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First-ever official reissue - 180g black vinyl edition

In the late 1960s, a distinctive musical movement began to flourish in Italy—while also gaining momentum abroad, particularly in France and the United Kingdom. Known as library music (or sonorization), this genre consisted of genuine music libraries created specifically to accompany audiovisual productions such as television programs, commercials, documentaries, and films.

Produced under conditions of complete artistic freedom, these recordings often defy clear categorization, as they are not tied to any single musical genre. This creative independence allowed composers—frequently working in total anonymity—to experiment boldly, crafting avant-garde and forward-thinking sounds that, in many cases, anticipated musical trends that would only become widespread years later.

Oronzo De Filippiis known not only for his contributions to library music, but also for being part of the projectThe Braen's MachinealongsideAlessandro Alessandroni, one of the most significant figures in this field.

Meccanizzazione is a fully instrumental album—as is typical of the genre—literally dominated by the distinctive sound of the harpsichord. The record essentially alternates between two main compositional approaches: on one hand, more accessible and "friendly" tracks with a refined jazz-lounge and bossa nova flavor; on the other, darker and more hypnotic pieces, whose repetitive structures vividly evoke the rhythms and mechanical pulse of the industrial world.

Jay-Jay Johanson returns with his new EP Where's the Cat?, a 7-track project featuring unreleased and reworked material from his latest album Backstage. Highlights include an unexpected collaboration with New York rapper LoftBlue, an extended version of Trompe L'oil featuring actor Harry Goaz (Twin Peaks), a refined remix by Alex Gopher, and two dub versions. The EP closes with Voice Memo No. 234, an intimate recording that offers a glimpse into the Swedish artist's creative process.

Have Isaac Carter & Callum Asa made the most tasteful tech house EP of recent memory? The short answer is
yes....

Isaac and Callum, known for their respective club nights: OCHI and Planet People have been quietly chipping away at the coalface of underground dance music for quite some time now.

Isaac - perhaps known more widely as a regular at Circoloco & Phonox has shared bills with the likes of Moodyman, DJ Bone, Kai Alce, Laurent Garnier and Marcellus Pittmann whilst being championed by Joy Orbison, Ben UFO, Moxie, Seth Troxler, Raresh and Floating Points to name but a few. With such an impressive CV and wide ranging support, it’s wild to note that the first EP released on his own label, OCHI only came out in 2023. His star is clearly ascending with rapidity - so when we throw long term collaborator Callum Asa into the mix, things start to get really interesting. Calum has been running Planet People for the last couple of years, welcoming incredible names such as Shed, Surgeon, Willow, Ploy, Cooly G, Rroxymore and so many more. Steel sharpens steel and having been surrounded by such esteemed talent, it’s clearly rubbed off on the pair who present 4 polished, meticulously constructed, club ready masterpieces, each with their own distinct feel and an insatiable groove.

‘Feel Me’ sets the scene with a descending baseline that would eek a wiggle out of the most reluctant spectator. The twisted dub eeks out even more groove, locking in a more sinister bounce for the heads. By The time ‘Understand’ get’s into full swing, we’re already under the spell of Carter & Asa, this is the kind of roller that could go on forever and ever. The synth embellishments and washes of analog synth pull us deeper and deeper in, prepping us for the finale , ’Try You’ which simmers with deep, brooding intensity.

The magic of the dup’s appeal is that this EP will find its way into the bags of the deepest diggers and also appeal to a new generation of house fans. Elements of it are accessible , but in the right hands - the EP will open a portal to new worlds.

Four more Murderous edits in the first degree from the lads at Accessory Records. For the daring DJ who isn't afraid to sell their soul for Rock n' Roll...

Death Is Not The End reissue Mark Vernon's sought-after 2013 collection Sounds of a Modern Hospital on vinyl & cassette formats.

Whilst every effort has been made to record the subject in as great a degree of isolation as possible, the sound recordings you will hear on this record were made in a real working hospital and not under controlled conditions. Therefore, on occasion, you may hear some unavoidable background noise, conversations and other extraneous sounds.

All recordings were made by Mark Vernon at Forth Valley Royal Hospital, Larbert, Stirling Community Hospital and Falkirk Community Hospital between 2011 and 2013.

FRQNCY LDN, the new project from Alex Lavery and James Ford (producer du jour and one half of Simian Mobile Disco), are releasing their debut album ‘The White Edition’ on 5 September via PRAH Recordings. Alongside the news of their debut album, the duo are sharing the first taste in ‘Matthias’ Wajd’, which they describe as “a rousing, instrumental piece from the middle of the set where the whole ensemble became balanced providing moments where Raven played violin with haunting yet uplifting melodies within the cavernous reverb of the church. Interestingly, at this moment, most of the audience who had been laying down rose to watch the performance like a gig, like an awakening.”

Initially conceived as a live project with earlier performances at churches in London and at Glastonbury, FRQNCY LDN’s music is a mix of strings, gongs, oscillators, FX, and spoken word, and the result is a musical experience unlike any other. Now that immersive magic has been captured on their debut release through Prah Recordings.

The music that FRQNCY LDN are releasing as their debut album is from an extraordinary live take from a performance at St Matthias Church in Stoke Newington last year, and thanks in no small part to the serendipitous bunch of musicians they assembled: composer and violinist Raven Bush, clarinettist Arun Ghosh, cellist Satin Beige Chousmer, and harpist Chloe Chousmer-Kerr. Alongside Lavery and Ford and assisted by engineer Animesh Ravel, they were able to capture the music to a world class level.

FRQNCY LDN has its roots in a supermoon that occurred three summers ago, after the hottest day of the year. Two of Lavery’s friends gave a sound bath that evening. “I’m not overly into astronomy or anything but the experience was nuts,” he says. “I had to find out what had just happened. What felt like forty minutes was actually two and a half hours. We were all out. It was so profound that I was hooked.”

He immediately signed up for a sound therapy course where he learned about what he calls a “brain hack” to meditation. “The thing about sound therapy is there’s a lot that’s meditation-based, and I find meditation really difficult. I’ve got a very busy brain. What was alluring about this process of sound immersion, a sound bath, whatever you want to call it, is it’s basically a hack to making your brain get into a meditative state.”

FRQNCY LDN’s early shows crystallised their ideas into a project, and Lavery brought poet Nikita Gill on board as a vocalist. “One of the first poems she gave to me, ‘Unwitches’ was in response to me explaining that I’d love this project to be perceived as something anyone could access. It’s not just for the sound meditation or the yoga, or the mushroom crowd. No one should be turned off by connotations from where the music comes from, I love music but I’d never be into that because it’s too woo-woo. Nikita said she’d had this poem for a long time but she’d never found the right home for it.”

And in an increasingly busy and fraught world, the need to tune out for an hour or so, and maybe tune in to something more profound, is only going to get bigger.

