Cerca:sigh

Big Sigh brings together the best of Marika's previous works as an indie musician and adds a new layer of epic sounds and full-bodied production. Big Sigh is the "hardest record" Marika has ever made. As the title suggests, it is a relief of sorts - of sadness, of stress and lust, but mostly relief. Co-produced with Sam Petts Davies (Frank Ocean, Radiohead, Red Hot Chilli Peppers) & Charlie Andrew (Alt J, Wolf Alice, London Grammar). Lyrically there's always romance a longside grief, with elements of vulnerability and feeling trapped. "This album took a long time I got to the end of it I was quiet. I wanted to be away from it and let it sit in its own space. Now the dust has settled and I've got to re-enter the world of big sigh, and I'm excited." Stepping into a new world, moving forward, chipping away. Breath in, breath out. Big sigh."

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Japanese black metal legends Sigh formed in 1989/1990. The genre-classic debut ‘Scorn Defeat’ followed on Euronymous’ Deathlike Silence Productions in 1993 & with each subsequent release, Sigh grew to become one of the country’s greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a vital creative force in the avantgarde field whilst maintaining their old school roots, as witnessed with the stellar 2022 album, ‘Shiki’. 2025 also saw Sigh reimagining their ‘Hangman’s Hymn’ album for a release on Peaceville as part of the band’s 35th anniversary celebrations, in the shape of ‘I Saw The World’s End: Hangman’s Hymn MMXXV’.

Maintaining the core trio of Mirai Kawashima, Shinichi Ishikawa & Satoshi Fujinami & on the back of the epic & darkly symphonic opus ‘Infidel Art’ (1995), Sigh adopted a more boundary-defying approach to their writing, whilst still keeping the dark foundations & traits of the band’s fundamental sound. The result was ‘Ghastly Funeral Theatre’ which surfaced in 1997 & draped in Eastern & horror-based atmospherics, the band also embraced elements outside of metal with what was their most experimental offering to date; utilising instruments such as the saxophone as well as acoustic passages & notoriously drawing comparisons to the moods of bands such as The Beatles at times, featuring catchy hooks & structures in line with the rock music genre, but masterfully woven into Sigh’s unique blackened metal tapestry.

Continuing with Peaceville’s re-issues of Sigh’s classic early ( & until now, hard to find) works, this edition of ‘Ghastly Funeral Theatre’ contains a new master created by Patrick Engel at Temple of Disharmony, featuring a new transfer from the original DAT source.

The release also includes a new interview with main-man Mirai Kawashima conducted by Dayal Patterson of Cult Never Dies, delving into the history & inspirations behind ‘Ghastly Funeral Theatre’.

This edition of ‘Ghastly Funeral Theatre’ is presented on black vinyl.

Obwohl das Album aus kompositorischer Sicht zu den Lieblingswerken des Sigh-Kopfes Mirai Kawashima gehört, war er nie zufrieden mit der Ausführung und Produktion von "Hangman's Hymn". Mit der aktuellen Bandbesetzung – Nozomu Wakai an der Gitarre, Mike Heller am Schlagzeug – bot sich endlich die Gelegenheit, diesem zuweilen übersehenen Meisterwerk endlich gerecht zu werden. Die vorliegende Neuaufnahme wurde von Lasse Lammert produziert und verleiht dem Album eine neue Dimension mit brutaler Härte.

Obwohl das Album aus kompositorischer Sicht zu den Lieblingswerken des Sigh-Kopfes Mirai Kawashima gehört, war er nie zufrieden mit der Ausführung und Produktion von "Hangman's Hymn". Mit der aktuellen Bandbesetzung – Nozomu Wakai an der Gitarre, Mike Heller am Schlagzeug – bot sich endlich die Gelegenheit, diesem zuweilen übersehenen Meisterwerk endlich gerecht zu werden. Die vorliegende Neuaufnahme wurde von Lasse Lammert produziert und verleiht dem Album eine neue Dimension mit brutaler Härte.

