätselhafte elektronische Note, die die verschwommenen Emotionen von Glass' Songwriting noch verstärkt. Von Hintergrundrauschen und windigem Gesang bis hin zu kaleidoskopischen Synthesizern stammen diese subtilen, geschmackvollen Verzierungen oft von speziellem analogem Equipment: einer unterirdischen Echokammer aus den 1960er Jahren, einem Cooper Time Cube (im Grunde das Hardware-Äquivalent der Audioverarbeitung durch einen Gartenschlauch) und einem AEA-Bandmikrofon aus den 1940er Jahren. Aber das bedeutet nicht, dass E veraltet klingt - Glass' Songs sind von einem zukunftsweisenden Geist durchdrungen und fungieren letztlich als Vehikel für ihre berauschenden Emotionen und fragmentierten Erinnerungen und Träume. Glass' eigentümliche stimmliche Alchemie und ihre lebhaften Klavierausflüge sind meisterhaft und ganz und gar ihre Sache, und ihr Debütalbum ist ein Geschenk von klangvoller Schönheit und lohnender Mehrdeutigkeit. Als Musikerin und Improvisatorin ist Glass von der Suche nach Bedeutung, nach Klängen, nach Neuem, nach Verbindung begeistert und beherrscht diese. Und wie Krog 1975 in ,Sing Me Softly the Blues" sang: ,Life's so thrilling / if you search."

‘Maybe I’m Dreaming’ is the latest collection selected by Mikey Young (Total Control, EddyCurrent Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at AnthologyRecordings), the mangled minds behind the beloved ‘Follow the Sun’, ‘Sad About the Times’,and ‘…Still Sad’ compilations. The twenty tracks of ‘Maybe I’m Dreaming’ make a conscious(and unconscious) detour from its predecessors, sourced entirely from private press releases,spanning new decades and production modes within homespun folk, soft rock and otherwise70s and 80s FM radio adjacent music.  The magic of ‘Maybe I’m Dreaming’ is the untold story of the artists behind these songs; thosewho missed the big time, but whose song craft and unrequited care hit the right notes, bothhigh and low.
Where ‘Follow the Sun’ and ‘Sad About the Times’ introduced us to the fame chasing, ambitioncrashing crooners who missed their shot in the mainstream, ‘Maybe I’m Dreaming’ delvesdeeper into the isolated wilds - a private world where production quirks, late-night tape hiss andone-man studio dreams were not necessarily a choice but the hand that was dealt.
With the parameters set to ‘private press only’, Young and Abrahamsson follow a circuitous trailof invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier andoften a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent andprecious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingeringover even the brightest melodies.
As with their previous collaborations, Young and Abrahamsson weren’t interested inconstructing a museum or drafting a historical survey. ‘Maybe I’m Dreaming’ is a sentimentalmixtape, assembled late at night when the mind wanders and old memories blur with imaginedfutures, those within reach and those far too mysterious to ever encounter. Songs wereunearthed in personal collections, deep YouTube burrows, dilapidated web archives and thedim corners of Discogs, with many selections tied not only to intuition but to personalconnection.  Some tracks arrived via friends - Kelley Stoltz, a frequent guide for Young, tipped him off toboth Peter Kraemer’s lost gem ‘Let the Light Slip’ and Awakening’s revelatory closer - addingan unseen but deeply felt thread of camaraderie to the compilation.
The journey takes in a wide, strange sweep: The Watson Brothers Band’s ‘Just Whistle’ opensthe collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to beheard again. Jim Huxley’s ‘Tessa on a Magazine’, rediscovered after a long and winding searchby Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta’s‘My Story Changes’ and Twice As Nice’s delicate ‘Thoughts of You’ float easily alongside themore buoyant, radio-dream sheen of Barracuda’s ‘Baby I Love You’ and MAK’s sunshinedappled ‘That’s Life’.
Widening the aperture to the late 1970s and early 1980s allows for a deeper exploration intoevolving production techniques and musical technologies. The Squad’s ‘D.L.M.H.I.M.A.’ andChristoph Spendel Group’s ‘Forever’ crackle with the kind of bedroom synth warmth that couldonly come from the analogue age, while the soulful, yearning undercurrent of Awakening’s‘Gotta Do Somethin / Might As Well Cultivate’ caps the collection with a call for action - ormaybe just acceptance - in an accidental Brian Eno ‘Here Come the Warm Jets’ parroting.
While ‘Maybe I’m Dreaming’ moves away from the ‘sad man with guitar’ archetype that hoveredover its predecessors, it remains tethered to a familiar emotional gravity - a balance of longingand lightness that defines this corner of the musical universe. Each track shuffles gentlybetween resignation and hope, sadness and serenity, as if the artists themselves were chasinga dream just beyond reach, recording not for fame but for the simple act of getting it, thatprimal, creative itch, out into the world.
Available on CD and 2LP, featuring the third eye-opening artwork of Dang Wayne Olsen. Thedouble LP set arrives in an outrageous double-wide spine jacket with printed inners and adream journal entry by Pacific Northwest artifactual authority Josh Lewellen.

For five decades, Harold Budd stood on the forefront of the West Coast avant-garde. Born in Los Angeles, he studied with Schoenberg-pupil Gerald Strang and began teaching at CalArts in 1970. While searching for his own voice, he was influenced as much by abstract expressionist painters as by John Cage and Morton Feldman. In his work, Budd brought delicate, slowing-moving melodies to the foreground – creating a new musical language based on “eternally pretty music” and smooth surfaces.

In the early ’70s, Budd started an extended cycle of compositions that would comprise The Pavilion Of Dreams. For Budd, the album was a signpost for a new direction in thinking about music: “The Pavilion Of Dreams erased my past. I consider that to be the birth of myself as a serious artist. It was like my Magna Carta.”

Produced by Brian Eno in 1978, The Pavilion Of Dreams stands toe-to-toe with another minimalist masterpiece also released that year, Steve Reich’s Music For 18 Musicians. Budd’s gorgeous pieces reveal a lightness of touch that draws the listener in, while sublime voices float in and out as if in a recurring dream. Featuring saxophonist Marion Brown and multi-instrumentalists Gavin Bryars and Michael Nyman, The Pavilion Of Dreams remains a master class in exquisite timbre and shimmering texture.

The Pavilion Of Dreams was both the final release on Eno’s Obscure imprint and a transition point towards his seminal ambient series. This first-time reissue is recommended for fans of Ryuichi Sakamoto, Jon Hassell and Mark Hollis.

The line between art and entertainment has always been fuzzy. Certainly, there’s plenty of overlap between the two, but lately it feels like there’s a growing divide, an ever-widening chasm separating our fundamental need for creative expression and our insatiable appetite for disposable content. That’s where T. Hardy Morris comes in.

“I’ve spent a lot of time parsing the difference between the two,” he explains, “not just for myself, but for society at large. What does it mean to be an artist? How do we measure creative success? Where are the boundaries between audience and performer when everyone’s broadcasting their lives 24/7?”

Morris dives into those questions headfirst on his riveting new album, Artificial Tears, and while the answers don’t come easily, the search yields plenty of reward. Recorded in Nashville with My Morning Jacket’s Carl Broemel at the helm, the collection is an electrifying work of existential exploration, a raw, rock and roll reflection on meaning and identity in a modern world that’s simultaneously more connected and isolated than ever before. Despite the weighty ruminations at its core, the result is a remarkably grounded, down to earth album that’s at once honest and abstract, a poignant, clear-eyed look in the mirror from a master craftsman committed to his work for nothing more—and nothing less—than its own intrinsic value.