Don Leisure has cemented his name as one of the most forward-thinking and experimental beatmakers & producers within the current musical ecosystem. As well as being 50% of Darkhouse Family (alongside Earl Jeffers) he has collaborated with the likes of Angel Bat Dawid, Gruff Rhys, DJ Spinna and First Word label-mates Amanda Whiting & Tyler Daley (Children of Zeus). Garnering serious support from Lauren Laverne, Tom Ravenscroft, Huw Stephens, Gilles Peterson, Huey Morgan, The Vinyl Factory, Clash, Uncut and many more. Following the release of ‘Cynnau Tân (feat. Carywyn Ellis)’ (which gained support across BBC Radio from Tom Ravenscroft, Zakia & Huw Stephens) Welsh beatmaker Don Leisure announces the release of a new album ‘Tyrchu Sain’) as he returns with a new single ‘Tyrchu’ due for release on 22nd January 2025. ‘Tyrchu’ features the soft-spoken vocal stylings of Gruff Rhys over a gently rolling, tape saturated and expertly chopped instrumental, creating (in Gruff’s own words) ‘Shiny new beat-treasures with ghostly reflections of Welsh pop’s past - skillfully dug from Sain Records’ deepest veins’

A dedicated student of music, over the years, Don has amassed a vast encyclopaedic knowledge of music genres and subcultures, including a fascination with Welsh psychedelic folk music from the mid-20th century. This introduction was made by respected musician, producer & selector Andy Votel’s 2005 two-part compilation series ‘Welsh Rare Beat’ (in collaboration with Gruff Rhys and Don Thomas), comprising twenty-five tracks from Sain Records’ back catalogue. Now the oldest independent record label in Wales, Sain is a wildly influential bastion of home-grown Welsh talent, co-founded by Welsh-language folk singer Dafydd Iwan, whose music has seen a cultural resurgence in recent years with his 1983 song Yma o Hyd (We’re Still Here) becoming a huge anthem for Wales football fans. Set up in the Welsh capital, many of Sain’s early releases were recorded at Rockfield Studios in Monmouthshire, but in the early 1970s the record company moved to the Caernarfon area and opened their first recording studio in 1974 near Llandwrog. Announcing a huge digitisation project throughout 2024, Sain Records took on the mammoth task of painstakingly digitising their entire back catalogue spanning 55 years, working in partnership with the National Library of Wales the resulting archive then be submitted for to the National Library of Wales in Aberystwyth, preserving them for future generations to enjoy. Taking this period of rediscovery as an opportunity to reimagine their impressive inventory, Sain invited Don Leisure to dig into their musical treasure chest, creating a sprawling sonic tapestry from the dusty gems within. On this exhilarating excursion, Sain Records founder Dafydd Iwan explains: ‘Imagine someone gave you access to over 50 years of Welsh popular music – almost all of it unknown to you before. It would be a strange experience of discovery, an unknown territory which could baffle and excite. This happened to Jamal (Don Leisure) – and he was captivated by a world of music he barely knew existed, and when he was asked to distill the experience into one album, he immediately warmed to the idea. And this is the result – a kaleidoscope of sounds to encapsulate a half century of Welsh music. To call it unique would be superfluous: no-one could ever recreate this album. Listen, and enjoy.’.

The resulting product is ‘Tyrchu Sain' (translating to ‘Digging Sain’), a fearless and exploratory album, which sees Don put his signature unparalleled and unpredictable skills to work, weaving together moments of forgotten beauty into celestial and otherworldly compositions. The record features appearances by artists from Wales who have a similar obsession as Don Leisure in these classic Welsh rarities including Gruff Rhys, Carwyn Ellis, Earl Jeffers Amanda Whiting and Boy Azooga. A shimmering patchwork quilt of sound, ‘Tychru Sain’ traverses a shifting landscape of acid folk, eerie vocal melodies and interstellar soundscapes, propelled forth by crisp, head nod-inducing drums and grainy textures. Breathing new life into compositions lost to time, and paving a path for new listeners to discover the magic that lies within.

Whilst remaining leftfield in spirit, there is a musical vulnerability to the latest iteration of Legss, and a newfound pop sensibility to their writing, which reflects a move to a more accessible sound. There is a security in inaccessibility, and shedding this cloak opens the band up to an earnestness at once exciting and nerve-wracking. Twinned with their signature world-building aesthetic, the new direction is reflected sonically by drummer Louis Grace, who co-produced the album with Balazs Altsach (Ugly, Katy J Pearson, Broadside Hacks) - set to be distributed by The state51 Conspiracy.

On the announcement of their debut album, Unreal, the band say:
“Unreal feels like the work of a lifetime. We can’t believe we’re still here to see it through, but we are and we couldn’t be prouder. The album is about miscommunication and feelings of unreality/the uncanny in everyday life; the tragic and the comic.”

ABOUT LEGSS
Merging intricate guitars, disquieting monologues and a rhythm section both technical and unruly, London’s Legss create a wholly unique sound.
After meeting and forming in London, Legss released their experimental, darkly satirical debut EP Writhing Comedy in 2019, which received heavy airplay on BBC 6 Music. A year later the band’s much-anticipated, genre-bending sophomore EP Doomswayers was released in the shadow of the pandemic, championed by BBC Radio 1’s Jack Saunders and BBC 6 Music’s Steve Lamacq.

After the release of their single ‘Hollywood’, Legss signed to The state51 Conspiracy and released their third EP Fester in 2023, recorded at The Church, which saw critical acclaim from the likes of the Sunday Times, Quietus, Independent, Line of Best Fit, So Young Magazine, DORK, L&Q, and DIY.

In 2024 the band were included by Simon Reynolds in the afterword to a republished edition of Mark Fisher’s seminal Ghosts of My Life (Zero Books).

Legss are Louis Grace (drums, synth), Ned Green (vocals, guitar), Jake Martin (bass) and Max Oliver (guitar)

‘DISCOMBOBULATED’ is the confounding and haunting new album from Hen Ogledd, the collaborative project of artists Dawn Bothwell, Rhodri Davies, Richard Dawson and Sally Pilkington.

· This album is perhaps their most complex and emotionally charged record to date, involving meditations on political tumult ,personal crisis and mental wellbeing in a world gone mad, yet also their most warmly inclusive and accessible.

· ‘DISCOMBOBULATED’ features collaborations from avant-garde legends, family members, animals and even elements.

· By turns emphatic and vulnerable, subtle and direct, joyous and furious, DISCOMBOBULATED is a strange, complex and moving a record as we have come to expect from Hen Ogledd.

· LP with four-page booklet and digital download card

Like a crusader, Apollo Noir relentlessly pursues his noble cause: pushing modular and analog experimentation ever further while remaining irresistibly accessible. Here is CORE, his 4th studio album, fusing post rave techno Detroit à la Drexciya and Manchester early Autechre (Spiral), OPN’s most epic era (Nobody On The Floor), futuristic UK jungle (A Good Brainwash), letfield amen-breaked ambient (ça va), a mega massive cadaver exquis song (CORE) featuring Remi Sauzedde’s very close friends (Janis, Ley, Claude Violante, Silly Boy Blue, S Diamah, Serguei Spoutnik and Fly HQ), diving deeper - as a true obsessive lover of drum machines (TR909, TR808 and TR606) - in the raw deconstruction of techno rhythms (Déconstruire), unleashing a dark and heavy Bassline at 145 bpm with grime vocal samples (Patternity), heavy modular beats blending perfectly with soft and voicy Korg M1 pads (Shame)... Apollo Noir knows his classics and contemporaries inside out, forging his own path with deranged yet beautiful twists (Thedral, Arco Arca).