"A mere two years on from their formation in London towards the end of 2007, Mumford & Sons released their
debut album, Sigh No More. Introducing the group’s signature blend of folk and rock music with heartfelt lyrics and
soulful melodies, the album was instrumental in propelling the folk-rock resurgence into the mainstream at the
end of the 2000s.
Peaking at No.2 in both the UK and the US, and winning British Album of the Year at the 2011 BRIT Awards, Sigh No
More paved the way for a career that has seen the group release three further acclaimed albums, scooping up a
second BRIT Award, plus two Grammys and an Ivor Novello, along the way. The group’s lasting impact on the music
industry can be traced back to this record – now reissued on ultra-clear vinyl for National Album Day – and its
game-changing singles, among them ‘Little Lion Man’ and ‘The Cave’, which have, respectively, reached nearly 45
million and more than 20 million streams this year alone.
"

Drag City is excited to present the first ever vinyl pressing of guitarist Lee Underwood"s under-sung 1988 acoustic guitar opus, California Sigh. Guitarist Lee Underwood"s syncretic blend of jazz, folk, and blues was a tremendous force behind Tim Buckley"s genre-stretching late 60s/early 70s music - but his 1988 acoustic guitar opus California Sigh has remained a unsung footnote to his story. Until now! This first time vinyl-edition reveals Lee"s free-floating acoustic moods, with synths and co-production from ambient avatar Steve Roach, as a soulful work of tranquility and transcendence. In the years following the release of California Sigh, Lee wrote and recorded two solo piano CDs, Phantom Light and Gathering Light. Additionally, he wrote Blue Melody: Tim Buckley Remembered, a memoir of their time together, as well as three books of poems, Timewinds (2010), Diamondfire (2016) and Into Light (Poetic Matrix Press, 2021). He continues to live in Northern California.

Big Sigh brings together the best of Marika's previous works as an indie musician and adds a new layer of epic sounds and full-bodied production. Big Sigh is the "hardest record" Marika has ever made. As the title suggests, it is a relief of sorts - of sadness, of stress and lust, but mostly relief. Co-produced with Sam Petts Davies (Frank Ocean, Radiohead, Red Hot Chilli Peppers) & Charlie Andrew (Alt J, Wolf Alice, London Grammar). Lyrically there's always romance a longside grief, with elements of vulnerability and feeling trapped. "This album took a long time I got to the end of it I was quiet. I wanted to be away from it and let it sit in its own space. Now the dust has settled and I've got to re-enter the world of big sigh, and I'm excited." Stepping into a new world, moving forward, chipping away. Breath in, breath out. Big sigh."

Mit ihrem 1993er Debütalbum »Scorn Defeat« machte die Band um Sänger/Bassist Mirai Kawashimi erstmals international auf sich aufmerksam, um sich mittlerweile als eine der erfolgreichsten Metalbands Japans zu etablieren. Einstmals Vorbild für Bands wie Emperor oder Cradle Of Filth, legt Sigh jetzt 10 neue Tracks hin, die Metal-Fans mit ihrer Kreativität, Power und Bandbreite positiv überraschen werden. Psychedelic- und Prog-Elemente werden gekonnt mit den Black Metal-Wurzeln der Band vermählt.

Dieses ausgegrabene Matthew Dear Album wurde ursprünglich nach seinem gefeierten Album Asa Breed (2007) aufgenommen. Für Fans von Beck, Bill Callahan/Smog, Bibio. In erster Linie kennt man den gefragten texanischen DJ und Elektronikproduzenten Matthew Dear seit über zwanzig Jahren als Grenzgänger der Clubmusik, der nur im erweiterten Sinne als Popmusiker aktiv ist. Auf seinem 'neuen' Studioalbum überrascht der US-Musiker jetzt mit ungewöhnlichen Klängen. "Preacher's Sigh & Potion: Lost Album" wurde vor zehn Jahren aufgenommen, aber das Material nie veröffentlicht. Inspiriert vom Gitarrenspiel seines verstorbenen Vaters und klassischen Country-Folk-Favoriten wie Emmylou Harris, wendete Dear an, was er über Techno-Arrangements wusste, um einen organischen, loop-zentrierten Sound zu erforschen, der bluesig, persönlich und verspielt ist und die Geschichte von Pop und Rock, den Twang von Country, den Aufbau und das Loslassen von Techno durcheinander wirbelt.

