“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.
The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.
An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.
Bosco Sacro is an Italian quartet formed in 2020 by Paolo Monti (The Star Pillow, DAIMON), Giulia Parin Zecchin (Julinko), Luca Scotti, and Francesco Vara (both formerly of Tristan da Cunha, with Vara also active in Altaj).
Inspired by the sublime and restorative power of nature and its landscapes, and driven by a shared belief in music as a healing and liberating force, Bosco Sacro create immersive soundscapes where dreamlike atmospheres, slow-moving rhythms, and spiritual depth converge. Their music draws from ambient, doom, and trip-hop, transforming these influences into a deeply personal and evocative sonic language.
Ihabit, their second studio album is a captivating exercise in sonic existentialism and a bold departure from their previous release, Gem. Composed entirely live in their rehearsal room and recorded over seven days with producer Lorenzo Stecconi, the album captures a raw, collective energy. Across eight interconnected tracks, the band crafts a modern ritual of ego dissolution and rebirth, weaving a diverse sonic tapestry where the crushing weight of doom and slowcore meets the weightless beauty of dreamgaze, ambient, and trip-hop.
BOSCO SACRO are:
Paolo Monti – guitar
Giulia Parin Zecchin – vocals, lyrics
Francesco Vara – guitar
Luca Scotti– Drums
Forty years of cassette releases, pressed for the first time on vinyl
First of two instalments exploring the previously unreleased sonic archives of one of Poland’s most enigmatic
living artists - with its first volume focused on his deep listening practice and spiritual reverie (recorded 1990–2013)
The last time Andrzej Dudek-Dürer took a banknote bearing the face of the Polish anarchist Jarosław Dąbrowski from his pocket to trade it for a pair of shoes was in 1969. He bought them for 120zł - the equivalent of 100€ today - and never replaced them since then. Only rebuilt them, year after year, drawing a needle and thread through the leather each time it split, closing one wound before the next one opened. It became a ritual of precision, stitching a record of another year into their soles.
That same year, in Wrocław, he arrived at a conclusion that would recalibrate everything that followed. Convinced he was the reincarnation of Albrecht Dürer, he adopted the surname Dudek-Dürer, stopped cutting his hair and began wearing the same garments every day. It was the first ritual of many, though he wouldn't have called it that yet. Look closely enough, over the decades, and it is always the same gesture, returning in different material: hair growing in a single unbroken strand, a needle drawing thread through leather, sitar strings pulled taut across a neck he built with his own hands and magnetic tape spooling forward inside the cassette boxes stacked against his walls.
None of this began in a vacuum. Dudek-Dürer emerged from the Wrocław neo-avant-garde, in a Polish art world where an exhibition could be cancelled overnight by the stroke of a censor's pen. In 1973, his exhibition Auto-crucifixion was shut down by the state, and for a time he found himself blocked from exhibiting his own art at all - the one force in his life that ever came close to cutting the thread.
He seemed to experience it differently. In 1974, after long, patient research into sitar craftsmanship, he built his first prototype with his brother, a knowledgeable luthier. In 1978, in a smoked-out jazz club, he took his first steps into sound recording with the unreleased album Jazz From Underground with his first band. By 1979, recognition started to travel further than he could.
Turning toward Far-Eastern philosophy, meditation and the idea of reincarnation was another language of freedom for him. It was a way of claiming an inner territory the state could not reach, a border it could not close. Mail Art served a parallel function, reaching further out: in a country that restricted travel and expression, sending and receiving art through the postal system became an act of quiet rebellion.
The body, in his understanding, is only an envelope readied for constant transformation. From this came Metaphysical Telepathy: during the years he could not leave Poland, he treated that confinement as a rehearsal room, sending his mind out ahead on the same thread his body would later follow. Living Sculpture grew from the same root with performances of stillness beside static art objects, until the boundary between the object and the man beside it simply dissolved. Camera Meditation extended the same instinct into photography: a shutter click flattening three dimensions into two so that a single instant could be held forever. Inspired by the pioneers of self-portrait photography like Robert Cornelius, he used it to document time itself, and kept explaining to me: "You know. This is not about vanity. This is about observing time passing.”
The isolation did not end suddenly. It ended the way his own philosophy had already predicted it would, from the inside first. Mail Art quietly solved the problem politics couldn't. Correspondence built during years of confinement slowly worked its way through doors the state itself had kept locked. Contacts made through folded paper and stamps became invitations. Ultimately, invitations became passports.
In 1983 he made his first trip outside Poland, to Germany, in search of the audio technology he couldn’t get his hands on before. In 1985, he was invited by the Indian embassy in Poland to give a sitar concert on an instrument he had spent a decade patiently stringing together - half sitar, half tanpura, built from patience and determination. After the collapse of the People's Republic of Poland, the travels kept unspooling: South Korea, then Mexico, then Australia, Canada, New Zealand, Singapore, Japan and the United States - each stop leaving behind its own small knot of tape, tied off and carried home.
