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Audaciously innovative sound designer/producer/live artist Enrico Sangiuliano reaches #0 in his countdown from ‘NINETOZERO’ on his eponymous ephemeral imprint, triggering its built-in autodestruct by the release of provocative 3-track EP ‘Absence’, out March 19th on vinyl & digital. The digital EP will also feature an Edit of ‘Step Into The End’.

The Italian tech maestro and artistic pioneer eschews populism, yet still storms charts & wins hearts – notably/recently in his unsettling, compelling manifesto x battle cry ‘The Techno Code’. Says Enrico of his label, ‘NINETOZERO is a cycle of listening, making, and letting go. Born from silence, shaped by space, directed by reflection, altered by change, revealed by glitch, unified through interconnection, lifted toward transcendence, refined by discipline, clarified by chaos, and finally returned to absence.’

On his ‘Absence’ EP: ‘With ‘Absence’ we come full circle, back to the womb of nothingness but charged with the echo of everything we have experienced. It is an ending, yes, but also an invitation. A new kind of silence is born, shaped by the memory of every frequency we unleashed.’ Enrico Sangiuliano can thrill listeners with his music, but dares to challenge, to trust them.

Main track ‘Step Into The End’: a full-on barrage of trustworthy techno danceability & energy, bookended by soulful violin, high horns & sirens, with spoken incantations as if summoning to a sacred rite. A ten-minute timeless dance track as ‘all we’ve learned converges into a single point where presence & silence merge.’

Title track ‘Absence’: The (Techno Code-esque) Voice speaks of sound, space, absence, trace... the track’s background noise is the almost- silence of his studio ‘through a magnifying glass’.. His breathing can just be heard in the recording. Melodic, beautiful, free-form chords in the middle section act like a breakdown in reverse. ‘A provocation, a track of silence, incidental noise. A tale of a story that just finished, but also a background for a story to be shaped. No one is intentionally performing for us. Here, the responsibility and work of listening is on you, to figure out what you can hear and what to make of it, to craft your own soundtrack based on the sounds that surround you, beyond the track. You can perform your own version yourself. Close your eyes and just listen. Engage with your environment. Be present. Expand your senses. Enjoy absence.’

‘The Aftermath’: a 40-second provocative coda. A snatch of stirring conversation signing off the EP and label alike. What will be launched post-zero by Enrico Sangiuliano? Watch this space, this absence.

Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter, and producer at his most personal and honest. Exploring the moments that have shaped him over the last four years: family, friendships, nature, and celebrates the work of finding his way back to himself. Made during his time spent between London, Cornwall, Portugal, and Nashville with a focus on classic songwriting, honing a collection of eleven timeless songs including the previously released singles ‘Old Man’ and ‘Red Moon’. While Full Circle contends with some of quieter moments of the last four years, it remains optimistic and effortlessly listenable, anchored by unadorned vocals and a warm, analogue sound. And the beauty of Full Circle lies in the universality of its lyrics, inviting listeners to inhabit Tom’s world or trace their own path within it. Full Circle stands as both a reflection of his journey and a statement of ongoing evolution.

The London based singer and keyboard player Dominic Appleton, known since the early eighties for his musical activity in the post punk/dream pop band Breathless, and perhaps even more for his vocal contributions to the legendary This Mortal Coil project on 4AD, joins forces with the Milanese producer and sound artist Matteo Uggeri, active from 1993 behind several projects spanning from industrial to post-rock and ambient soundscapes, known for collaborating with artists such as Maurizio Bianchi, Nocturnal Emissions, Controlled Bleeding, De Fabriek, OvO, Giuseppe Ielasi, Lau Nau, Giulio Aldinucci and many more.

Starlight Assembly’s first album, “Starlight and Still Air”, was released in 2021 by the American label Beacon Sound. In Italy the album received amazing reviews in all four of the main music monthlies. It was album of the month in Blow Up and Rockerilla ran a four page interview. Several articles and reviews were made, including a special issue on Foxy Digitalis by Brad Rose.

A remix project was launched afterwards, including old and new friends and fans of the two S.A. members: among the others, Robin Rimbaud/Scanner, Auscultation, Gabriel Saloman (Yellow Swans), Patricia Wolf, Insides, Julia Sabra with Fadi Tabbal, Sawako and Pan American.

The new album, “There Will Be Fireworks”, continues the duo’s complex cross-genres approach to music by melding Uggeri’s intricate musical textures with Appleton’s sweet and melancholic melodies, in this case even supported by the haunting guitars of Gary Mundy (in Breathless as well but also in Ramleh and Broken Flag’s label manager). The tracks on this album are more songlike, the journey more cohesive, with the artists playing more to one another’s strengths. The mastering will be done by Martin Bowes/Attrition, making it even more powerful and clean for its publication on Silentes (ex-Amplexus), historic italian label well known for releases by Rod Modell, Gigi Masin, Dirk Serries, Eraldo Bernocchi, Merzbow, Fabio Orsi and the latest releases by AUBE and much more.

1) WAIT FOR THE WORLD
2) TIME
3) THIS DESERT
4) ALL THE LOVE THE STANDS BESIDE US
5) MOTH TO THE FLAME
6) FRICTION
7) SYMPHONY IN MELANCHOLY
8) THE NOT DEAD
9) RELIEF
+
10) THERE WILL BE FIREWORKS (ghost track)

High-quality FERRO cassette tapes, printed on 160g premium paper.