THE NEW STUDIO ALBUM FROM THE JAPANESE LEGENDS - AN OPUS
OF DARK & ECLECTIC BLACKENED HEAVY METAL, SHROUDED IN
TRADITIONAL EASTERN INFLUENCES..
Cult Japanese black metal legends Sigh formed in 1989/90, featuring
mainman Mirai Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought in & Sigh set about
recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence
Productions, going on to become one of the country's greatest & most revered
metal exports. With a journey through the strange & the psychedelic,
incorporating a whole eclectic mix of genre styles & experimentation throughout
their career, Sigh has remained a vital creative force in the avantgarde field whilst
maintaining their old school roots.
'Shiki' marks the latest chapter in the Sigh legacy & includes some of the band's
heaviest & darkest material for some years; a fine hybrid of at times primitive
black metal akin to early influences such as Celtic Frost amid more epic melodic
heavy metal riffing & solos. The album also utilises a whole host of instruments
to give further texture & dynamics to the compositions & eerie atmosphere,
incorporating traditional oriental instruments such as the Shakuhachi & Sinobue
flutes.
The word "Shiki" itself has various meanings in Japanese such as four seasons,
time to die, conducting an orchestra, ceremony, motivation, colour. The two
primary themes for the album are "four seasons" & "time to die".
The concept & artwork is based around a traditional Japanese poem & on 'Shiki'
Mirai explores how at this stage of life he himself is going through Autumn, with
Winter coming soon & so empathises with the contrasting sentimental feelings
from watching cherry blossoms (a symbol of spring) in full bloom.
Joining Mirai & Dr Mikannibal for this release are Frédéric Leclercq of Kreator,
plus US drummer extraordinaire, Mike Heller of Fear Factory, along with an
appearance by long-time member Satoshi Fujinami on bass. 'Shiki' was recorded
across multiple studios & mixed & mastered by Lasse Lammert at LSD studios in
Germany.

Mit ihrem 1993er Debütalbum ‘Scorn Defeat‘ machte die
Band um Sänger/Bassist Mirai Kawashimi erstmals international auf sich aufmerksam, um sich mittlerweile als eine
der erfolgreichsten Metalbands Japans zu etablieren.
Einstmals Vorbild für Bands wie Emperor oder Cradle Of
Filth, legt Sigh jetzt 10 neue Tracks hin, die Metal-Fans mit
ihrer Kreativität, Power und Bandbreite positiv überraschen
werden. Psychedelic- und Prog-Elemente werden gekonnt
mit den Black Metal-Wurzeln der Band vermählt.

EXTENSIVE COLLECTION OF SIGH'S EARLY DEMOS, EP's & RARITIES,
PRESENTED ON DOUBLE CD FORMAT - INCLUDES INTERVIEW & LINER
NOTES COURTESY OF MAINMAN MIRAI KAWASHIMA ON THE
FORMATIVE YEARS OF THE JAPANESE LEGENDS.Cult Japanese black
metal legends Sigh formed in 1989/90, featuring mainman Mirai
Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought into the band, & Kazuki
removed from the line- up. It was following this shift that the band set about
recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence
Productions, going on to become one of the country's greatest & most revered
metal exports. With a journey through the strange & the psychedelic,
incorporating a whole eclectic mix of genre styles & experimentation throughout
their career, Sigh has remained a vital creative force in the avantgarde field.
However, at its core, Sigh has always remained true to its roots of old school
metal. 'Eastern Darkness' contains a comprehensive collection of Sigh's early rare
works showing their swift musical evolution as well as the strong utilisation of
keyboards in their compositional process throughout. The collection includes the
band's legendary demo tapes, 'Desolation', & 'Tragedies', plus their EP's & rarities,
as well as contributions to various compilation releases in the mid 1990's.
Considering Sigh's well- known regard for UK legends Venom throughout their
career, 'Eastern Darkness' also contains the band's own tribute to the 1980's black
metal pioneers, in the form of tribute 'To Hell & Back', originally released on tape
in 1995.
This edition of 'Eastern Darkness' is presented on double disc CD format &
includes a 12- page booklet featuring an interview with Mirai Kawashima about
the early years of the band, along with his recollections of the origins of each title
contained within the release, three decades on from Sigh's formation.