In the decades since, recognition arrived at the same unhurried pace: he conducted workshops at UC Berkeley, served as vice-president for artistic affairs of the Union of Polish Art Photographers and the Union of Polish Visual Artists between 2010 and 2014 and received the Bronze Medal for Merit to Culture - Gloria Artis. His visual work gradually entered collections including the National Museums of Warsaw, the Stedelijk Museum, Tate Modern, MoMA and the Venice Biennale. His musical practice, by contrast, never found that kind of room - left to circulate quietly, sharing his cassette tapes directly, waiting for someone willing to follow it further.
It took months before I could find a way to reach Andrzej Dudek-Dürer - his presence online is very close to nonexistent. Surprisingly, LinkedIn turned out to be the only door still open, a faintly absurd irony given everything else about him. I packed the strict minimum for a three-day trip and an empty notebook and made my way to Wrocław. His headquarters sits in the neighbourhood of Grabyszyn: a two-storey pre-war house that has belonged to his family for generations. The man who opened the door was long-haired, long-bearded, in his trademark leather shoes and patched jeans. We sat in his living room, in front of a computer where decades of recordings sat organised in cryptically named files, surrounded by books and objects that had arrived one layer at a time, leaving room for only two chairs in the middle. His shoes sat by the door, rebuilt so many times they had become their own quiet sculpture. Cassette tapes filled boxes against the walls, almost unlabelled, each one a spool of thread holding decades of sound that had never once been asked for, until now.
I listened for hours: meditating in front of strangers on the porch of a Seoul temple until the tourists stopped taking photos and simply waited with him; a stand-off with border guards at the US–Mexico crossing over an instrument they couldn't identify and didn't trust; a session with the Stockhausen family that he still, decades later, describes like it happened last week. All of it interrupted, occasionally, by the smell of soup boiling and fresh bread warming on the ceramic stove. After two days, it felt like being handed the end of a very long thread and asked, gently, to keep following it. I left with a USB drive holding his full discography, signed with his unmistakable signature.
Astral Meditations From A Living Statue is a length of that thread, drawn out from the boxes stacked against his walls - recordings gathered from different rooms, different countries, different decades. This first record breathes slowly: incense-thick, meditative, built for stillness. A cutting-edge séance in outer space where machines learn how to dream.
It begins with the neo-classical improvisations of Andrzej, space-delayed, recorded at Klub Muzyki i Literatury in Wrocław in 2002. 'When..So' opens the curtains with a deep-rooted meditation accompanied by slow-decaying piano figures illuminated by a candle-lit spirit gathering.
Los Angeles, 1990: a dormant villa, a grand piano, the voice of Bonnie Barnett. 'Exception' is captured in a single room, in a single afternoon - voice and keys circling each other, neither one leading, until the silence between the notes starts to feel like the instrument.
'The Meta...' and 'Tired Of...', recorded at Studio Morandi in Ponte Nossa, Italy, in 1992, settle into a sitar drone built entirely from patience - overtones stacking and beating against each other, strung by a man who never once set foot in India. 'Mastery Of...' follows, recorded the same year at Studio Suski in Łomianki, pushing that same hum further still, until pitch dissolves into a spectral reverie. 'Transcendental Sound', from 2000, closes the first record in a slow bath of celestial frequency - better heard beside the shores of the Odra river.
More than fifty years after deciding that a life could become an artwork, Andrzej Dudek-Dürer continues to inhabit that decision. His shoes keep wearing thin against the earth's crust. His hair keeps growing, one strand at a time. His cassette tapes keep spooling in the dark of their boxes.
Now the thread finds its last shape: a single unbroken groove, spiralling inward from the outer edge to the label at the centre. Never cut - the way nothing else in his life ever was. Drop the needle and it will find that groove and follow it, the same way a needle once followed leather, once followed a border it couldn't cross, once followed string into an instrument that didn't exist until he built it. This record is the other end of a thread that has been travelling for fifty years. For the length of both sides, it rests here, in your hands. This is a timeless proof that the Lord of the New Age was never lost."
Mit Spirales präsentiert Dominique A ein neues Album, das zu den kraftvollsten und unmittelbarsten Werken seines jüngeren Schaffens zählt. Begleitet von seinen langjährigen Weggefährten Julien Noel (Keyboards), Sebastien Boisseau (Kontrabass) und Etienne Bonhomme (Schlagzeug) kehrt der französische Singer-Songwriter zu einem raueren, gitarrenbetonten Klangbild zurück. Die 16 neuen Songs bewegen sich zwischen persönlicher Reflexion und aufmerksamer Beobachtung gesellschaftlicher Entwicklungen und zeigen einmal mehr die besondere Fähigkeit des Künstlers, poetische Tiefe mit musikalischer Direktheit zu verbinden. Als einer der prägenden Vertreter des modernen französischen Chansons hat Dominique A über Jahrzehnte hinweg Generationen von Musikerinnen und Musikern beeinflusst. Spirales unterstreicht eindrucksvoll seine anhaltende künstlerische Relevanz und seine besondere Stellung innerhalb der französischsprachigen Musiklandschaft.
We love a concept. So for our 15 year anniversary, we added another layer.
one(15) celebrates 15 years of the label with one simple rule: every track had to clock in at one(15)BPM and under.