Release info
XERO marks the beginning of a new series in which Saša Delimar invites artists he has long admired to reinterpret his original works. Each release features original compositions alongside one or two remixes, offering a new perspective on the material.

The first edition welcomes Steve Braam, aka Orca Silent (Canada).

The series focuses on minimalism and explores deeper, more experimental soundscapes beyond conventional dance floor structures

Lo Recordings are very proud to announce the release of a beautiful collaborative project. A seamless sonic journey that guides us through the filmic landscape of a bygone era. Chiming in the past and resonating in the present.

Meg Morley and Haiku Salut combine their talents for the reimagining of a score for the 1930's silent film People on Sunday. Inspired by their live performance and screening of the classic at the Flatpack festival. The release was five years in the making as they set out to capture the compositions in the studio, blending Morley’s expressive piano with Haiku Salut’s textured electronics. The result has given rise to an album that belies its historic source with a fresh and clean sound and a complex ever moving series of compositions.. 'The Lost Score' is a vibrant contemporary album for our time.

Haiku Salut are an instrumental trio whose music blends electronica, neo-classical and folk into richly layered, cinematic soundscapes. Known for their enigmatic performances and live scores to silent films, they create immersive experiences that merge timeless visuals with modern experimental sound.

Meg Morley is a Melbourne-born London-based pianist, composer and improviser who pursues cross-cultural and interdisciplinary collaborations, focusing on storytelling. Her classically trained precision and jazz-inflected improvisations have brought her to prominence through her compositions for classical and jazz ensembles, accompaniment for dance companies (Pina Bausch, English National Ballet) and her internationally-acclaimed original scores for silent film.

During his time with the Yosuke Yamashita Trio, Nakamura poured his entire being into every note, weaving flashes of inspiration and raw impulses into powerful blows in the early 1970s. With this work, he undergoes yet another transformation. As Nakamura himself described: “Sharing space with everyone, feeling as if we’re flying freely like birds that’s the ideal.” Here, layers of sound and moments of silence expand the sonic space, and within it, Nakamura’s saxophone runs vibrantly and unrestrained.

Highlights include the exhilarating “Wolf’s Theme”, inspired by Kazumasa Hirai’s Wolf Guy series; the nostalgic melodies and relaxed groove of “Harappa”; elegant, richly textured interpretations of standards like “Body & Soul” and “I Can’t Get Started”; and the dynamic, liberating energy of “Viva Giappone”. In every track, Nakamura’s ideal is vividly realized. Featuring contributions from Toshiyuki Daitoku, Aki Takase, and Ryojiro Furusawa.

He rose to fame after appearing on the sixth series of Britain's Got Talent in 2012 as half of the classical duo Jonathan and Charlotte. He subsequently went solo and his debut album, Tenore, was released in the UK in 2014. Three subsequent albums followed and for 2026 comes his brand new album, Speaking To You. A magnificent collection of new recordings of some really well known favourite songs performed brilliantly

Thomas Peter debuts on Hallow Ground with »changing bodies,« an album inspired by the resonance and reaction of objects with and to sound. The Swiss composer and sound artist has worked with sounds generated with various materials, field recordings, and an array of analogue and digital synthesizers to create five ever-shifting pieces full of twists and turns in which even silence plays a significant role. Peter composed and recorded the album over the course of four years in an inherently physical process, led by both his intuition and his perception—what you hear on »changing bodies« is an artist intently listening to the material world around him.

Peter laid the foundation for »changing bodies« by making field recordings wherever he went, whether in closed rooms, cities, or rural environments, while also recording organic-sounding material with different synthesizers as well as working with objects made of wood, stone, or metal. »I viewed all these sounds as a kind of language that I was trying to understand,« he says. »I paid close attention to differences between sounds in motion, rhythmic patterns, and dense textures.« He further describes this as an inherently corporeal endeavour, quite literally becoming all ears and internalising the different sounds.

This process of concretion led to one of abstraction when Peter translated the source material and its psycho-physical reverberations into new musical structures. He applied repetition, densification, and recombination to unlock their true potential. Across its five tracks, the album sets literally unheard-of sounds into motion, creating intricate dynamics without ever overwhelming its listeners. »changing bodies« was born out of listening intently and physically.
It is recommended to listen to it in the exact same way.

Musubi is an album conceived as a puzzle without a predefined plan. Each artist created their track independently, without listening to the others, yet the result is a coherent journey of downtempo, psychedelic and elegant pieces that naturally resonate with one another. This album reflects the essence of Wabi Sabi Audio Imprint: embracing imperfection, spontaneity, and the beauty found in the unexpected.

Over six years have passed since HAGZISSA's successful debut album, They Ride Along. Some may have even declared the Austrians as dead in between; however, HAGZISSA never ceased to wander the borderlands of the here and beyond. In silence and yet in turmoil, too, a nightmare has been slain and gutted - in necromantic pride, its offspring gleams and dances to never-ending music of the night!