Dieses ausgegrabene Matthew Dear Album wurde ursprünglich nach seinem gefeierten Album Asa Breed (2007) aufgenommen. Für Fans von Beck, Bill Callahan/Smog, Bibio. In erster Linie kennt man den gefragten texanischen DJ und Elektronikproduzenten Matthew Dear seit über zwanzig Jahren als Grenzgänger der Clubmusik, der nur im erweiterten Sinne als Popmusiker aktiv ist. Auf seinem 'neuen' Studioalbum überrascht der US-Musiker jetzt mit ungewöhnlichen Klängen. "Preacher's Sigh & Potion: Lost Album" wurde vor zehn Jahren aufgenommen, aber das Material nie veröffentlicht. Inspiriert vom Gitarrenspiel seines verstorbenen Vaters und klassischen Country-Folk-Favoriten wie Emmylou Harris, wendete Dear an, was er über Techno-Arrangements wusste, um einen organischen, loop-zentrierten Sound zu erforschen, der bluesig, persönlich und verspielt ist und die Geschichte von Pop und Rock, den Twang von Country, den Aufbau und das Loslassen von Techno durcheinander wirbelt.

* Following up from the immense Phil:osophy outputs, our resident soulster Phil Tangent returns to Integral with a new solo installment - the absolutely stunning and highly anticipated Universal Sigh EP. Comprising of four silken future cuts that showcase the newschool of liquid funk, these musical gems of intricate beats, bass-scapes and dreamlike musicality, push boundaries, encapsulate hearts and are certain to transport listeners to otherworldly places.

* Dropping 7th December, this masterpiece will launch across all formats. Make sure you reserve your limited vinyl copy now to avoid disappointment!

'Sometimes it's hard to say how you feel,' says songwriter-vocalist
Jade Vincent. 'These songs are vulnerable stories for me to tell -
they're things I couldn't say out loud. But I found that I could sing
them. And then I closed my eyes when they would listen.'
Listening to Vincent's songs were her partner - producer/composer
Keefus Ciancia - and DJ and producer/composer David Holmes.
Together, Vincent, Ciancia and Holmes make up Unloved, the musical
project that evolved out of a late-night Hollywood bar in 2015,
releasing a stunning debut album the following spring and this year
crafting the soundtrack to Phoebe Waller-Bridge's acclaimed new
series 'Killing Eve'.
Introduced to Ciancia through soundtrack work, Holmes found
himself invited to DJ one night and to curate other nights at the
Rotary Room. To invite Holmes to DJ is to unleash a kind of whirling
dervish of musical enthusiasm but through those nights the trio
discovered a shared love for 60s girl groups and French pop and film
noir soundtracks, Brigitte Fontaine, Shuggie Otis, George 'Shadow'
Morton, Bruno Nicolai, Lee Hazlewood and Jack Nitzsche, along with
a tremendous desire to work together.
Their debut EP - 'Guilty Of Love' - and the full-length, self-titled
album that followed in the spring of 2016, offered a quite remarkable
thing: a sound at once hauled out of the silty depths of the past and
simultaneously wholly modern. There was the soft hiss of a lo-fidelity
recording - the murky crackle of sample, beats and half-remembered,
long-lost favourite tunes. However, much of the songs' success
belonged to Vincent's sublime voice and lyrics, both possessed of an
aching, rich-smoked tone of loss and love.
Unloved's second album, 'Heartbreak', is about love. The album plays
out each song like a vignette of nothing but love. The songs that rose
up were in some ways surprising, but also felt insistent. 'They're real
feelings and real experiences that I had the guts to finally say, but
always ambiguous, this is very important to me,' she explains, 'and
always about love, one way or another.'
LP pressed on red coloured vinyl with digital download code.

p:m is delighted to welcome Kumarachi to the fold - a Nottingham-based artist with a deep catalogue steadily built over the past 11+ years. For the label’s first 10” vinyl cut, Kumarachi teams up with his old friend, the wonderful Liam Bailey, for some rudeboy pressure on the a side, while flying solo for the b.