Toronto-based musician and producer David Psutka’s long dormant Egyptrixx alias returns, with How Tidal. A compendium of sorts, which retells the story so far, reworks of highlights from his catalogue sit alongside brand new tracks, serving as a bridge between the past and the future, preceding more fresh music in 2026.
With the originals still sounding remarkably current, a straight best-of wouldn’t have been out of question, but ever the tinkering student of sound, Psutka thought he’d break them apart, just to see how he could put them back together again.

The music on is How Tidal is cutting-edge and futuristic, but never difficult, instead offering accessible gems where multiple strains of bass music are infused with a zingy, techno-pop bounce, whilst ambient moments gift sonic lozenges for maximum contentment. Psutka creates optimistically welcoming environments, where synthetic birds chirrup in cyan skies over babbling rainbow brooks, as 15 inch subwoofers boom by.

Egyptrixx gained renown across the 2010s with his hard hitting yet tranquil experimental dance music dubbed ‘celestial jeep music for a Saturn moon’. Colourful sound design was braided with dancefloor structures, creating an exhilarating tension between melodic and dissonant, euphoric and inward. The debut album Bible Eyes was released in March of 2011 to critical acclaim.

As Egyptrixx, Psutka has released four studio albums, collaborated, remixed, and toured with some of the biggest names in electronic music.
The widely acclaimed moniker is foundational to Psutka’s complex body of work that encompasses multiple solo projects, plus a diverse range of collaborative work. He has performed live at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival, and presented sound installations at Galeria Civica Commune di Modena and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. In recent years, the label has quietly established itself as a platform that facilitates many of Canada’s most exciting creative music projects.

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

“The blueprint was simple: Hot Chocolate rhythms, George Murray bass lines, classical music instruments with pop sensibilities. We, the architects, however, were complicated.” Paul Simpson, 2025 Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of the much-mythologised ‘lost’ album by CARE – the group made up of IAN BROUDIE and PAUL SIMPSON Prior to forming Care, Ian and Paul had been very active in the Liverpool post-punk scene. Ian played alongside Holly Johnson, Jayne Casey, Budgie and Bill Drummond in Big In Japan, before joining the Original Mirrors. He also produced several early records by Echo and the Bunnymen, most notably the albums Crocodiles and Porcupine. Paul had played with school friend and future Bunnyman Will Sergeant in Industrial Domestic and the founding line-up of The Teardrop Explodes, before going on to form The Wild Swans. CARE were brought together late in 1982 by mutual friend Will Sergeant, when Paul was looking for someone to play a guitar part for a new song he had written. Ian obliged and asked him to return the favour by singing on one of his songs Tall Ships. When Bunnymen manager Bill Drummond heard the result, now retitled My Boyish Days (Drink To Me), he secured the pair a deal with Arista on the back of it. Care would go on to release three acclaimed singles over the course of a twelve-month period between 1983 and 1984 – My Boyish Days (Drink To Me), Flaming Sword and Whatever Possessed You – before Simpson, still struggling to come to terms with the break-up of his previous band decided not to continue. Although top 40 success eluded Care in the UK, the group quickly found an adoring fanbase in the Philippines, where all three singles became huge hits. Love Crowns and Crucifies marks the first vinyl release of the previously unheard songs gathered together on 1997’s Diamonds and Emeralds CD. Working closely with Paul Simpson and with the approval of Ian Broudie, Needle Mythology has been given access to the original quarter-inch tapes which housed everything that Broudie and Simpson recorded together.

Joe Allotta's solo project (drummer, composer, and singer) was born from his need for freedom of expression after numerous experiences
as a session musician for artists such as Davide Shorty, Johnny Marsiglia, Funk Shui Project, Mario Biondi, Leburn Maddox, Giles Robson,
Amy True, and Imaani (Incognito).
His compositions embody the desire to make jazz, in its various forms and influences, accessible to the widest possible audience without sacrificing the impact of an engaging and captivating live performance.
Joe Allotta blends hip hop, funk, and drum 'n' bass with contemporary jazz, perfectly blending vocals with his performances. He combines
his rhythmic exploration with a sweet and surprising voice, capable of lending further emotional depth to his music.
"Transition" is a musical journey that reflects a life in constant motion, where everything seems fleeting, fast, and fleeting, immersed in the
frenetic rhythms that surround us every day. The title also encompasses a more intimate dimension: the growth of his artistic identity. Joe is
no longer just a drummer and composer, but also a singer. His intense and surprising voice intertwines with his drumming in a continuous
dialogue, opening up new expressive possibilities and adding further depth to his musical language.
The album was produced in the studios of the Sghetto Club in Bologna, where Joe, together with his producer Jacopo Trapani, spent weeks
researching and experimenting: rehearsing, playing, processing and synthesizing sounds, developing and arranging ideas, thanks also to
the collaboration of extraordinary musicians. The result is a work that blends instinct and research, intimacy and openness, movement and
transformation: exactly what Transition aims to convey.
CREDITS
Giuseppe "Joe" Allotta: Compositions, Vocals, Drums, Bass, Keyboards
Jacopo Trapani: Compositions, Recording, Mixing
Chicco Allotta: Piano (Track 1)
Giovanni Galdo: Bass (Track 1)
Riccardo Dalle Vedove: Trombone (Track 1)
Piergiorgio Perrella: Guitar (Tracks 2, 5, 8, 9)
Elijah Lee Last Jacinto: Piano (Track 6)
Matteo Diego Scarcella: Sax (Track 6) Francesco Brini: Master

Adam Green"s new album is a flamboyant synthesis of his recent creative work, compiling the three EPs he released exclusively digitally over the last three years. Houseface University, Magic Spells / Vending Machine, and Falling Around finally unite into a single, coherent project: a singular work of incisive songwriting, lo-fi psychedelic pop, and poeticirony. A key figure in the New York anti-folk scene, the singer-songwriter, visual artist, filmmaker, and poet Adam Green has influenced an entire generation since The Moldy Peaches. His songs have been covered by Regina Spektor, The Libertines, Carla Bruni, and Will Oldham; his films and installations have been exhibited at the Beyeler Foundation and acclaimedby the international press. In 2023, the tribute album Moping In Style: A Tribute to Adam Green (featuring Father John Misty, Devendra Banhart, Sean Ono Lennon, and others) confirmed his enduring influence on the global indie and alternative music scene. With this new album, Adam Green continues his unique trajectory: an instantly recognisable visual and musical universe, somewhere between quirky pop and minimalist folk. One of his most accessible and accomplished albums.

Emerging from the Ukrainian darkness in 2011, Kaosophia blend the raw energy of black metal with dissonant tones and emotionally resonant melodics. Their music is a sonic tapestry woven with intricate guitar riffs, powerful vocals, and haunting arrangements.
The band recorded their first demo “Towards The End” which was self-released by them in 2012 on a limited edition cassette.

2013 saw their first album “The Origins of Extinction” released on CD and cassette and the band followed up with many shows across Europe. 2017 saw Kaosophia expand and deepen their abyssal sounds even further with the monumental “Serpenti Vortex”, with lavish cover art produced by occult master artist Dávid Glomba, it rose Kaosophia to the upper echelons and forged their name as one the best and most formidable black metal acts in the scene at the time.