The result is 13 tracks ranging from 71 to 115BPM, a collection of slo-mo 303, horizontal acid and assorted low-tempo excursions.
15 Years | 3 LPs | 13 tracks | 71 to one(15)BPM | Still 303
Die bei Jazzfans legendäre Serie BRITISH JAZZ EXPLOSION wird mit einem weiteren Kultalbum des
britischen Jazz fortgesetzt. Es wurde in den Abbey Road Studios von den originalen Stereo-Analogbändern
gemastert und auf 180-g-Vinyl gepresst. Enthalten ist ein vierseitiges Faltblatt mit Abbildungen der Bandkartons und einem neuen Text des Jazz-Experten und Serienproduzenten Tony Higgins.
“Child Song”, das 1970 auf Deram erschienene Debütalbum von Henry Lowther, zählt zu den gesuchten
Raritäten des britischen Jazz. Der Trompeter, Flügelhornist und Violinist spielte unter anderem mit John
Mayall, Manfred Mann und der Keef Hartley Band, mit der er 1969 beim legendären Woodstock Festival
auftrat. Auf “Child Song” verbindet Lowther Post-Bop und freie Improvisation mit den neuen elektrischen
Klängen des Jazz-Rock. E-Piano, E-Bass und Violine sorgen für einen bemerkenswert modernen Sound,
der Einflüsse von Miles Davis’ “In A Silent Way” und “Bitches Brew” erkennen lässt.
Ein faszinierendes Dokument aus der kreativen Hochphase des British Jazz – erstmals seit 1970 wieder
auf Vinyl.
Berlin-based trio Roomer weave noise, melody, and memory into expansive guitar-driven songs. Formed by long-time friends and collaborators Ronja Schößler, Ludwig Wandinger, and Luka Aron, the band brings together distinct voices from across Europe's avant-garde, folk, and electronic scenes, folding these lineages into a sound that moves between shoegaze density, diaristic songwriting, and sonic exploration. Their music often holds opposites in suspension: clarity and blur, structure and drift, intimacy and collapse.
Their debut album Leaving It All to Chance (2025,) introduced this language in full, pairing emotionally direct songs with shifting textures and dense layers of distortion. With Staircase Made of Rope, their second album on Squama, Roomer widen the frame further. Built largely from improvisations and first takes, the record embraces instability as method, moving between density and silence while allowing melodies to surface and dissolve in unexpected ways.
With ‘Road to Freedom’, The Last Internationale
deliver a powerful, visceral new album that is
resolutely driven by a desire for freedom.
Led by Delila Paz’s intense vocals and Edgey
Pires’s guitars, the band delivers ten tracks that
blend fiery rock, blues-rock and hard rock energy.
From anger and resistance to love, grief and hope,
‘Road to Freedom’ captures a world in motion and
the need to stand strong in the face of everything
that seeks to silence us.
A politically engaged yet deeply human album, it
transforms the tensions of our world into organic,
direct music made for the stage.
A timeless classic - coming up on nearly 20 years since the original 12's were released and the very first time this LP has collectively been available on wax. (over 15 years since last in circulation)
This edition was remastered to analog perfection from the Grammy award winning ears @Stardelta Mastering. paying close attention to every finite detail - this album has never sounded so alive!
A multidimensional sound experience; it's like taking a swim in an analogue ocean and being immersed into the deepest end of the Mariana's Trench. Sonic Submersion of the Highest Order!
Credits:
Written & Produced by Steven Hitchell.
Vocal & Rhodes Performance by Paul St. Hilaire (Tikiman), courtesy of false tuned. Published by Basic Channel Publishing. (BCP)
Additional Mastering, Mixing and Engineering by Mark Richardson @ PrairieCat/Metropolis Mastering, Chicago, USA. (2007-2009)
Remastering and Lacquer cutting by Stardelta, UK. (2024)
With their sixth studio album, ASN reveal a project in full command of its identity. “Reverie Machine” moves confidently through the many shades of post-punk, grounding its sound in analogue textures while embracing the electronic foundations of dancefloor-oriented wave.
Founded by Libero Volpe in 2007, the project now features Lorenzo Ceccarelli on bass, Alessio Rossetti on guitars and Gianpaolo Cesarini on analogue synths. Together, they carry ASN’s original fascination with kosmische music, science fiction and distant futures into a fully realised interplay of synthesizers, guitars and bass.
Across the eight tracks that make up this outstanding album, dreamlike instrumental passages meet darker songs shaped by evocative vocals, allowing atmosphere and melody to guide the journey. Rooted in the ’80s yet driven by its own imagination, “Reverie Machine” brings these influences together with the assurance and depth of a band at its most mature.
Following the events of Pussy Disco (SCCD 021) ...
The nights in Hong Kong did not remain a secret for long. Word spread silently through the feline world, and the gatherings grew until the music no longer belonged to a single hidden basement. The cats had found something of their own.
Their new destination became Macau. Long after midnight, when the casino floors fall silent and the roulette wheels come to rest, they emerge from hidden passages and forgotten service corridors to throw their own secret parties. The gaming tables become dance floors.