HAGZISSA's brand-new Revelry of a Maltreated Jade EP is a showcase of a pack in motion, marking this as the last recording with A White Pawn (Kringa, Weathered Crest et al.) and the first with V.Adalbert II (Sněť, Bahratal et al.). The four-song work is immediately recognizable as HAGZISSA: a now-trademark style of eyrie, olde-worlde black METAL that's obscure, enigmatic, and unbound. Here, intensities are both reigned in and let loose to roam even wilder, as Iron Curtain heavy metal magick weaves a spell perhaps even more potent than said full-length. The result is somehow more approachable and more foreign, but compellingly potent either way.

With heads both in the past and the future, thus passes the glory of the world and dives deep into another plane! Can't you hear their flutes and horns and whispers? So come, then, and join in boisterous battue!

“There’s something about sitting there—just me, the keys, and the silence. No beats, no drops. Only raw emotion.”

Containing 15 intimate piano songs, this album shows a different side to the world-famous DJ and producer:

more personal, more emotional. First recorded on his Steinway, then arranged into proper scores alongside piano teacher

Geronimo, this body of work is saturated with the vulnerability of stepping beyond his comfort zone.

Piano is available on a 2LP set, complete with 16-page booklet including pictures and liner notes by Armin.

Double LP pressed on transparent red vinyl with black marbles. In Dying Light: The Beast, you step back into Kyle Crane's skin, but he's no longer the man he once was. Years of experiments have left him torn between fragile humanity and a monstrous power that he can barely control. Every light, every shadow, every choice feels dangerous. The forests and ruins of Castor Woods don't just set the stage, they breathe, they watch, and they punish the reckless. This is survival stripped to the bone, where horror is not just outside, but inside you. Olivier Deriviere's powerful and capturing score for Dying Light: The Beast doesn't just accompany Crane's journey, it is his voice. Sometimes it whispers in empty rooms, fragile and broken, sometimes it roars with distorted rhythms and pounding drums when the Beast takes over. Between silence and sound, the music pulls you deeper into Kyle's fractured soul, making every step and every heartbeat part of the story. It's not just a soundtrack, it's the echo of a man losing, and maybe finding, himself.

Alice Kemp is a British artist working with noise, performance, fetish objects, installation and many other forms of media. Throughout her work, she articulates a broken and illogical syntax of the subconscious through trance states, dreams, and disturbances. She has performed extensively, occasionally as an associate to the Schimpfluch-Gruppe of Swiss extreme aktionists.

It is a rarified violence that the Kemp invokes on her 9 Dreams In Erotic Mourning. Something disfigured. Something fucked. Something left behind. The subject matter of her investigations are deliberately inscrutable as she grotesquely amplifies a moment of terror, or fear, of sadness through pockets of piano melodies broken by psychoacoustic noise, razor-cut silence, ghastly vocalizations, crushed acts of physical aggression, and buckets of high-pressure suspense. Cryptic and oblique by design Kemp's work reads perhaps as a seance gone awry, certainly as private ritual made public, and as a transfiguration of literary body horror turned into a sonic nightmare that runs parallel to the works of Rudolf Eb.Er, Puce Mary, Sewer Election, and Luc Ferrari.

9 Dreams In Erotic Mourning was originally published as part of the instantly out of print boxset, On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency.

Two percussionists, one sound universe. With “All you can BEAT,” Double Drums serve up an energetic and surpri-singly versatile percussion album. The two exceptional musicians have been performing together on stage for 20 years now. In addition to numerous concerts in Germany, they have also performed throughout Europe and Asia.
Now Alex Glöggler and Philipp Jungk are celebrating their anniversary with a work that showcases their entire musi-cal range: from driving rhythms to a multifaceted soundscape to moments of great emotion. “All you can BEAT” is a tribute to everything percussion can be: powerful, delicate, wild, and touching at the same time.

On the one hand, there are rousing original compositions such as “One More Time” and “Hydra,” about which the rhythm artists say: "The music is inspired by the many-headed monster Hydra from Greek mythology. When it loses a head, two new ones grow back. Musically, new patterns or rhythmic elements are constantly being added, overlap-ping each other and pushing others into the background. The result is minimal music based on an energizing flow with a focus on the marimba."

Produced by Josh Schroeder (Lorna Shore, Dayseeker), the record captures Varials at their most instinctive and unfiltered. Imperfect takes, emotional performances, and new melodic textures create a sound that's both crushing and alive. Onstage, the lineup ( Skyler Conder , Mike Foley , Sean Rauchut , and Shane Lyons ) continues to prove why Varials remain one of heavy music's most cathartic and commanding live acts







[g] [wouldyoufollowme]





[m] [intothequiet]

Benefit compilation with exclusive tracks from live performances & installations at eavesdrop festival 2024. All revenues go to charities providing medical aid and food sovereignty in Gaza.

In november 2024, eavesdrop festival presented its 3rd edition of contemporary electronic music and sound art, taking place in the striking architectural setting of silent green’s Betonhalle in Berlin. ”to eavesdrop” - is invoked as a mode of listening intently, attentively and with curiosity. With its ongoing commitment to adventurous listening cultures, the festival brought together a top-notch line-up of Berlin based and international artists, who share a common practice in electronic sound composition whilst spanning a diversity of inter-related contemporary tendencies. Whether it’s multi-award winning Mariam Razaei’s exceptional turntablism, Ilpo Väisänen’s legendary DIY analogue electronics, Jasmine Guffond’s generative sound installation, Nina Garcia’s extraordinary electric guitar manipulations, Lottie Sebes’ AI voice synthesis or Rashad Becker’s idiosyncratic synthesizer explorations, to name a few, eavesdrop invited listeners to consider, from multiple perspectives, new social and technical developments in international music and sound cultures.