Tracklist:
A. On Sight: snappy snares, snarling bass, and shifting percussion meet the dulcet tones of Liam Bailey, who turns in a different kind of original dancehall style vocal that gets people skanking and swaying.

B. Cast No Shadow: a heavy-hitting track of pummelling breaks and beats, heavy bass, dub fx, and synth stabs, reminiscent of Star Wars’ X-wings in space.

In Kumarachi’s own words: “On Sight was just a loop when I sent it to Liam, then arranged and built around his vocals. I played it to a couple of people for feedback and to test out, it luckily found its way to DJ Flight via Sweetpea, so a big thanks to her too. Both myself and Liam felt play:musik is the perfect label for On Sight, with what Flight stands for musically and culturally, there’s a definite alignment within the lyrical content aswell. It’s a perfect fit. Cast No Shadow was written later and specifically for this release to contrast and complement the flip. It actually came together quite quickly - referencing classic combinations, whilst hopefully sounding fresh for 2026.”

SY3 (pronounced ‘sigh’) is a new project from LA-based Chinese-American artists Kelly Guan, Alex Ho, and Phil Cho. The trio started working on music together in 2023 after connecting over a shared love of Hong Kong New Wave cinema, Cantonese pop songs, r&b, and melody-driven dance music. Singer Kelly Guan aka Jia Pet has been independently releasing ‘bubbly’ pop music since 2022, and recently toured with the genre-bending indie artist Sasami. Multi-instrumentalists Ho (keyboards, saxophone) and Cho (guitar, bass) have collaborated frequently over the past decade, most notably on Ho’s 2021 debut album 'Move Through It' for Music From Memory.

Lead single ‘Tell Me,’ the track that initially caught the ears of MFM's Jamie Tiller and Tako, nods to the hazy downtempo explored by Chinese pop stars like Faye Wong and Zhou Xun in the ‘00s, while also recalling Japanese producer Yoshinori Sunahara’s iconic album 'Lovebeat'. Beyond musical influences, SY3’s neon-drenched pop songs draw from a cinematic language, particularly y2k-era films like Made in Hong Kong and Suzhou River, which speak to a generation of disillusioned youth in an increasingly fast-paced world. Guan’s lyrics depict characters caught in bittersweet love affairs (‘dial tone, when I’m alone, you promised we’ll be in touch') forever looking towards an escape from their current realities (‘I know the walls are high, these graceless hands are slipping’). Title track ‘梦游 Sleepwalker’ features a Cantonese spoken-word story about a sleepwalking young girl who sits alone on a balcony wondering where she might have gone the night before. The drifting ambient production loosely references a traditional Chinese folk melody, and closes out the EP with a delicate, layered saxophone solo from Ho.

Balancing intimacy with a wider emotional and visual language, SY3’s debut unfolds as a series of nocturnal pop vignettes shaped by memory, cinema, and place. Released digitally and on vinyl through Music From Memory on March 25th. Sleeve art and design by Michael Willis.

From dreamy indie pop to melancholic ambient fragments to crazy distortion pedals, The Me In You has never sounded more adventurous without losing sight of cohesion.

Press:
Humo: “The Me in You simply offers more colour and dimension than most other Belgian pop groups”
OOR: ‘A wonderfully addictive album for connoisseurs.’
Het Nieuwsblad: ‘Duyster music that gets under your skin.’
Le Soir: ‘Every song, every melody manages to surprise us.’
Stu Bru: Catch of The Day – De Afrekening list
Radio 1: Top 10 Vox list – A Rotation

Some tracks are just too good to only feature on a compilation, even if it is a significant and celebratory set like Leng’s 15 Year anniversary album from late last year. That’s certainly the case with Payfone’s brilliantly atmospheric ‘Dime Algo’, a seductive slab of slow-motion Balearic disco featuring ‘I Feel You’ vocalist Kyd Nereida, along with Sofi Hardoy and Ludmila Rodriguez.