The remixes played during these nights were all commissioned by the legendary feline Primadonna Disco Queen Beast (PDQB), reimagining tracks from the original Pussy Disco album. The most celebrated DJ cats perform with nothing but their claws, tracing the grooves like perfectly balanced styli. Their oversized ears become living loudspeakers, carrying every microscopic detail through the vast halls.
Before dawn, the music fades. The cats disappear without a sound, leaving the roulette tables exactly as they found them. When the first employees arrive, there is no sign that anything happened during the night.
Over the years, PDQB commissioned countless remixes of tracks from Pussy Disco. The eleven collected on this double vinyl were all played during the legendary Sunrise Sessions - the final hours before daybreak, when the parties reached their absolute peak. These are the remixes the cats returned to again and again, making them the undisputed classics of Macau's underground feline nightlife.
Ohio’s 156/Silence return with From a Distance, their crushing new full-length and first release for Pure Noise Records, arriving September 4. Produced by Josh Schroeder (King 810, Lorna Shore, The Plot In You), the album expands on the breakout success of People Watching with a darker, more cinematic approach that balances punishing heaviness, eerie atmosphere, and emotional depth. Featuring guest appearances from Mike Hranica (The Devil Wears Prada) and Alex Reade (Make Them Suffer), From a Distance pulls influence from horror, prestige television, and retro game soundtracks while moving seamlessly between hard rock, experimental textures, and the band’s chaotic mathcore roots. Atmospheric, unpredictable, and unbound by genre, From a Distance pushes 156/Silence further into their own lane while cementing them as one of heavy music’s most fearless rising acts.
'Carnaval De Luz' is the exhilarating 16th studio album from U2, 12 melodically rich new songs from one of the most celebrated & enduring bands of all time. Acknowledged as one of the best live acts in the world, U2 has sales of over 175m & won numerous awards, incl. 22 Grammys. Set for release in the year Bono, The Edge, Adam Clayton & Larry Mullen Jr. will mark 50 years together in U2, 'Carnaval De Luz' includes lead tracks 'Street of Dreams', 'Silencio' and the extraordinary 'Torn (ft. Dolly Parton)'.
'Carnaval De Luz' is the exhilarating 16th studio album from U2, 12 melodically rich new songs from one of the most celebrated & enduring bands of all time. Acknowledged as one of the best live acts in the world, U2 has sales of over 175m & won numerous awards, incl. 22 Grammys. Set for release in the year Bono, The Edge, Adam Clayton & Larry Mullen Jr. will mark 50 years together in U2, 'Carnaval De Luz' includes lead tracks 'Street of Dreams', 'Silencio' and the extraordinary 'Torn (ft. Dolly Parton)'.
'Carnaval De Luz' is the exhilarating 16th studio album from U2, 12 melodically rich new songs from one of the most celebrated & enduring bands of all time. Acknowledged as one of the best live acts in the world, U2 has sales of over 175m & won numerous awards, incl. 22 Grammys. Set for release in the year Bono, The Edge, Adam Clayton & Larry Mullen Jr. will mark 50 years together in U2, 'Carnaval De Luz' includes lead tracks 'Street of Dreams', 'Silencio' and the extraordinary 'Torn (ft. Dolly Parton)'.
Tekamolo is the anonymous project of a renowned musician who chose to hide their identity and leave the listener alone with the music. Their debut, best tunes for your answering machine, was an album of absolute solitude: minimalist electronic songs that felt like messages from an unknown caller, perhaps destined never to be heard. On Friends to Keep Silence With, solitude gives way to dialogue for the first time.
The album was made in close collaboration with drummer and composer Elizabad Volkova, a current member of Mirage, one of Russia's best-known pop groups, and the electroacoustic project INDEX III, which has collaborated with acclaimed contemporary composer Vladimir Martynov and violinist Tatiana Grindenko, a key figure in Russia's experimental classical scene. Before making the record, Volkova and Tekamolo barely knew each other. They'd only crossed paths on Instagram, and Tekamolo had never even seen her play live, only on video. They met in Berlin, where Tekamolo lives, and decided to try making something together, with no stylistic framework, no references, and no idea of what the result should be. To their own surprise, it worked almost immediately. Despite barely knowing each other, they found a shared musical language that felt completely natural. Those first sessions became the starting point for an album Tekamolo would continue working on over the following year.
The new album expands Tekamolo's retro-futurist world of altered voices, fragments of memory and free-form electronics into something more spacious and physical. Rhythm becomes a voice of its own: Volkova's live drums do not simply accompany the music, but enter into a constant dialogue with it. The result exists somewhere between groove and ambient, movement and stillness, melancholy and warmth.
ORUMA is a trio formed by Ola Rzepka (drums, zither, percussion), Artur Rumiński (electric guitar) and Mat Barski (electric guitar). At its foundation is the musical dialogue previously developed by Rumiński and Barski as a guitar duo and documented on the albums “On the Margin” and “At the Junction”. Their encounter with Ola Rzepka during Kraków’s Kakofonie series opened this music to a new sense of dynamics, pulse and
collective form.