This compilation documents those 2 nights with 9 exclusive tracks - 7 live performances and 2 stereo mixes from multi-channel installations, edited by the festival’s curator / organizer Jasmine Guffond, with a total running time of approx. 78 minutes. All revenues will go to charities providing medical aid and food sovereignty in Gaza: Medical Aid For Palestinians & Thamra.

The first resonant space Zosha Warpeha played in was the Emanuel Vigeland Museum in Oslo, Norway. Built as a mausoleum, its walls reach up into a gradual archway, creating an environment where sound expands and reverberates for twelve seconds before decaying into silence. Warpeha was greeted only by dim lights when she entered, and it wasn’t until she had spent several minutes listening that she was able to make out the frescoes that covered every inch of the room: graphic depictions of the cycle of life from conception through death. As the sound of her Hardanger d’amore encountered the walls and these slowly emerging scenes, they obscured its point of origin in both time and space, augmenting its own life cycle. The experience sat in the back of her mind over the next several years as she developed her own patient style of composition and performance, one that comes into full bloom on her new album I grow accustomed to the dark.

When Warpeha was selected as an artist in residence at Brooklyn’s ISSUE Project Room in 2025, she saw it as an opportunity to more intentionally explore how her music might fill a room with ample natural reverb. I grow accustomed to the dark documents two single-take solo performances for Hardanger d’amore and voice at IPR, with both pieces composed in a unique tuning system developed to interact with the space itself. Listeners can trace resonance from the contact of the bow on gut strings into the body of the instrument, its five sympathetic strings offering another layer of refraction, before the sound is thrown about the cavity of the room. The echoes emerge like a photographic double exposure, or wisps of smoke that linger in the air, creating ghostly harmonic convergences that blur the line between what is there and not-there. Sound begins to act like light, a synesthetic alchemy that transforms drones into beams and ornamental trills into flickers.

Both side-long compositions, “filament” and “visual purple,” exemplify a duality that animates Warpeha’s music: an expressive, individualistic style that draws on extensive knowledge of her instrument’s history in folk traditions, and an austere, devotional quality maintained by focus and precision. Though very different in character and structure, both pieces evolve slowly through numerous repetitive phrases, passages of stillness, and bursts of intensity. “filament” opens with a cycle of delicate melodic fragments played and sung around a drone before blossoming into an outpouring of swooping arpeggios, harmonics flying from the strings like sparks off a bonfire. The disorienting pulsation of harmonic beating forms the core of “visual purple,” the close-tone dissonance building to a swarm of open strings ringing boldly throughout the space. After the knotty tones reach their climax, the piece collapses into studied quietude, hushed, but without any drop in intensity.

When Warpeha first visited the Vigeland Museum in 2019, she was in Oslo to deepen her relationship to the Hardanger fiddle through the study of Norwegian traditional music, which is primarily passed down aurally. The experience of learning songs by ear, not only internalizing the tune but also absorbing the techniques and tonalities by listening, was a crucial step in her development as a composer. The years since have seen her sharpen those skills as a prolific member of the New York avant-garde and improvised music communities. Warpeha’s music encourages listeners to join her in this journey, to listen closely with each repeated phrase and through each dramatic shift. Like the frescoes on Vigeland’s walls, with time and intention, the depth of I grow accustomed to the dark comes on like a revelation.

ESCAPE-ISM — the found-sound dreamdrama— are back in action & out in front. And this time, they’re leading a “Charge of the Love Brigade. ”This “charge” isn’t the traditional scramble across a muddy, bloody field though, like in the days of yore. This one is a furtive insinuation into the senses of the tuned-in listener.
Their fifth record, and fourth “sound” record — (the third one was “A Protest Against Sound”- an entirely silent LP) — “Charge of the Love Brigade” is revolutionary in its own right. Besides being packed with tunes — super-hits such as “Black Gold,” “Last Of The Sellouts,” “The Rebel Outlaw,” & “Fire in Malibu,” for exam- ple, Charge of the Love Brigade proposes a reformation of the traditional notes and scales; an entire new sound alphabet!
That’s right, ESCAPE-ISM —the “act of musical vandalism”— famous for their development of new prototypes for stomping & smashing, are reforming the scales, chords, & notes (e.g. A, B, F#, etc) that comprise musical literacy to achieve the group’s primary aim: the repurposing of music as we know it. Though many musicians of note have operated their instruments with "alternative tunings," up until now no one has obliterated tuning absolutely or abolished letter-notes for the destruction of bourgeois society.
According to ESCAPE-ISM, this will have a very profound effect: “Music will no longer be cordoned off from the rest of experience as a commodified, specialty freak show, but instead be a pastime which can be prac- ticed and enjoyed –not only by non-musicians and amateurs– but also by plant life, wild animals, and even inanimate objects such as rocks.
“The violent overthrow of musical conventions will lead to the reintegration of humanity into the natural order, the reordering of life itself into a cosmic congruity. This means the convention of time itself will be ended.” Like so-called nature itself, the ESCAPE-ISM group is also on a “loop.”
Play “Charge of the Love Brigade” and listen as ESCAPE-ISM go “over the top” against the note-letters of accepted musicality in a world premiere of a new upside-down antiscale.