After a long period of silence, bloodletting and transformation, Kaosophia return with their darkest, most mature and powerful work to date. 2025 sees the return of Kaosophia with their new album “Beyond The Black Horizon”.
A dark and malevolent opus that explores themes of darkness, existentialism and the human condition. Delving deep into the complexities of the mind, the fragility of existence and Death itself.
Kaosophia preach orthodox ideas of Satanism in the most straightforward and ruthless form - total unconditional worship. Self-destruction as the overcoming of human essence and the cognition of pain to gain access to another level of reality's perception.
It is time to enter the end of days and venture beyond the Black Horizon…

Audio taken from a live performance by Anar Band (Jorge Lima Barreto and Rui Reininho) with E.M. de Melo e Castro in November of 1978 at Cooperativa Árvore, Porto. The performance was filmed. A segment was included in »Obrigatório Não Ver«, a weekly programme presented by Ana Hatherly on Public Television’s Second Channel. It was not possible to determine the exact date of the event, and no documentation seems to be available in the relevant archives.

»Encontro que Tenho« and »Profissões«: these titles are specific to this release. Having failed to locate the respective poems after a thorough search in E.M. de Melo e Castro’s body of work, it was deduced both texts were created for the occasion.

Even without a full contextualisation, the sound transmits the spirit of cultural agitation proper to these sessions. When this show happened, Anar Band were Jorge Lima Barreto (ARP Odyssey synthesizer) and Rui Reininho (Ibanez double-neck guitar), with the addition of E.M. de Melo e Castro, whom we shall call a poet but whose creative intervention was far reaching. Besides poetry, also continued his efforts in linking up diverse artistic areas (painting, drawing, collage, performance, video) and his official training in textile engineering. He was one of the artists featured in Henri Chopin's »OU Revue« in 1966, establishing his natural connection to the European concrete/visual/sound-poetry avant-garde. Melo e Castro was also proficient in the agitation of minds and political awareness. A good example in »Profissões«, where initially separate professionals (an intellectual, a fisherman, a soldier, a factory worker) are gradually mixed in a show of interdependency. Symbolically, through his words one listens to a transformation of society, although the same conclusion arises twice: surplus always finds its way to the hands of the capitalists.

That was the state of affairs many were looking to change, an economic and social malaise that the 1974 Revolution in Portugal fully uncovered, when dissident voices could finally be heard in public. Each in his own way, all three participants in this recording were non-believers in the structure of society such as it was presented. Through his books and press writings, mainly concerned with Jazz, Jorge Lima Barreto pushed his way into Portuguese artistic and critical circles since the late 1960s. Consciously and unwittingly, he collected enemies and pointed them by name, people he labelled as reactionary, people who delayed progress, social and cultural mixes, the avant-garde; they even delayed the chaos from which new forms and attitudes arise.

Rui Reininho, a non-conformist by heart, experienced incomprehension from an early age. His anarchic ways, a tendency to baffle others, were revealed through the choice of clothes and accessories, public behaviour, and »real life« performances. Just as Lima Barreto, and even together with him, he enjoyed provoking the extremes: Maoists on one side, right-wing conservatives on the other. He translated leftist books and joined Anar Band precisely on the day a duck or swan or goose (one of them) was thrown on stage in Porto, 1976.

This record documents a concrete action, a snapshot of the agitation, something we have no problem calling punk activism, something which allowed two people with little to no musical training to play and record music. By then, Anar Band had managed to release their only LP in 1977. It’s this performance, however, that reveals the naked rawness of the music: improvisation, mutual listening, and choice of intervention between both musicians and Melo e Castro, clearly sensing when the synth has to change tone, the voice has to make pauses, the guitar punctuates both and finds the space to… scream. The sound was captured by the film crew, adding to the rawness: the instruments are palpable, the voice often too close to the mic. Everything was preserved. First time on disc.

The label ORED Recordings was founded in 2013 by Circassian friends and fellow musicians Bulat Khalilov and Timur Kodzoko, in order to start an activity which is dedicated to documenting and preserving the traditional and post-traditional music of the North Caucasus. Khalilov and Kodzoko, were just as excited about this music as it sounded like a force that transcends borders and in which time dissolves and community becomes the only compass.

Through hundreds of field recordings, which have been made at communal gatherings, local festivities or family meetings, the label has captured a wide range of individual voices and their unique acoustic manifestations. All recordings on this album capture the raw expressiveness of the mountainside villages. Music performances being played by people who dedicate their love to music and an additional willingness to share intimate emotions.

Whereas most academic ethnomusicologists travel around the world in order to study foreign cultures, Bulat Khalilov and Timur Kodzoko were fascinated by what they just heard in the familiar regions of their then home town Nalchik. In resolute contrast to Russian academic circles, they soon developed a DIY Punk ethos for their far reaching work, beginning to formulate their own language in the field of ethnomusicology and to push the traditions forward.

However, the label’s work goes far beyond mere preservation. »We started traveling around the North Caucasus and did recordings with people from many different ethnic groups. In the North Caucasus, our work had a political dimension because there used to be (and still are) a lot of conflicts between different ethnic groups. We quickly understood that our work is not just about music and art,« states Bulat Khalilov.

The work of the label aims to reflect not only the great music of the Caucasus and its various communities but also to tell the stories behind it. They are stories of struggle, of independence, of working with historical memory in the present times of the 21st century.

Since Bulat Khalilov and Timur Kodzoko are now based at the University of Göttingen, we were able to meet each other many times and to eventually exchange ideas which resulted in the release of this collection of recordings. The compilation »Music from the Caucasus« provides a first introduction to the comprehensive work of ORED Recordings. For this collaborative release on TAL the recordings are being made accessible for the first time ever on vinyl, CD and various digital formats, all coming with extensive liner notes and yet unpublished photographs.

Bulat Khalilov and Stefan Schneider, November 2025

Hello Spiral returns to the same North London block, the same triangulated geometry of balconies and courtyard, but with a shift of orientation. His previous record looked outward from the eighth floor, these four new recordings move inside, into the building’s arteries. Joe explores the hallways of the complex where he has lived and listened for years, using the same tool as before, an iPhone and its voice memo app. The recordings were made in situ, each exactly eleven minutes, captured without ceremony.

The hallways feel different. Less private, less scenic, more neutral. They are the connective tissue between hundreds of domestic units, a space of transit rather than rest. The carpet absorbs certain frequencies. The fire doors catch and release pockets of air. The lights hum. Elevators drone in soft cycles of arrival and departure. These are the institutional sounds of shared living, yet once recorded they begin to behave strangely. A kind of internal weather appears.

As with the previous album, Joe remains attentive to what is often overlooked, irrelevant or discarded. The hallways, with their scuffs and signage, their coded access and polite functionalism, provide an unexpectedly rich field. The ambience is not shaped by storms or scaffolding, not by birds or street spill. Instead the material is the building’s own breath, its mechanical rhythms, the low frequency traces of neighbours, the occasional shuffle of footsteps that pass but do not return.

Joe talks about this record as a possible middle chapter in a trilogy. If so, it sits between the exposed openness of the balcony and whatever comes next. A hinge point. These recordings continue Joe’s long practice of defamiliarization, sharpening attention to the unnoticed while withholding narrative. They invite repeated listening, not for revelation, but for the subtle shifts that occur when a familiar space is treated as an instrument.

Founded in 2012, Vision String Quartet quickly became one of the most innovative ensembles in contemporary chamber music. What sets them apart is their fearless flexibility: combining classical stringquartet mastery with fearless, genre-defying creativity. They perform from memory, showcasing extraordinary musical communication and freedom on stage. They write and perform their own music, blending influences from folk, rock, jazz, minimalism and improvisation.