ORUMA’s music exists at the intersection of free improvisation, noise, experimental postrock and post-kraut repetition. It avoids the conventional division between soloist and accompaniment. Instead, two electric guitars and drums gradually abandon their individual roles to form a single, constantly shifting sound organism — moving from silence, open space and isolated gestures towards dense masses of sound.
The trio’s debut album consists of five pieces: “Satellites”, “Stranger”, “This Mountain Is Alive”, “A Rough Plan For Nostalgia” and “Hyperborea”. Together, they form a coherent journey: from distant signals and the first moment of contact, through friction and increasing physical intensity, to an expansive fourteen-minute finale.
Ola Rzepka
Drummer, pianist, composer and performer. She graduated from the Karol Szymanowski Academy of Music in Katowice, where she studied at the Faculty of Composition, Interpretation, Education and Jazz. She was also a scholarship student at the Rhythmic Music Conservatory in Copenhagen, studying piano and percussion. She teaches piano improvisation at the Wojciech Kilar State Music School Complex in Katowice and runs her own music lessons and workshops. As a composer, she collaborates with acclaimed theatre directors in Poland, Germany and Switzerland. Her musical collaborators have included Raphael Rogiński and Antoni “Ziut” Gralak. She has performed her original music at numerous avant-garde, popular, jazz, improvised and contemporary music festivals across Poland and Europe. In Jazz Forum magazine’s 2024 Jazz Top critics’ poll, she was named among Poland’s leading drummers.
Artur Rumiński
Guitarist and member of bands including Furia, Thaw and ARRM. He also composes and improvises under his own name and performs in the experimental duo Marmur, which he co-founded with Macio Moretti. He has released several solo albums on labels including Antenna Non Grata, Gusstaff Records, Zoharum and Szara Reneta.
Mat Barski
Guitarist associated with the Kraków and Tricity music scenes. His projects include the duo Ekotonika, the Rumiński / Barski duo. He has released albums through Gusstaff Records and Antenna Non Grata. Alongside music, he works in motion design and visual postproduction. He is a member of the Kraków-based Skład Solny Association, where he coorganises concerts and exhibitions.
Metabolising 20-plus years gorging on the hardcore continuum, Luke J Murray returns to Sneaker Social Club with the first album under his Liquid DnB-Like Ambient Grime 2 alias. As the first self-titled EP in 2024 demonstrated, with this project Murray applies a hauntological supplement to his life-long diet of rave's codes and signals. These 11 tracks could be embraced as dank bangers in their own right, but the ghostly shroud that lingers is no accident. It's an evocative expression of the hinterland places that frame the pursuit of the dance as much as the energy spikes in front of the bass bins — a diaristic reflection on trudging puddle-peppered streets to find little black doors or staggering home, ears ringing, as dawn comes to chase down the street lights.
Haunted House, Garage & Grime walks the line between atmospheric scene building and straight-up beatdowns with a relaxed swagger. 'The Ginnel In SK4' paints a vivid picture of urban malaise with its bleak synth warps and punk-dub splashes, not a drum sequence in earshot. It's flanked by the Caustic Window-meets-Mark One 'The Flats On Belmont Way' on one side, and low-slung electro-creeper 'Hollywood Park' on the other. As the titles hint, this is music tangibly attached to very specific places locked in Murray's memory — unmistakably UK locations that reflect back the half-hollowed out echoes of late night soundtracks, glancing off red brick and pebble dash concrete at odd angles.
There is space on the album for full-chested amen tear-outs like 'Pete's Gone Mad With The Axe' , but for the most part the mood remains downcast and pensive. The sparse approach affords you space to tangibly hear the (not-so-silent) name-checked rain pattering in the background of 'The Crown Under The Viaduct, While Rainfalls Silently Into The River Mersey' , or imagine the crunch of litter and dead leaves underfoot that snakes its way through minimalist stepper 'Bowerfield Lane, After Dark'.
Murray's vision is sharply realised, and his stated inspirations slot logically into his shelves of ordered ideas drawn from disorderly memories. From Mark Leckey's O' Magic Power Of Bleakness to the Ghost Box records alumni, Hatcha's seminal Dubstep Allstars Vol. 1 and Laura Grace Ford's Savage Messiah book, Haunted House, Garage & Grime is the logical product of a deep thinker making tracks with decades of rave in his bones and the sense that it all means something, even if it's not always clear what.
Four solid dub house and deep house cuts from Alessandro Crimi, pressed on blue green marbled vinyl. Get Up opens on a rolling groove, hats ticking against a bassline that breathes rather than pushes. Interstate tightens the low end into something more direct, built for the peak of a set. Look At The Stars slows the tempo down into dub house territory, chords smeared and delayed until they blur into the drums. Multiverse closes the record on a dubbier note again, echoes trailing off into silence between hits. Across the four tracks the mood stays controlled, functional, made for rooms where space and repetition do the work.