For this single release Black Science Orchestra, one of Britain’s most storied production collectives, deliver some truly exceptional remixes. Initially making their name with a series of sensational house jams on Junior Boy’s Own across the 1990s, BSO became renowned for the quality of their remixes as well as an ever-evolving trademark sound that put soul, organic instrumentation and references to dance music’s rich and varied past front and centre.

Comprised of Rob Mello, Ashley Beedle and Darren Morris, Black Science Orchestra work has been rare in recent years but here they deliver some magical takes on ‘Dime Algo’, blending Payfone’s original instrumentation with their own low-tempo magic. The Vocal Mix begins with sparse drums, Kraftwerkian bleeps and heavy sub-bass, building the action in waves with 303 lines, electro synths, warm chords and Nereida’s superb lead vocals combining to re-frame ‘Dime Algo’ as a deep, far-sighted slice of chugging 21st century acid-disco. The Dub Mix stretches things out with effects-laden instrumentation, acid lines and vocal snippets. Deeper and woozier, with more prominent use of the trio’s 303 trickery and Payfone’s superb original elements, it’s a heady, intoxicating and loved-up interpretation that subtly gains intensity throughout its seven-minute duration.

Salomo joins forces with R.A.N.D. label head Reece Walker to deliver various shades of house music.

Like its cover, Nicolas Remondino's Hìeratico plays in the rich shades of crepuscular spaces. A night-tuned, percussion led album where prepared drums are accompanied by flickers of spoken word, acoustic instruments and muted electronics,

The title translates to 'hieratic', for Remondino a "black and gold" term laden with dualities and complex connotations. A sense of teetering between sparkling light and richly coloured darkness imbues the music, the compositions simulating a sense of heightened acuity as they convey us through a spooky elemental soundworld. The opening title track begins with a metallic shimmer, a drum skin activated in a way that sounds like it's being smelted. A cushioned rhythm enters, a smothered timbre akin to hearing something lurking around the garden. On "litho non-danse", percussion cracks like branches and dried foliage under foot.

Remondino recorded initial outlines for the pieces at Giuseppe Ielasi's studio in Milan, before fleshing out these ideas with his own additional instrumentation and contributions from a globe-spanning network of collaborators. On "blue hymne", chiming percussion equal parts jubilant and sinister heralds spoken word from Limpe Fuchs. "Tombal" opens with Massimo Silverio whispering in the Carnic dialect, a minority language from the Carnic Alps. Around, Marco Baldini, Pierre Bastien and Remondino construct a somber soundscape that cranks and sighs in the crevices.

Hìeratico is an album of hybrids. Diverse voices, accents and dialects deliver its lyrics, the instrumentation underpinning it crosses idioms. The drumkit at its core is modified to amplify its resonant tones and harmonics. Inspired by natural substances and phenomena: stone, wood, wind, earth, metal, grass, rain, clouds and bark, Remondino explores how percussion could evoke their materiality, treating drums as lucid textural instruments as much as rhythmic timekeepers. It gives the album a finely shaded depth and clarity as it conjures the vibrancies that reside in darkened corners. Hìeratico dwells in a sensation that crosses borders, the speckles of light in the oblique night sky. Listening is an aural equivalent to stepping into a pitch black forest and waiting for your eyes to adjust, a lightless void turning into a spectacular tableau of shadows and glows. Daryl Worthington

DJ Support: Ben UFO, Palms Trax and more…

Alex Kassian reunites with Hiroaki Oba as Opal Sunn. Following on from their massive 2024 hit Elastic this latest offering ‘Liquid’ is the second in a trilogy of releases on the ‘buy on sight’ Test Pressing Records. Having taken their live set to the world finest clubs & with Elastic being an end of night anthem for DJ’s such as Palms Trax and Ben UFO. This highly anticipated new release builds on their sound and is sure to be another hit with DJ’s and record buyers alike