For here lies one of the most influential bands in the realm of gothic metal, a group with doom and death metal roots that has flourished for over three decades, boasting thirteen albums that have garnered devoted acclaim. This injustice is now being set right by The Circle Music , beginning with the vinyl release of the classic album "Burning: A Wish", which emerged twenty-four years ago. "Burning: A Wish", released in the twilight of the year 2001, stands as a dark reliquary of dreams lost to the velvet fog of melancholy. To revisit it now, two dozen years later, is to unseal a time capsule of gothic ache, doom- laced longing, and the tormented tenderness that only Lacrimas Profundere could conjure at their creative height. It was a candle-lit corridor between worlds. A slow fall into velvet shadows. A scream muffled by rain.

By the time "Burning: A Wish" was released, Lacrimas Profundere had already begun to evolve from their early death- doom origins, shaping their identity with the sophistication of seasoned mourners. The death growls had receded, replaced by the haunted, baritone croon of Christopher Schmid, whose voice is an echo from a chapel ruined by time. Yet, while the growls faded, the emotional gravitas remained intact, transmuted into melody, into baroque gloom, into something more sorrowfully refined. Produced with lush, theatrical clarity, the album never drowns in its own atmosphere, it breathes with it, moves with it. The soundscape is dominated by somber guitar textures, languid tempos, and subtle orchestral touches. From the very first notes, it is clear that this is music for ruined lovers and moon-drenched graveyards.

This is the hallmark of Lacrimas Profundere 's style: an emotional minimalism that does not explain or elaborate, but merely opens wounds and lets them breathe. That this album has remained, until now, absent from the warm embrace of vinyl is both tragic and oddly poetic. For what format better suits a record such as this than the one that cracks and hisses like an old seance? Vinyl is tactile, intimate. It requires attention, reverence. To place Burning: A Wish on a turntable is to light a candle in the dark.

Alle größten Hits von Nat King Cole jetzt auf hochwertigem Doppel-Vinyl! Diese Edition vereint 24 zeitlose Klassiker des legendären Crooners - ein Muss für Liebhaber eleganter Jazz- und Popmusik. Mit seiner unverwechselbaren Stimme prägte Cole Generationen und schuf unvergessene Standards. Enthalten sind Meilensteine wie "Unforgettable", "When I Fall in Love", "Stardust" und viele weitere Songs, die Musikgeschichte geschrieben haben.

Classy dub techno EP with oldschool attitude, groovy energy and powerful modern elements.

Mastering & lacquer cut by Kassian Troyer at Dubplates & Mastering Berlin

Soft Echoes presents the first physical edition of ‘In a Few Places Along the River’ by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release.

Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space.

‘Against a White Cloud’ and ‘In True Contemplation’ open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece ‘Along the River’, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn't break the wilful suspension of disbelief: you stay in its trance.”

“Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of ‘Along the River’ was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.”

After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.”

Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note.

The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s ‘Slow Walker’ audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film ‘Soixante-sept millisecondes’.

Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.

A brash, unapologetic blend of electronic, dance, punk, industrial, and pop music, No Lube So Rude exists at the intersection of the personal and the political, where the body serves not only as a sexual and spiritual vessel, but also as the front line in a battle for basic human rights. Peaches’ lyrics are bawdy and explicit here, laced with biting sarcasm and clever wordplay, but they’re also surprisingly vulnerable, offering up a candid look in the mirror from a post-menopausal queer icon reckoning with a society that’s come to expect silence, if not outright erasure. The result is a deliberately provocative exploration of identity, sexuality, and bodily autonomy from a trailblazer, a singular work of emotional and sonic alchemy that balances the poetic and the profane in equal measure as it transforms all the friction and frustration of modern life into joy and transcendence.

Global Aura Records is back after a long period of silence with this awesome goa fullon psytrance release from Antidot (FR). This upcomming multitalent is wellknownfrom his livesets with Dica and to make this release extra special; he invited Jape Du Marie to do a remix of his track "Astral". This is just the beginning !!! Global Aura is amember of the Flatlife Records Labelgroup.

Norwegian hard rock band Gjenferd returns with their second album, Black Smoke Rising. Black Smoke Rising takes the band to a new level, building on the strengths of their debut while pushing the sound in a more direct and accessible direction. The album delivers stronger songs, sharper hooks and a tighter overall approach, without losing the darker edge that has defined Gjenferd from the start. Guitars and organ are at the core of the sound, driving solid riffs and catchy vocal lines with a clear pop sensibility beneath the heaviness. The band's debut album received strong reviews both nationally and internationally, including 4. place on Doom Charts in May 2024. Gjenferd draws inspiration from classic heavy rock acts such as Black Sabbath and Deep Purple, combined with a modern hard rock approach influenced by Ghost and Hällas. They're known for energetic live performances, including appearances at festivals such as Desertfest Oslo.

The new record follows Priddy"s sophomore LP "The Pendulum Swing" which firmly established her as one of the most exciting artists on the contemporary British music scene. Produced by Rob Ellis (PJ Harvey, Anna Calvi, Bat for Lashes), "These Frightening Machines" was written over the course of a year as Priddy made the transition from her 20s to her 30s. The most sonically varied of her career, the songs span a full spectrum of emotions from anger and despair to hope, longing and lust, from reclaiming the voices of women silenced by history, to expressing solidarity and love, to confronting illness, disconnection, the vulnerability and importance of relationships, and the general ache of growing older and not always wiser. They explore what it means to keep going when things fall apart, to hold onto connections in a world that sometimes divides, and to figure out where we fit into the machines and systems we find ourselves a part of.