Inhale. Exhale. Remember to breathe. In that rhythm lies the pulse of being - the ancient echo of stars from which we are made. Breathing is the bridge between the inner cosmos and the outer void. When you breathe, you testify to existence itself: "I am." The Moonrover - a child of reason - abandoned on the cold, dead Moon. It does not feel time, know fear, or comprehend solitude. But a human, in its place, would understand: Silence is not emptiness. It is a mirror. And in that mirror arises the question: "If I am alone, and silence is infinite - who hears my breath?" The answer lies in the breath. Each inhale is resistance against entropy. Each exhale is an act of remembrance. To breathe is to remember that you are not just part of the Universe - you are its awakened part. And just as the Moonrover crawls across grey lunar plains, driven by an unknown purpose, so do you move through life, led by an inner light, until you realize: breath is not just life. It is a prayer sent into silence. And if you can hear it - you are alive.
In August 2022, Australia-based, French born fourth-world music legend Ariel Kalma was invited to participate in BBC Radio 3"s Late Junction series of special collaborations. The program pairs artists that have not previously collaborated to create new music together. Kalma was quick to suggest working together with two musicians whom he has never met - the International Anthem recording artists Jeremiah Chiu & Marta Sofia Honer, whose critically-acclaimed duo debut Recordings from the Âland Islands had been released just a few months earlier. Kalma sent an invitation to Chiu and Honer, which was received with great enthusiasm. Chiu had been a fan of Kalma"s work for a long time, even citing him as a major influence on his approach to electronic music composition. After meeting their goal of 20 minutes worth of music for the program (which was four pieces total), the three musicians were satisfied in what they would present, and sent along their work to the producers of Late Junction; but simultaneously they felt like there was much more to be said, more work to be done. There were several pieces that they had nearly completed that weren"t sent for inclusion in the radio program, and there were many ideas for refining those that had. The three musicians collectively agreed that they would continue work together and try to push the music further. The Closest Thing to Silence is the result of their efforts to take the collaboration further.
Following the success of Under Tangled Silence last year which peaked at number one in the Dance Albums charts and peaked at 9 on the Albums Chart staying in for 21 weeks, DjRUM returns to Houndstooth with a 15 minute continuous EP pressed to side A and a custom etched picture disk on Side B.
Felix (DjRUM) was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as a composer. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.” But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ, this EP encapsulates his musical upbringing weaving in percussive elements across the stereo field to create a truly mesmerising listening experience.
“Environments 3” is one of ‘the great lost albums’ by The Future Sound Of London and these sessions have taken on almost mythical status with the group’s fan base. It was initially due for release after the 1993 release of the UK Top 10 album hit “Lifeforms”, but that didn’t happen. Instead, much later in 2010, it came on CD and download. Only now is it being released on vinyl for the first time..
This release also comes after the success of the first two installments which have sold steadily across the different volumes over the years and still climbing. This third volume is a sparse, highly minimal, and vivid departure from their dense 1990s period, and cited as one of the standout ambient releases of its time with FSOL in fine creative form. Reviewers at the time noted he complete absence of the heavy, spacey atmospheres of Lifeforms or the dark chaos of Dead Cities with delicate textures and moody variety throughout. While mostly calm and meditative, certain cuts evoke a desolate, lonely, or gently industrial feel.
Cult Argentinian darkwave act Euroshima’s Gala sees a vinyl reissue courtesy of Dark Entries. Euroshima was formed in 1986 by Fabián Iribarne, José Wyszogrod, Ricardo Parrabere, and vocalist Wanda. Originally released in 1987 on Polygram, Gala was a success throughout South America. But to the band’s dismay, they received minimal support from the record label, which meant the album would linger in obscurity outside of the region. A CD issue via Twilight Records surfaced in 2020, but this is the album’s first reissue on vinyl.
Gala’s legendary status among cognoscenti is warranted. The album’s nine tracks display all the hallmarks of the best darkwave: spiky guitars, analog synth basslines, and wailing vocals. But Euroshima make their mark on the genre with impeccable songcraft and a honed sense of the uncanny. While the band themselves rejected the label of “gothic”, it’s hard to resist busting out the black eyeliner when listening to gems like the uptempo “Como Los Otro” or the churning album-closer “Mejor Callarlo”. Highly recommended for fans of Xmal Deutschland, Lebanon Hanover, pummeling TR-707’s, and doom-laden synths.
This reissue is co-presented with Twilight Records, responsible for the 2020 CD reissue of Gala. It has been remastered by George Horn at Fantasy Studios. Also included is a double sided insert with lyrics and photos, as well as a postcard featuring a photo of the band.
Amsterdam-based multidisicplinary arts collective and, in this case, ambient electronica-producing duo Wanderwelle created several of the biggest releases that Silent Season have enjoyed to date, this previously digital-only single being one of the very biggest. The public's been clamouring for a vinyl release of this one for an entire decade now, so the label have finally obliged. Four tracks here catch Alexander Bartels and Phil van Dulm in reflective but lively chilled techno mode and from the gliding depths of 'Leaving Port Logan' to the eerie siren song of 'A Watery Grave' there are shimmering subaquatic atmospherics aplenty but also pulsing, underplayed rhythms too. Liquid gold.