Apex militant late '70s style here, if you think you are into steppers you should have this one firmly in your sights. One of Mr. Smart's hardest records, this originally appeared only as an album track, but also had some fame as a dubplate played at the time by Jah Shaka and others. We've long had that cut in our sights, and while some nice new re-mixes of this tune appeared in the last few years, here is the real thing from '79 steel. The A-side features the raw dubplate cut vocal, no horns or other adornment, HARD to the point stepping drum and bass style. The B-side features the original Gussie Clarke dub mix aptly titled "Hot Steppers", also previously released only on album. This cut as well was run on dubplate back at the time, a killer mix with full horns but no vocal. Leroy Smart is one of our all time favorite artists and we take pride in having re-released a handful of his all time best records, this one now added to that list.

Repress

Well. Where do we start with 'Deep Inside' Originally released in the golden NYC House era of 1993, this 5 tracker literally smashed everything in sight. And still does now! The epitome of an evergreen, all-time classic release. Masters At Work Louie Vega and Kenny Dope were on a major roll in this era, producing, remixing, dj-ing and everything in-between, these guys put in ridiculous work. They are joined on this EP by a roll-call of names and collaborators, Erick Morillo engineering the title track Check. Maurice Joshua on co-production duties You got it. Vocals by Ms. Barbara tucker They're there. Killer, rock hard drums Stacks of Soul Masterfully chopped up Disco samples All present. Serious stuff. Sometimes a record just manages to capture and distill the true essence of what this is all about and 'Deep Inside' is one such record, it bears all the hallmarks of golden era MAW, all the signposts of what was happening in NYC's clubs in the early to mid 90's were there within it's grooves. You know a record is good when it's still being, quite literally, hammered nearly 25 years later! Now, remastered, and reissued with the full involvement of Strictly Rhythm this seminal piece of NYC House history is made available again with all original, full sleeve artwork intact as per the 1993 original. This one's a straight up essential for any self-respecting dance aficionado. You know what to do!

Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield's Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitledSlipwhere Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.

Slipopener 'Phased Array' is exactly the kind of top quality machine-funk tackle you'd expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of 'Phased Array' is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.

'Phased Array' is followed up by 'Stax', another brilliantly propulsive number. Here we find the drum beat - one which is a little reminiscent of that Kraftwerk tune about the numbers, no less - once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.

Fleck E.S.C. opens theSlipB-side with 'Good Ride', a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the 'ride' in question could just as well be aWipeout-style whizz through hyperspace as anything more suggestive. 'Good Ride' also sets itself apart from the other joints here by showing off a swaying halftime breakdown.

'Intox Remedy',Slip's closer, wraps the EP in a manner which continues some of the trends of the record's earlier tracks - richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such 'Intox Remedy' sees the record out by placing the listener firmly back in the cosmos.

Tough enough for the dancefloor and intricate enough for home listening, theSlipEP is a fabulous collaboration from two of the most respected voices in the electro game.

The new album by L.Y.R., their third commercial release, begins with the idea that the furthest points of light - stars - can only be seen in the dark. It’s a kind of contradiction that finds musical expression in these new tracks, the band always navigating towards sightings of hopefulness and constancy in an increasingly bewildering and storm-battered world.

The term dark sky reservation has its origins in environmentalism, and several tracks on the album deal with the messed-up weather of our contemporary planet, both meteorological and psychological, from descriptions of an earth deluged by thunderstorms to the soggy back-gardens of suburbia, a climate crisis brought on by rampant urbanism. In that context, dark sky reservations are those regions of the landscape where light pollution is discouraged and even outlawed, to allow scientists and casual stargazers to peer into the cosmos and see the glory of the constellations, patterns of light that have entranced and mystified us for hundreds of thousands of years.

It’s from those designated zones that human beings get a sense of their place in the universe, and experience the wonder of the here and now against a context of eternity and infinity. An alternative to the hectic craziness of everyday life, so often virtual and synthetic, the dark sky reservation is a place of refuge and dreaming, and like L.Y.R.’s music, such spaces are earmarked for contemplation and thoughtfulness.