The new record follows Priddy"s sophomore LP "The Pendulum Swing" which firmly established her as one of the most exciting artists on the contemporary British music scene. Produced by Rob Ellis (PJ Harvey, Anna Calvi, Bat for Lashes), "These Frightening Machines" was written over the course of a year as Priddy made the transition from her 20s to her 30s. The most sonically varied of her career, the songs span a full spectrum of emotions from anger and despair to hope, longing and lust, from reclaiming the voices of women silenced by history, to expressing solidarity and love, to confronting illness, disconnection, the vulnerability and importance of relationships, and the general ache of growing older and not always wiser. They explore what it means to keep going when things fall apart, to hold onto connections in a world that sometimes divides, and to figure out where we fit into the machines and systems we find ourselves a part of.

Luciano Cilio was born in Naples, Italy, in 1950. He studied music and architecture and, in the late '60s, collaborated with local artist Alan Sorrenti, American expat Shawn Phillips and various avant-garde theater groups. A virtuoso guitarist and self-taught composer, Cilio released only one LP before his untimely death at the age of 33.

Dialoghi Del Presente (1977) is a work like no other, one that sounds both ancient and ahead of its time. Produced by Renato Marengo, it features a series of muted tableaux for strings, woodwinds, guitar, chorus, piano and percussion. Cilio carves out a space where subtle, repetitive phrases yield – almost imperceptibly – to breathtaking silence.

As Jim O'Rourke writes, "These recordings sound as if they were to please no one but himself; they feel self-contained, introspective, and determined ... You can feel in the music a sort of necessity that can be rarely found, like in This Heat's debut or Nick Drake's Pink Moon."

While each subsequent "quadro" grows slightly more abstract, Cilio draws the listener into an expansive, pastoral soundscape. The closing piece, "Interludio," begins with a plaintive guitar, which is joined by haunting strings and woodwinds before concluding, poignantly, as the album began, with Cilio and his guitar, alone once more.

Superior Viaduct's edition reproduces the original sleeve design. Recommended for fans of Johann Johannsson, Talk Talk's Spirit of Eden, Arvo Part and Popol Vuh.

Mit seinem Debütalbum "Mesdames, Messieurs !" sorgt Sam Sauvage für einen elektrisierenden Neustart der französischen Popmusik. Seine 13 Songs sind gleichermaßen ungestüm, poetisch und kompromisslos ehrlich - ein Sound, der zwischen Synth-Poesie, Rock-Theatralik und intensiver Erzählkraft oszilliert. In Stücken wie "Avis de tempête" oder "La fin du monde" entfacht Sam eine dramatische Energie, die den Nerv unserer Zeit trifft: der Tanz am Rand des Chaos, gepaart mit einer eindringlichen Botschaft, den Moment festzuhalten. Gleichzeitig zeigt er in "Boulogne" oder "Roi du silence" eine zerbrechliche, fast intime Seite, die seine Songs zu emotionalen Miniaturen macht. Sam Sauvage ist ein Ausnahme-Performer: körperlich, direkt, nahbar. Seine Stimme und Präsenz - geschärft durch Straßenmusik, Bar-Gigs und Support-Shows für u. a. Zaho de Sagazan, Eddy de Pretto und Benjamin Biolay - machen jede Live-Situation zu einem Ereignis. Ein Album, das berührt, provoziert und bleibt. Ein neuer Name, der nicht mehr zu überhören ist.

The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach. The first release from Sleep Research Facility since 2012's "Stealth" (Cold Spring) is inspired by the deep sea ocean floor. The Canadian-based composer explores notions of awareness and perception in the sub/unconscious listener. Focusing primarily on sound bereft of rhythm based energies, SRF provides an environments wherein the music adds texture to the silence. Using form without structure and concentrating on space as opposed to narrative, SRF entertains the idea that music can reside in the very fabric of sound itself. The brand new material here was created specifically for this split release.Taking inspiration from the beautiful, but often harsh landscapes and environments of his home on Anglesey, North Wales, Llyn Y Cwn has built on the nautical theme of "Du Y Moroedd" (Cold Spring). These tracks are based on field recordings relating to the ocean, and could be seen as a companion piece to the album. 'Dale Dawn' features a recording of the dawn chorus made from the floating pontoon at Dale, Pembrokeshire. 'Pebble' includes the sound of waves crashing on a Dorset cobble beach, thousands of rocks colliding in chorus. 'Doppler Current Profiler' is based on the sound of an ADCP, an acoustic sonar instrument used to measure water currents - a 600Khz ping slowed to a heartbeat. CD in mini-LP sleeve, replicating the vinyl design. The artwork features a separate front cover design with individual art for each side, making this a true split release.

The new EP is released on limited edition 'Scissorhands Ice Blue' coloured vinyl with a hand-numbered gold riso print sleeve art with obi strip. Sarah/Shaun wooed hearts and wowed critics with debut EP It's True What They Say? in 2024 plus follow-up EP Someone's Ghost in 2025.