Based in Berlin - part of a vibrant creative scene, constantly experimenting - Vision String Quartet are expanding the definition of chamber music by making it accessible, relevant and visually engaging for a new generation.

‘In the Fields’ is the young quartet’s bold return - their ACT debut and first recording in five years. It’s a single, choreographed journey that fuses the spirit of folk, the pulse of dance and the depth of classical tradition into one seamless arc.

Inspired by Béla Bartók’s Fourth String Quartet and its dramatic fivemovement form, the album reimagines the string quartet as a living, breathing band, one that thrives on improvisation, rhythm and fearless experimentation. Movements from Bartók are interwoven with music by Ravel and Dvořák, original works by the quartet’s own Florian Willeitner and their guest collaborators, and arrangements of traditional folk tunes.

Joined by pianist Joel Lyssarides, guitarist Mahan Mirarab and drummer Bernhard Schimpelsberger, the ensemble expands the sonic possibilities of the string quartet, exploring new tonal Worlds where classical mastery meets jazz, folk and global influences.

‘In the Fields’ is an album that bridges past and future - timeless yet full of fresh energy - and a declaration that the string quartet still has endless horizons. The quartet invite listeners to press play, lean in and be carried across fields of sound, memory, invention and tradition.

Since their formation, The Hirsch Effekt have carved out a unique niche in the German-speaking music scene. Yet, despite—or perhaps because of—their elusiveness, the band has captivated a devoted audience. Musically, The Hirsch Effekt have always embraced limitless possibilities. Acoustic, introspective moments—where bassist Ilja John Lappin brings out his cello or guitarist Nils Wittrock returns to his classical roots—sit naturally alongside massive progressive metal onslaughts. The band is equally at home on intimate club stages as they are at international festivals, evidenced by repeated appearances at Euroblast and numerous events across the UK. Recently, they toured Germany alongside scene giants like Leprous, Tesseract and traversed Europe with Caligula’s Horse. Yet between these extremes, The Hirsch Effekt continually create songs that flirt with radio accessibility—almost—because the band steadfastly resists any form of standardization. With their seventh album, Der Brauch, they continue this course uncompromisingly. While earlier works, despite their diversity, were still labeled “metal albums,” this new record explores paths first hinted at on the multilayered second album, Holon : Anamnesis—the same album that fans of VISIONS magazine voted the only German-language entry among the 20 best albums of all time. Der Brauch can be seen as a return to that pivotal point—and simultaneously as a bold step forward. Drummer Moritz Schmidt doesn’t entirely forgot blast beats, but the record demands a new heading. In the end, though, there is only one truth: it unmistakably sounds like The Hirsch Effekt.

Repress !

In 1991 Coil released the third of their early classic full-length albums “Love’s Secret Domain”, seemingly casting aside the gloom and funeral beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike some of their fellow ex-industrial contemporaries’ releases of the time wasn’t an attempt at easy accessibility or (the-gods-forbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album. artwork by Steven Stapleton released in co-production with Infinite Fog Prod.

Do you remember the last time you were breathing consciously? Either way, you are likely doing it now. On his new album Observation of Breath« for the Swiss-based Hallow Ground label, Lawrence English worked exclusively with an organ for four compositions that are exercises in »maximal minimalism,« as their creator himself notes in a nod to Charlemagne Palestine, who coined this term. While it seems somewhat fitting that those four pieces based on a steady flow of air were conceived and recorded in a situation of accelerated standstill caused by a respiratory disease, the Room40 founder is not so much concerned with capturing the zeitgeist than rather incorporating the spirit of time itself. »It is a record about presence and patience,« he explains. Exploring the unique sonic affordances of a singular instrument, »Observation of Breath« is not only devoted to the durability of sound but also to its density. That it marks his debut on Hallow Ground after having shaped its sound by mastering most of the label’s releases in recent years is just as fitting then as its release following albums by Kali Malone and FUJI|||||||||||TA, whose innovative work with organ instruments have facilitated a rediscovery of their possibilities.English’s compositions however are neither directly indebted nor responding to these musicians. His exploration of the organ’s many facets started a decade ago when the composer was given access to an instrument built in 1889 that is presently housed at The Old Museum in Brisbane. After it had already played a crucial role on his seminal albums »Wilderness Of Mirrors« and »Cruel Optimism,« last year’s self-released »Lassitude« was the first record that English entirely composed and recorded with that instrument. »During the soft lockdowns, I spent many days playing to an empty concert hall, recording the pieces that became ›Lassitude‹ and then, this album,« says English in regards to an unfortunate situation that fortunately provided him with time and space—two major themes but also key qualities of the four new compositions. In this sense, he goes on, »Observation of Breath« resolves a number of the questions originally raised by »Lassitude.

For over six decades, Charlemagne Palestine (b. 1947, New York) has been a pioneering composer, performer, and multimedia artist, celebrated for his ecstatic sonic explorations and ritualistic, metaphysical performances. Emerging from the cross-disciplinary New York art scene of the 1960s and ’70s, he helped shape a heretical edge of minimalism alongside figures like Conrad, Riley, Niblock, and Glass. Trained as a Jewish cantor and later as the carillonneur at St. Thomas Church, Palestine cultivated a deep fascination with resonance and overtone—an obsession that evolved through his use of percussion, early synthesizers, and monumental piano works, influencing artists from John Cale to Nick Cave.

Animated by a spirit of ecstatic play and what he calls his »meschugge« (Yiddish for »crazy«) sensibility, Palestine’s universe blends the sacred and the absurd, filled with soft toys, ritual gestures, and immersive sound environments. Rejecting the »minimalist« label in favor of a maximalist, »spontanimalist« approach, he creates long-form, resonant performances that transform spaces into vibrating, living organisms—opening portals into the nature of time, sound, and devotion.

In the same vein, the aptly titled live record »The Organ is the World’s Greatest Synthesizer« – performed during the Sonic Acts Festival at Amsterdam’s Oude Kerk in 2025, and taking its title and cover art from a drawing realized by Palestine himself during the concert – adds to his opaque yet vibrant personal mythology and intimate transcendence, marking a return to the Staalplaat catalog after »Fffroggssichorddd« (2020) and »Music for Big Ears« (2001).

Beginning with a resonating bell and his falsetto overtone singing, then surrendering to the endless, wild soundscapes of tone-feeling and beat frequencies generated by the church’s organ, across 40+ minutes, single sound sources evolve into clusters, entangle fully with one another, and establish their own spatial existence and aural architectures. We witness the traces of something that can be described as a perpetual performance, a test for the ever-changing interaction between artist, instrument, space and, ultimately, us.

Since Palestine has always defined his execution as a form of anti-composition - of simply »being in the music« as if inhabiting a space - the true power of »The Organ is the World’s Greatest Synthesizer« lies in encapsulating a moment of Palestine’s practice in its most authentic, live dimension. Sound becomes at once subtle substance and strange telluric force, animating physical forms from some unknown channel beyond and within, accessible only through our sensorium. The point in this liminal temple of tone, timbre and frequency is not to learn anything but to simply enter. Palestine earns once again his self-given title of contemporary shaman by keeping this sonic portal open, allowing us to witness and make it last.