L.Y.R. is author and current British poet laureate Simon Armitage, singer-songwriter Richard Walters and multi-instrumentalist & producer Patrick Pearson.

The label suggests these sounds are something akin to if Tim Hecker met Hudson Mohawke "in a 16-bit video arcade," and we're not going to disagree. Dead Fader is now based in Berlin, but his sound remains out of this world with vapourware trails, glossy synth textures and skeletal rhythms all drenched in trippy colours and low-key melancholy. Ambient, minimal and suspensory synthscapes all drift by with far-sighted reverie encouraged before more weighty rhythms like 'Clowning' and 'fade Out' driving things with extra momentum.

The Venetian Orchestra strikes again, this time with "Señora" on the A side, an extended new take on Victor “Il Pirulli’s” rendition of “Señora”, kept in secret for years, but a track that few lucky ones might have already heard on certain DJ Harvey sets over the last recent years. Skilfully encapsulating the Balearic juices of the original while still giving it a playful full bodied new sound, sitting somewhere in between the categories of a remix and cover version with a newly made instrumentation, pure drama!
B side shifts the listener into a slower gear with a Gypsy Kings downtempo classic “Caminando”, stretching it out into dreamy mediterranean bliss, a chuggy dub atmospheric re-work of a Flamenco love anthem. Limited quantities, buy on sight.

Cory Wong's eagerly awaited new studio album, Lost In The Wonder! The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.

Cory Wong's eagerly awaited new studio album, Lost In The Wonder! The collection spotlights Wong's remarkable gifts as a producer, writer, arranger, band leader, and master of modern pop craftsmanship, while of course never losing sight of his trademark guitar virtuosity. Lost In The Wonder further affirms Wong's enduring love of musical collaboration, boasting a truly eclectic range of guest artists that includes Taylor Hanson, Devon Gilfillian, Stephen Day, Cody Fry, Yam Haus, Louis Cato, Ellis, Elysia Biro, Benny Sings, Theo Katzman, and Magic City Hippies.

Asyncronous return with their third EP "Selected Memories We Never Had" - a refined continuation of the Ukrainian project's signature blend of ambient and downtempo. On this release, their sound evolves into a more cinematic, immersive form, shaped by layered atmospheres, subtle melodic narratives, and deep emotional textures. The EP balances introspective mood with strong visual imagination, positioning Asyncronous firmly within the space between contemporary ambient, electronica, and film-influenced sound design.

This release marks the relaunch of Kashtan, a Ukrainian record label curated by Vera Logdanidi. After a pause caused by the full-scale war in Ukraine, Kashtan returns with its first vinyl release since 2022, dedicated to forward-looking Ukrainian electronic music beyond strict genre definitions.

Sasha's collaborative hot streak continues with Manchester-based duo Cortese. The pair were last on Last Night On Earth in 2024.

A big 2025 saw electronic titan Sasha linking up with a mix of fellow pioneers and next-generation stars. He collaborated with the likes of Artche, Henry Saiz, and Joseph Ashworth, always pushing forward his signature sound, steeped in meticulous synth craft, built on transportive grooves, and packed with rare levels of universal emotion.

Cortese are new school artists with an emotionally rich mix of garage, breaks, and house. They head up their own Plaza Recordings and, as well as appearing on Sasha’s LUZoSCURA compilation, they dropped their 'All U Do' EP here in December 2024. Following gigs in support of mainstays like Bicep and Mike Skinner, they now hook up with one of dance music's most recognisable names.
The result is 'One', a deep and heavenly odyssey with warm, supple drums infused with subtle garage swing. Wordless vocals bleed into the mix, heightening the sensuality, as the majestic arps and shimmering chords light up the airwaves. It's an irresistible invitation for the dance floor to take off on a wave of cautious hope and optimism without ever losing sight of the grounding groove.

On the flip and the fantastic 'U Disappear' is an Ibiza anthem in the making - the synths are widescreen and sun-kissed, while the bass is dark and transportive. Balearic piano chords ripple through the mix alongside arching pads and soft, wordless vocals, lending a dreamy edge to what is a powerful track, both physically and spiritually.