They have been featured across the media including BBC Radio 6Music, BBC Radio Scotland, The List and The Skinny. They've played gigs supporting French legends Air, Glaswegian 80s pop legends The Bluebells, Glasgow's huge Glasvegas, a slew of venues across Glasgow and Edinburgh, not to mention the festivals: Kelburn Garden Party, Fringe By The Sea, Kendall Calling, Dunbar Music Festival and Hidden Door Festival. The duo are set to release a full length album in late 2026.


[b] A2 Heart Started Beating [Backwards] (4:10)
[c] B1 Desperation Looks Ill [From The Other Side] (4:26)

yellow & green mixed coloured vinyl 2026 Repress

Previous releases on aufnahme+wiedergabe, Fleisch Records, Minimal Wave Records imprint Cititrax and n-PLEX have been frequently played by acclaimed DJs (Phase Fatale, Randomer, VTSS, Amelie Lens, Regis, Helena Hauff, SPFDJ, Veronica Vasicka, Silent Servant to name a few).

Schwefelgelb is a Techno duo from Berlin, known for their raw but precise and cutting productions. Their reputation for a strikingly energetic live show brought them into clubs and festivals around the globe.

After launching their own label n-PLEX and releasing two original EPs on it, NPLX003 marks a re-release of their most successful record "Dahinter Das Gesicht" ("Behind It The Face"), which was released on aufnahme+wiedergabe in 2017 primarily. After 1500 sold out copies it still remains highly demanded as one of the most influential records for actual EBM-Industrial-influenced Techno. This re-issue comes in a special edition of remastered track versions and also includes an edit of its most notorious track "Es Zieht Mich" as addition to the four original tracks.




c B1 Es Zieht Mich GP2 edit

Mastery, London’s pioneering sound studio, has spent its first two years creating live experiences and installations exploring sound as a gateway to altered states. Now, with co-founders LWE, Mastery enters recorded music with Quantum Sound, a first-of-its-kind project combining sound meditation, breathwork, neuroscience and ambient electronic composition. Announced in December in collaboration with Houndstooth, the album builds on Mastery’s ongoing exploration of sound as both meditation and live electronic music, first introduced through immersive performances by Cherub Sanson, Tim Wheater and Daniel Avery.

Released on 12th February, Quantum Sound positions sound as a psychedelic catalyst, designed for eyes-closed listening. The multi-artist album spans ambient and transcendental spaces, featuring Jon Hopkins, Hannah Holland, Wata Igarashi, Manami, Jennifer Loveless, Silent Shadow and Alessandro Cortini. It also includes a continuous 60-minute mix by Hannah Holland, alongside a 15-minute sound meditation by Cherub Sanson and Tim Wheater with electronic composer Rommek. Following Djrum’s Come Find Me, Ruthlss'’ Dark Angel is out today. Ruthlss is a live electronic artist, composer and producer building a singular musical universe where club culture, classical virtuosity and emotional
storytelling collide. At the centre of the project is a fully authored live show - written, produced and performed entirely by Ruth - that treats electronic music with the emotional and structural depth of film scores and symphonic works, while retaining the physical impact and communal release of the dancefloor.

Having transitioned between London, Lisbon and back again as a DJ and producer, as well as across the world as the drummer in beloved pop group, Metronomy, Anna Prior remains an essential and independent force in alternative and electronic music culture. The current epicentre of this creativity is undoubtedly Prior’s own label, Beat Palace. Established in 2021, it has showcased the talent and diversity of FLINTA producers carving an esoteric space within alt-pop and electronic music.

Returning to the imprint for the first time since its inception, Anna Prior utilises this vital platform to refine her own craft across the five-track ‘Firefly’ EP, exploring new moods and styles, balancing playfulness with vulnerability, shadow and light. Prior describes ‘Firefly’ as, “a collection of moments - some fleeting and some stubbornly lingering.... Each track came together almost by accident, but now feels to me like they've always belonged together.”

Lead single ‘True For You’ pulsates with soft euphoria, as Prior weaves softly cascading synths with her own earnest declarations, composing a sensual, sophisticated drama about “letting other people's differing truths sit alongside your own” that nonetheless carries a distinct club energy. In contrast, title track ‘Firefly’, written alongside co-producer Matt Karmil, unfolds as a spoken-word piece, investigating memory, “the tricky mirror that reveals more than it conceals”. Throughout, Prior’s inquisitive, native Yorkshire accent anchors a wide-eyed soundscape that gradually, impressively escalates into the cinematic.

Centerpiece track ‘Silence’ turns this approach inside out, escalating the tempo and revealing a DnB-influenced shade of Prior’s work that is certain to surprise and impress, scattering elegant syllables amongst serious soundsystem pressure as Prior navigates the feeling of being ghosted; by friends, lovers and even her own work. ‘No More Drama’ returns to pop, presenting a bold cover of Mary J. Blige’s classic that inverts the original’s unmatched intensity for a more serene, but no less affecting rendition.

Finally, ‘Beside You’ delivers one last, sublime blend of Prior’s songwriting and sequencing instincts, a simple pop incantation that coaxes dancers into a soft trance while concluding with a reminder from Prior that “amid life’s unanswered calls and fleeting highs, there is always space to feel safe and unjudged.” Concluding this sublime EP, Prior finds new ground to settle into her talents.

8-page lyric / drawing booklet, glossy poster, download card (inc. mp3s), white inner paper bags, sticker on cover.