On this 5th and final part of B sides Vol 14 we have The fantastic Kaufmann who shares her ‘People are Strange’, a nod to a classic vox, re-contextualised for a modern techno audience.
Long-time industry stalwart AdamK, who makes a richly deserved Drumcode debut in partnership with Vikthor feat. MC Stretch on the stunning ‘Silence + The Sound’.
Following the release of Electric Rescue's new album, "Different Horizons", Laurent Garnier's COD3 QR returns to its signature various artists format for a new vinyl-only release featuring six new tracks, by WheelUP, Rapson & Kathy Brown, Mirko Loko, Costello, Jules Wells, Rod20 and James Warburton.
WheelUP is West London producer and DJ Danny Wheeler who's released music on CoOperation Records, Jamz Supernova’s Future Bounce and his long-time home Tru Thoughts. After appearing on COD3 QR in July with a track alongside Blu James, he now teams up with regular collaborator, music producer, DJ and keys player, Rapson, alongside acclaimed US vocalist Kathy Brown for the intensely soulful "Music".
Mirko Loko is a prominent Swiss talent, known for his work as resident DJ at Couleur 3 and Loft Electroclub, artistic director of Polaris festival and releases on Planet E, Border Community, Cocoon and Visionquest returns once again to COD3 QR with the Detroit-influenced "Silent Failure".
French electronic DJ and music producer, Costello returns for his sixth track on COD3 QR, having also released on Solomun's Diynamic, Chloé's Lumière Noire and most recently Maceo Plex's Ellum Audio. His bright Techno groover, "Cocotte" closes the A-side.
Another COD3 QR regular, Jules Wells opens the B-side. Influenced by the Motor City, Jules has released on labels like Electrofunk, Submerge, Twilight 76, KMS, Planet E, Brique Rouge and Logos. Here, he takes the EP into atmospheric territory with "The Rooster".
Benny Rodrigues has previously delivered tracks for COD3 QR as The Lost Souldancer. But now he reprises his Rod20 alias with "Stars Of Bethlehem". Rod20 is the dedicated hardware-only techno project he began in 2020, which prior to its standalone vinyl imprint, launched with a self-released compilation, followed by a dual-part album on Jeff Mills' legendary Axis Records.
To close the EP is the experimental ambient work of "You Are Carried On Waves Of Endless Love" by James Warburton. James is a composer and multi-instrumentalist whose work has appeared on TV and film including Netflix’s "Squid Games", HBO’s "Succession", the title music for Channel 4’s "Manhunt" and the original score for Endemolshine/Banijay’s hit TV series "Murdertown" and NBC Universal’s "Faceless" podcast.
One of the most influential dub albums ever made. The remixing techniques used – radically new for 1973 – helped transform the role of the producer and the engineer to that of creative artists in their own right.
First released in Jamaica in December 1972, Upsetters 14 Dub Black Board Jungle is widely regarded as one of the first full-length dub albums and a true landmark in reggae history. Produced by the visionary Jamaican innovator Lee “Scratch” Perry, it marks the decisive moment when dub evolved from incidental B-sides into a fully realized long-playing art form. At a time when Jamaican sound system culture was flourishing, producers were beginning to strip down popular reggae tracks into instrumental “versions,” emphasizing the bass and drums for sound system deejays to toast over while adding echo and reverb effects to make things more interesting and dynamic. While King Tubby, who was in charge of mixing the tracks, was pioneering the technical foundations of dub, Perry expanded the approach by adding the hypnotic and psychedelic sound effects that made this record so rich in ideas, rendering the album more conceptually bold.
The album reworked previously released rhythm tracks by the Upsetters, which were recorded between 1970 and 1972, shortly before Perry opened his own studio – the legendary Black Ark Studio in Kingston. Their tight, groove-driven playing provided a solid backbone for these radical studio manipulations. Using the mixing desk as an instrument, tracks were deconstructed in real time – dropping vocals in and out, isolating drumbeats, pushing bass lines to the front of the mix, and sending fragments of sound spiraling into space through the heavy use of a spring reverb and tape delay effect units. Silence became as important as sound, and the interplay of rhythm and echo created a hypnotic, immersive listening experience.
Upsetters 14 Dub Black Board Jungle established dub as a genre defined by creative studio intervention. It demonstrated that the remix itself could be the main attraction, influencing generations of reggae producers and resonating far beyond into the techniques and aesthetics of post-punk, electronic music, hip-hop, and ambient sound design. By transforming the studio into a creative laboratory and elevating the “version” to an art form, this foundational album reshaped not only Jamaican music, but the whole of modern music production culture.
SIDE B presents the first installment of a new series aimed at eroding classic structures within club music from inside the playing field. 'The Unshaped Series' pushes depth into the label's mission statement, isolating tone and texture, and confronting its listeners by raising not only the experimental undertones of the music it has been showcasing. This new take provides an opportunity for these spaces to be described and for new emotions to glow between the same walls in turn.