»I have always felt and heard and mixed the sounds in my world as liquids not as solids. Sonic liquids are material that is endlessly transformable. But I’m not crazy about people who go around defining stuff.«

Mighty Joseph is the combination of emcees Vast Aire (Cannibal Ox) with his long-time rhyme ally Karniege. The duo's sole album, Empire State (2008) was released during the tail-end of the last great non-commercial Hip-Hop period.

Never released on vinyl before, the album will be available soon on a double LP edition.

Rooted in the concrete streets but lyrically abstract, features and beats are provided by equal musical foils including Madlib, Camu Tao, Murs, J-Zone, Poison Pen and Vordul Mega (Cannibal Ox) among others.

Fan and critical attention were positive with All Hip Hop summing the album as "solid post-millennium product that bridges the gap between gritty street tales and a paranoid view of the future."

Plug One Magazine added that "Empire State" "unravels a unique perspective, documenting not only much personal change between the two emcees but also the changes in the streets of New York City. From poverty, to the September 11 attacks, to the abuse of Hip Hop culture in general, "Empire State" stands strong as a snapshot of the city."

NPVR is the avant garde duo made up of the late Peter Rehberg and Nik Void. Editions Mego is proud to present their second and final release. No this is not some kind of Beatles synthetic AI that raises the dead reconstructed recordings but rather a new album made by the humans and their machines.

The initial meeting of Rehberg and Void was in London in 2016 and despite or due to their mutual awkwardness found solace and compatibility in the fact that they both had a similar electronic modular set up, along with matching cases to transport all. The idea to collaborate was an obvious and organic process as a means to connect their individual gear together and observe the outcome. The fruits of these initial experiments, recorded in London, resulted in the playful experimentation of their acclaimed 2017 release 33 33 (eMego 251).

Now in 2024 Editions Mego presents the logically titled follow up, 33 34. These sessions were recorded six months after the initial recordings at Peter’s home in Vienna. This was planned out as a mirror city release to the original London recordings. With Peter having access to his full studio set up this time around we encounter a rich audio landscape which organically folds together a variety of musical genres blurring any distinction between these forms so the resulting music hovers as a new cloud of sound. Any musical form, be it industrial, electro-acoustic, ambient, drone and techno all coexist and melt into the other as the ensuing result unveils a hypnotic swarm of divergent sounds (music). When active there were no lines or contexts with NPVR, either between sound or genre within these recordings or live where NPVR were at home playing at a techno club one night and an avant garde venue the next.

The initial session of these recordings was edited by Rehberg and sent to Void to further develop. Over time the final versions were agreed on and then shelved as other outside projects took over. The awkwardness had been surmounted and the two had become close friends. NPVR performed at a range of venues such as Tresor, Sutton House, Corsica, Blitz, Paris GRM #Focus2, LEV Festival and Rigas Skanumezs Festival. Following Rehberg’s untimely passing Void had difficulty listening back to the sessions but eventually thought it fit to complete and release this album, of which even the artwork (like 33 33, an image from Zurich photographer, Georg Gatsas) had been decided upon prior to Rehberg parting ways.

There is an unmistakable joy to these recordings. One encounters an enthralling exploration of their chosen machines which conveys the excitement of what can be randomly conjured when people speak through such devices. There is no grand statement or argument here, just the sheer thrill of creation and the recorded results of random encounters. The art of collaboration was always a mainstay of Rehberg’s practice from the advent of the MEGO adventure. Rehberg & Bauer was an initial collaboration with former business partner Ramon Bauer. Even at this stage one can hear a relaxed sense of delight in the sheer discovery of sound.

A mix made for the Wire magazine following the release of 33 33 hints at the freedom that comes with endless urge for exploration and discovery. Abstract tracks from Z'EV. Jérôme Noetinger and Jung An Tagen are included alongside British stalwarts The Fall and New Order. There were no lines between pop / academic / underground or mainstream in Rehberg’s world. All of it sat at the same table. It is just matter in the atmosphere, like the diverse exploration found in these recordings that comprise 33 34.

Towards the end of his life Rehberg was obsessing over the immense output of the German ambient musician Pete Namlook. An artist renowned for not only his sprawling catalogue of ambient masterpieces but one who often said his main inspiration was nature. This is apt with regards to the work of NPVR which also aligns with such thought as the intertwining of the two individual artists and their machines results in a natural symbiotic flow, as it happens, just like in the world around us.

Pioneering experimental electronic record receives first-ever complete vinyl pressing, featuring expanded content and exclusive liner notes.

Editions Mego release the highly anticipated vinyl reissue of Get Out, the groundbreaking second album by Peter Rehberg under his influential PITA moniker. Originally released in 1999, this seminal work stands as a landmark achievement in experimental electronic music, praised for its revolutionary fusion of ear-splitting noise and melancholic melodies. Moving beyond the era's trend of pure abstraction, Get Out represents a pivotal moment when experimental electronic music began exploring new territories laying forth a path which many artists would subsequently follow.

This expansive reissue marks a significant milestone for collectors and enthusiasts, presenting all 12 tracks from the 2008 eMego CD version on vinyl for the first time. The inclusion of the rare Detroit live recording (remastered by Jim O’Rourke) provides invaluable insight into PITA's performance practice during the album's original touring cycle, whilst new liner notes from Jim O'Rourke and Chris Clepper provide further personal and anecdotal insight.

Since its original release, Get Out has been recognized as essential listening for understanding the evolution of experimental electronic music in the late 20th century. This authoritative reissue ensures that Rehberg's visionary work remains accessible to new audiences while providing longtime admirers with the definitive version of this crucial album.

The vinyl comes with a DL code which contains a 20 minute live performance in Kyoto, Metro, 25.01.1999.

KEG announce new EP Girders set for release September 2nd on Alcopop! Records/BMG. The band also share the frenzied and whip-smart new single Kids. The band, who have been hotly tipped across the board for 2022, will also play their debut UK headline tour plus festivals which include Green Man, End Of The Road, Latitude and more. Kids strides into the deep lineage of British art-punk songwriting that is both self-referencing and outward-facing - while being consistently innovative. Few singles manage to take aim at both the restaurant chain Itsu and the comedian Michael McIntyre, but KEG somehow pull it off.

Following a widely successful debut single release Heyshaw in the summer of 2021, KEG saw major support from publications such as NME, DIY, Dork, So Young, Clash etc. Leading into their debut EP Assembly, released October 2021, KEG toured with contemporaries such as Squid and Talk Show.

KEG are a seven piece. Albert (vocals), Joel (bass) & Will (synth) grew up together around the seaside Yorkshire town of Bridlington; and like many artists growing up in removed quarters of the country, they shared a yearning to leave. Spreading to different parts of the country after leaving school, they found their bandmates in their respective cities and found one another once again on the southern shores of Brighton.
Frank (guitar), whose background resides mostly in hip-hop, afforded a unique pulse with a guitar sound which is manic, discordant but firm. Jules (guitar) whose songwriting sensibilities come from a love of cadence and craft of beautiful soul ballads, imbued the band with his structured sense of composition. Both Charlie (trombone & shell) and Johnny (drums) come from classically trained Jazz backgrounds.
The announcement will receive digital marketing support and will launch with new tour dates announced (below) with pre-order for presale access available.