After 7 strange years of relative silence, and 13 years of being a band, Dog Chocolate have returned with ‘So Inspired, So Done In’. Their fourth album is their most focused, cohesive and song-y yet. They still sound like a bin full of wasps, but now the bin has double-cream or a Viennetta or something at the bottom. While many of the 16 songs on here barely make it past the 3-minute mark, each one is bursting with all the textures and colours of an office cupboard: full of old sweets, fluorescent markers, and multiple ways to fix paper together.

Thematically, a lot of ground is covered, with songs tackling subject matter as diverse as overheard conversations, healing fungal toenails, the Rogerian concept of the Actualising Tendency, bronze age living conditions, dreaming songs into being and human-plant relations. Work (and anti-work) is a recurring theme, as is artistic inspiration and burnout. Dog Chocolate revel in the mundane and incidental, to explore bigger, existential questions. Recorded and mixed by POZI’s Toby Burroughs and mastered by Sofia Lopes, ‘So Inspired, So Done In’ charts a long and confusing period in the band’s collective life, marked by major life changes, losses and shifts, colouring the band’s trademark frantic, daft and anxious energy with a contemplative glaze. Dog Chocolate continue to investigate their internal and external landscapes with playful curiosity, frustration, silliness and empathy.

Pre/history of the band: In the early 2000’s Andrew (vocals), Rob (guitar, vocals) and Matthew (guitar, vocals) played together as teenagers in South-East London-based maximalist, costumed surrealist punk band Yeborobo. They met drummer Jonathan playing with his instrument-swapping masked band Limn at art space Utrophia in Deptford. Later, when both bands had split, Dog Chocolate formed with a shared desire to make a band that was simpler than their theatrical past: small amps and light guitars, no more than 2 drums at any one time, a keyboard no longer than a ruler and a shared ethos… “it’s about giving a shit, but at the same time not giving a shit, but not ‘whatever’, not giving up never!”. The band floated the term “pencilcase punk” to describe their jumbled, colourful, dense and instant music.

Dog Chocolate built on this early scrappiness, bedding into their sound over several albums. Their first “Or” (2014) was a split with Ravioli Me Away, soon followed by “Snack Fans” (2016) and “Moody Balloon Baby” (2018). Along the way they played gigs with bands as wide ranging as Deerhoof, No Age, Dry Cleaning, Palm, Daniel Wakeford, Shopping and Pozi.

With a tendency to converse with each other both lyrically and musically cultivated over many years, the members of Dog Chocolate bounce off each other, respectfully disagree, try to make each other laugh and share some of their most vulnerable feelings with each other. ‘So Inspired, So Done In’ is their own unique offering during these unsteady times: a language of friendship translated into songs.

A blend of Metal Indus and Bass Music, VIOLENCE is an ambitious and atypical project produced by Niveau Zero, one of the pioneers of French Bass Music. Composed of Fabio Meschini (Guitar / Ex: As They Burn) , Morgan Sansous (Drums), John Kazadi (Lead Vocal) and Frédéric Garcia aka Niveau Zero ( Machines and Vocal ).

OPUS I', their 1st album (2021), composed in collaboration with choice guests such as Billy Graziadei (Biohazard, Powerflo), Bastien Hennaut (HORSKH) and Code: Pandorum... has frankly succeeded in arousing the enthusiasm of both Metal and Bass Music audiences.

On stage, the band has not been outdone, offering a crescendo of increasingly furious performances over the last year alongside bands like Biohazard, Mass Hysteria, Ten 56, Horskh, Shaargot, Novelist, Revnoir, King Yosef.

Pioen is the second album by Elisabeth Klinck & Nils Vermeulen, released on blickwinkel. It was recorded in a small chapel of a monastery in the city center of Ghent. A chapel by nature is a place of contemplation and meditation, which automatically had influence on the music. Movements slow down, attention is sharpened and the overwhelming silence of the space becomes part of the music. Sound and silence are meticulously woven into each other. Even when the music grows at times dense and heavy, there is an ever-present sense of closeness and intimacy. This is reinforced by the use of the voice, which naturally appears throughout the album, not as a separate layer but as an extension of the instruments.

The pieces – this time more curated than on their previous album Pair, Paire – arose from hours-long improvisations where sound became space and space became sound. Bringing together violin, double bass and voice, Pioen unfolds as a serene and honest journey, inviting the listener into a state of contemplation.

Elisabeth Klinck is a contemporary violinist, composer and performer based in Brussels, known or her timeless, deep-listening sound worlds. Her album Picture a Frame (2023) and Chronotopia - selected by The Quietus as one of the best albums of 2025 - were released on the Swiss label Hallow Ground. A big part of her work revolves around tactility, fragility, and a very physical approaches to sound.

Nils Vermeulen is a Belgian double bass player active in all varieties of adventurous music. He has played with Paul Lytton, Martin Küchen, Seppe Gebruers, William Parker, John Dikeman, Luis Vicente, among others. He works across many scenes, from free improv to jazz to contemporary classical music, and in many distinct constellations, such as his own groups Kabas and Jukwaa, a Norwegian free jazz trio with Tollef Østvang and Heidi Kvelvane, a string duo with Elisabeth Klinck, and as the double bassplayer of Nemo ensemble. In 2023, he released his debut solo album on Aspen Edities.