For 'The Unshaped Series' first volume, SIDE B emphasizes its name by challenging ten techno producers to detach themselves from their habitual arrangements. If the rhythm that we hold so dear is taken out of the equation, what is left? This question is answered by the bleeding edge of the international scene and pressed on wax to offer a unique product in concept and quality. Techno has spearheaded sonic research and its artistic application since its beginnings, so to honor this tradition, SIDE B compiles these pieces to boil down the true essence of club music into what it truly is : sculpting time and space.
Moving In Silence welcomes AI Robot for its third release, balancing driving grooves and deep atmospheres, the Bucharest based dj/producer crafts four underground hits that will not leave the bag.
Following the first volume released on Details Sound in 2023, Vago Spazio del Ritmo Vol. 2 expands its investigation into the relationship between sound and space, this time exploring the inner sphere through resonance.
Here, as the subject seeks to preserve itself while still being open to reciprocal transformation with the world, sound—through its shifting frequencies and vague, indefinite forms—and the inner sphere—as a field of possibilities, variations, and deviations—become the medium guiding the listener toward an authentic form of being-in-the-world.
Compiled and curated by Luce Clandestina, the compilation explores a rich spectrum of ambient textures and IDM-tinged dilated rhythms. Side A opens with soft, melodic explorations and atmospheric soundscapes crafted by Andrea (Ilian Tape), D’Arcangelo, Eusebeia, and Philipp Otterbach. Side B, featuring contributions from DSR (Dream Sonic Research), Sun Genam, Katatonic Silentio’s remix of Otterbach piece, and a second appearance by D’Arcangelo, turns toward transcendental forms of resonance.
Mastered by Marco Milanesio, O.F.F Studio (Turin, IT)
Design by Beatrice Lattuada
Pressed at R.A.N.D Musik
Contrast EP splits into two sides, and the split is the point. Ittara takes the first side with Anticorps and Silent Waves, Jonas Xenon takes the second with 2010 and Wriezener Studies. What connects them is depth: mega deep techno and house, pushed into dubbish territory, built for dancing rather than for show. The low end sits heavy and the space around it stays open, so the tracks have room to move and echo. On a floor it works slowly, pulling people into a long, dubby groove that keeps them moving. Detroit techno, deep house and dub techno all sit in the frame. Two artists, two approaches, one pull towards the deep end.
Sciahri's label, Sublunar, is proud to welcome back one of its familiar faces - Cirkle - with his new EP, "Fading Trails". Known for his unmistakable sound, Cirkle continues to blend classic and modern techno elements in a way that cements his place as one of the most distinctive producers in the scene.
The EP opens with "Silent Rage", a powerful and hypnotic track driven by infectious vocals and intense energy. Next comes "Beaten II", the follow-up to one of his most celebrated work a dark, epic journey that pulls you deep into its atmosphere.
On the flip side, "Machina" explores a minimal but heavy low-end territory, showcasing precision and raw groove at its finest. Finally, "Fading Trails" delivers a deep and emotional trip, its arrangement guiding the mind into another dimension a true standout piece.
From spearheading France’s jazz-house and electronica scenes, to amassing millions of streams for lauded tracks such as Ode To Love, Manhattan To Brooklyn and Artifice, Tour-Maubourg is a flag bearer…
P.E.A.R.L. returns to Falling Ethics with a focused four-track EP built around hypnotic repetition, detailed textures and driving groove. Exploring deeper and more atmospheric territories while maintaining a strong dancefloor sensibility, the record showcases his refined approach to contemporary techno. A cohesive addition to the catalogue and another statement from the label's founder.
Visteria ist das Projekt der Warschauer Musikerin Hönorata – Gitarren, Bass, Gesang und Produktion liegen in den Händen einer Frau, deren Einflüsse von Female-Fronted US-Metal bis zu frühem britischen Hardcore der Marke G.B.H. oder Broken Bones reicht. „Ich habe jahrelang zu Bands wie Détente, Chastain oder Znöwhite mitgeschrien und dabei versucht, meine eigene Stimme zu entwickeln“, sagt sie. „Détente war dabei ein besonders wichtiger Einfluss auf den Sound, den ich anstrebe.“
Das selbstbetitelte Debüt-Demo erschien Ende 2024 zunächst bei Godz Ov War Productions und war in der ersten Kassettenauflage nahezu sofort vergriffen – eine zweite folgte, mit demselben Ergebnis. „Visteria“ bietet vier Tracks plus Intro in 15 Minuten: kompakte, furiose Statements, getragen von rohem Riffing und Hönoratas intensivem Schreigesang.
Die Ästhetik — Leder, Nieten, Antikreuze — ist genauso prägnant wie die Musik, und Hönorata zieht keine Trennlinie dazwischen. „Das Erscheinungsbild eines Künstlers ist die visuelle Erweiterung seiner Musik, seiner Botschaft, seiner Haltung und Persönlichkeit. Image und Musik sind untrennbar verbunden.“ Als High Roller Records sie nach dem Black Silesia Festival kontaktierte, war sie überrascht: „Ich konnte es wirklich kaum fassen.“ Die Neuauflage als 12“ Mini-LP und CD gibt nun all denjenigen, die das Tape verpasst haben, die Gelegenheit, ihr Versäumnis nachzuholen.
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