Bruit's sound is a tectonic collision of raw noise and patient, cinematic structure: layers of metallic percussion, low-end rumbles and fractured melodic fragments that creep, accumulate and then converge. Balancing soaring melancholy and industrial grit with meticulous dynamics, they turn long-form pieces into physical architectures where silence, resonance and sudden force are equally important. In this reissue of their staggering debut EP `Monolith', Bruit give us the opportunity to rediscover their first ever release, the completely self-produced and recorded record that defined their direction and introduced their world-shattering sound. `Monolith' is an epic portrayal at the centre of the human experience, the band's use of melancholia, industrial textures reimagined through patient dynamics, sculpted resonances, and a singular attention to momentum gives listeners access deep and power terrains. `Monolith' is the first expression of Bruit's exploration of material sound and human scale. Building on the dense palette of integrity and compositional mastery, Bruit interrogates what long-form composition can hold: memory, pressure, and a cinematic coalescence. Bruit's sound captures the exorbitant nature of the times, the outrageousness of humanity at a moment in time that is grotesque in scale and overwhelming in scope. Two long tracks for FOR FANS OF Hans Zimmer * Nils Frahm * Godspeed You! Black Emperor * Balmorhea * Max Richter * Olafur Arnalds * A Silver Mount Zion * Boards Of Canada

Bruit's sound is a tectonic collision of raw noise and patient, cinematic structure: layers of metallic percussion, low-end rumbles and fractured melodic fragments that creep, accumulate and then converge. Balancing soaring melancholy and industrial grit with meticulous dynamics, they turn long-form pieces into physical architectures where silence, resonance and sudden force are equally important. In this reissue of their staggering debut EP `Monolith', Bruit give us the opportunity to rediscover their first ever release, the completely self-produced and recorded record that defined their direction and introduced their world-shattering sound. `Monolith' is an epic portrayal at the centre of the human experience, the band's use of melancholia, industrial textures reimagined through patient dynamics, sculpted resonances, and a singular attention to momentum gives listeners access deep and power terrains. `Monolith' is the first expression of Bruit's exploration of material sound and human scale. Building on the dense palette of integrity and compositional mastery, Bruit interrogates what long-form composition can hold: memory, pressure, and a cinematic coalescence. Bruit's sound captures the exorbitant nature of the times, the outrageousness of humanity at a moment in time that is grotesque in scale and overwhelming in scope. Two long tracks for FOR FANS OF Hans Zimmer * Nils Frahm * Godspeed You! Black Emperor * Balmorhea * Max Richter * Olafur Arnalds * A Silver Mount Zion * Boards Of Canada

As genre conventions continue to morph and blur, there's a wealth of stunning
new music being made wherever groups of musicians have the imagination
and ingenuity to transcend the old boundaries and just play whatever comes
naturally
Sun Speak are such a group and their album Probiotic Orchestrations is full of music
that's urgent, powerful, accessible and humorous, pulling together sounds and
textures from the worlds of rock, jazz, electronica, Americana and the outer reaches of
progressive music into compelling whole. Guitarist Matt Gold and drummer Nate
Friedman first came together as Sun Speak ten years ago amid the white heat of the
Chicago experimental scene, where they'd worked with such luminaries as Makaya
McCraven and Patricia Barber.
On this, their sixth release, they continue to develop their own distinctive sonic world
with the aid of fellow Chicagoan Daniel Pierson who joined as engineer/ sound
sculptor and now increasingly takes a collaborative role as a third member of the
band on keyboards. Now the trio are dispersed and live in different corners of the USA,
but in 2024 they came together in a remote seaside cabin in New Hampshire, writing
and recording every day in an intense undisturbed whirlwind of creativity. Probiotic
Orchestrations is the result - a dazzling mix of improvisation and composition,
exploring rhythm, colour and texture with the directness of rock and the fearless
improvisatory flair of jazz.
Available on heavyweight black vinyl + 6-panel digipak CD editions.

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

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

TIMEPOINT is the studio album distilled from Stéphane Bissières’ eponymous audiovisual performance, where modular synthesis meets generative real-time visuals. In the live show, sound and image are intertwined: each musical gesture informs a visual response, creating a dynamic, evolving environment where music and visuals interact organically.

Paris-based composer and new media artist Stéphane Bissières works at the intersection of electronic music, generative art, and cybernetics. He develops algorithmic systems that explore timbre, structure, and the interplay of energies, translating data into immersive sensory experiences.

For TIMEPOINT, Bissières transforms the live, algorithmic energy into a self-contained sonic journey. Using modular synthesis and generative composition, he builds intricate, evolving textures that balance chaos and structure — a sonic ecosystem reflecting movement, pattern, and organic order.

The music explores timbre as a central element, sculpting sounds that resonate with the visual patterns of the performance. Each track functions as a microcosm of the show: algorithmically generated sequences, cybernetic textures, and evolving layers converge to form a lush, immersive soundscape.

TIMEPOINT invites listeners to explore a world where technology, imagination, and organic structure coexist. It’s an intimate translation of a live audiovisual universe, now accessible as a focused listening experience.

Ground-breaking percussive ambient recordings from Gabrielle Roth & The Mirrors, inducing altered states of consciousness through ecstatic dance. "Selected Works from 1985 to 2005" finally available on Time Capsule

Despite featuring an extraordinary cast of musicians (with credits including Pharoah Sanders, Miles Davis, Sun Ra, Santana and Milton
Nascimento) and selling hundreds of thousands of albums, the music of Gabrielle Roth & The Mirrors remains largely unheard beyond their sphere. Conceived as live, improvised soundtracks to Roth’s transcendental dance workshops, musical acclaim was never on the agenda.Instead, for a passionate dancer and spiritual polyglot like Gabrielle Roth, movement was a means through which to channel a wide spectrum of teaching, from experimental psychology to psychedelic counter-culture. It was from this heady mix that she devised a movement meditation known as 5Rhtyhms, which came to define her life’s work.

As “guide and catalyst”, Roth would dance to inspire the percussion-led instrumentals that would in turn fuel her 5Rhythms workshops, stimulating a secular form of ecstatic dance with roots in Native American shamanic traditions, Afro-Brazilian Candomblé and Yoruba drumming. Using anything from a Sioux pony drum to East African kihembe and Japanese Kabuki drums, Gabrielle’s lawyer-turned-drummer husband Robert Ansell set the foundational rhythms for The Mirrors’ recordings, each of which would then feature a rotating cast of friends and professional musicians.

“The secret of everything we’ve done is that we never told anybody what to play,” Robert shares. “Instead of our albums being a musical vision of one person like me or Gabrielle, they were the musical vision of a whole bunch of people.”At times the recordings have a Middle Eastern flair, at others, West African and spiritual jazz modes come to the fore. Hints of kosmische musik, proto-house and electronic ambience are laced like LSD through the organic rhythmic structures. This was kaleidoscopic ambient music to stir the body and free the mind.

In practice, the task of synthesising these different elements fell to Scott Ansell, Robert’s son and a recording engineer whose credits now include Nile Rogers, Duran Duran, Grace Jones. With meticulous attention to detail he captured and translated the dynamic energy of each drum onto record. Their sessions became legendary, and with access to the best studios in the NYC, The Mirrors sparkled.

Despite being initially overlooked by the burgeoning ‘80s New Age market, which preferred pipes and gongs to The Mirrors’ heavy-grooving drums, Robert Ansell set up Raven Recording to self-release the music, creating a vast sonic archive of sixteen albums over almost forty years. The breadth of Raven’s catalogue is such that curator Pol Valls had to cut an initial selection of sixty-six tracks down to the eleven featured here. What crystallises is a stunning, mind-altering collection which spans, in Pol’s words, “a variety of genres, styles, and vibes within their catalogue, whether it is emotional, esoteric, spiritual, melancholic, hypnotic, dark, or at times a combination of these elements together.”Music for immersive and intimate environments, Gabrielle Roth & The Mirrors were born from the dance. In the hands of the right DJ, at the right time, in the right place, they might just return there.

“Twenty-five years into their existence, The Album Leaf are an old comfy sweater. It might not be the most fashionable thing in your collection but it always feels good when you put it on. Jimmy LaValle’s synth textures are warm, nostalgic and steeped in Boards of Canada / Ulrich Schnauss-style soundscapes that are relaxing, otherworldly and melodic” – Brooklyn Vegan

The Album Leaf shares his new ambient LP, Rotations. The record is a mediative experiment into atmospheric sound. Creator Jimmy LaValle explains, “This collection of music is a true reflection of my creative process—rooted in sound exploration, experimentation, and spontaneous response. Each track captures a moment of creative discovery, free from the pressure of achieving a polished result. Throughout my career, I’ve often placed significant weight on what an album should be. With this release, I’ve let go of those expectations to share a body of work that feels genuine and authentic.

The Album Leaf began as the solo project of Jimmy LaValle, who came up in the San Diego music scene playing in hardcore bands and the instrumental rock band Tristeza. He had inked a deal to release his next solo album through the indie label Tigerstyle Records, so he put the modest advance towards a self-recording starter setup, building out the sound with occasional studio access. The music that emerged — vivid, rhythmic, soaring instrumentals guided by lines of Guitar and Rhodes — not only set the path for The Album Leaf over the next two decades of acclaimed releases (for Sub Pop, City Slang, and others), it became a touchstone for the next generation's wave of melodic and meditative electro-organic music.

With ten original compositions (and one well-chosen cover) to record and a schedule window of just one day in New York City to record them, there was no margin for error. For the frontline Kerry picked a pair of legends - Kurt Rosenwinkel on guitar and Jaleel Shaw on alto and soprano sax. In the rhythm section she selected NYC's busiest bassist Alex Claffy and, keeping it close to home, her partner George Colligan on drums. And in the face of delayed flights and traffic hold- ups, the album Alternate Route was created, hitting the highest standards of performance with the depth and warmth of Kerry's challenging but engaging compositions. It's a set of tough and tender tunes that combine sophisticated harmony with intricate but accessible melodies to inspire some fierce blowing from everyone, all delivered with a concise, timely precision.

The empathy and good feeling flowing between the players are audible from the first notes: "Kurt, Jaleel and Alex all have Philly roots so there's a really strong relationship there. Alex is incredibly gifted, and Jaleel is such a beautiful player with such a huge, recognizable sound. And it was such a thrill to have Kurt on the album - he's one of my favorite composers and I've been a fan for such a long time." Each player has a powerful personality and Kerry allows them free rein, yet such is the strength of her compositions, and her calmly stated but immensely powerful presence on piano, that no one player dominates the music: everyone finds their own alternate route to excellence.

AOKI takamasa and Tujiko Noriko’s 2005 album »28« has become a cornerstone in the artists’ respective discographies. 20 years after its initial release, Keplar issues it on vinyl for the very first time. Three years in the making, »28« saw the sound artist and the avant-pop singer-songwriter combine their distinct aesthetics for an album that defied categorisation. Their combination of advanced electronic experimentation and pop appeal paved the way for a new generation of artists and turned »28« into an enduring fan favourite. Remastered by Stephan Mathieu, the reissue comes with a brand-new artwork by Joji Koyama and a changed track listing—authorised by Takamasa and Tujiko—for the vinyl version to fit it on a single LP, while the digital version remains identical to the original release.

Tujiko and Takamasa first shared the stage together after the turn of the millennium. Both were emerging solo artists, with Takamasa a mainstay on the Progressive Form label and Tujiko forging a connection with Mego in Vienna, Austria. »I simply liked Noriko’s voice and music, and since we often performed at the same events, it felt like a natural progression for us to start working together,« remembers Takamasa. They first collaborated in 2002 for two shows at the Fondation Cartier in Paris and at SonarLab in Barcelona, respectively. The first joint piece was a rework of Tujiko’s »Fly« from »Hard Ni Sasete (Make Me Hard)« by Takamasa, appearing as the album opener »Fly2« on »28.«

After that, the Paris-based Tujiko and Takamasa, still based in Osaka, worked sporadically and remotely on new material. For the first two years of their collaboration, the two met in the context of live events or Takamasa’s visits to the French capital to discuss their process and exchange hard drives while also occasionally sending each other CDrs in the mail. »Aoki made beats and sounds that complemented my music perfectly, building the foundation on which my voice could float,« Tujiko says today. Takamasa used hardware such as the Nord Modular, the Korg Z1, and the Korg ER-1, while also working with different kinds of software and plug-ins as well as Logic. Tujiko was using Cubase, her preferred piece of gear at the time being an AKAI MPC.

After Takamasa moved to Paris in 2004, this enabled the duo to finish the album together in person. Starting with its subtle use of glitches to the almost-anarchic way in which it deals with the structures of a song, »28« came to be an incomparably intricate album. 20 years on, it remains timeless because of its flawless synthesis of the cutting-edge avant-garde ideas of early 2000s electronica with an idiosyncratic but accessible pop sentiment. Both artists look back fondly—though not uncritically, with Takamasa noting a certain »youthfulness« in his contributions—to the album that was titled after their respective age at that time. »Maybe we should make ›51‹ now?,« quips Tujiko. See you in three years, perhaps.

Born from a profound devotion to the piano and a reverence for the organic flow of life, byt’ surprises listeners by presenting "paths of sand", a remarkable creation by Amsterdam-based composer xico, offering sound and soul to those willing to listen beyond the surface.

Through the magic of experimentation, xico captured the fleeting beauty of the muse of improvisation, as described by Nachmakovich, transforming the ephemeral into something lasting. Performances recorded on the same old piano during the 2023 Kaalstaart Festival in the Netherlands have since evolved into a fully realized work. A journey of nearly three years of dedicated silence that began with Telva’s intuitive recognition of xico’s voice, starting with an invitation to her radio show and blossoming into a captivating fascination with what unfolded. This process led to the art of shaping the selected live recordings into a collector’s item, now materialized as a limited edition of 200 pressed vinyl copies, forever remaining as an artistic memento.

Perfectly attuned to the energy of the autumn equinox, paths of sand unfolds as an intimate reflection of music’s ability to hold what cannot be held, to speak what cannot besaid, and to embody what can never be described.

xico is a sound artist and improviser from Ibiza whose work explores the merging point between disruptive and post-natural soundscapes, crafting immersive sonic environments through compositions that unfold like ecosystems.

Encouraged by an understanding of chance as nature’s and awareness' most accessible voice, he focuses on creating generative live-sets with varying degrees of unpredictability. For him, subordinating human intention to nature’s order is a conscious choice, and making art through this lens becomes a statement and a spiritual practice. With his distinctive touch, his compositions resonate with the world in unexpected and profound ways, offering experiences you may never have heard before.