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26th May 1980. We were kids, or we were not even born yet. This day changed the thinking and the future of an entire nation. That day one man carried the weight of history and all the hope of a whole country, to infinity and back.

Bertalan Farkas was the first Hungarian to make a successful landing aboard SOYUZ-36 as part of the Interkosmos program led by the Soviet Union. Together with his partner Valery Kubasov, on 26th May 1980 he launched into outer space from the Baikonur Cosmodrome. With this space travel Hungary became the seventh nation to enter outer space.

In addition to his professional knowledge and merits, an entire country celebrated him for his humanity and loyalty to his people. The national hero of the 80's inspired generations. As children we wanted to be astronauts, and as adults we look up to the stars and the endless sky with the same childlike enthusiasm.

When it comes to Latin soul, Bobby Matos And The Combo Conquistadores 'Tema De Alma Latina', has to be up there as one of the heaviest tracks ever recorded. This much-loved Latin workout has been rocking dancefloors for years with its infectious, driving energy and pulsating rhythms. Released in 1968, the 'My Latin Soul' album on Philips Records now receives a welcome reissue on Mr Bongo. It’s a sheer delight throughout and a premier example of the Nu Yorican sound that was thriving in New York in the ‘60s.

From a young age, the Bronx, New York-born Latin jazz percussionist Bobby Matos found inspiration through the conga drum masters Mongo Santamaría and Patato Valdez (who he had informal backstage lessons with) and timbales legends Willie Bobo and Tito Puente. Bobby was drawn into New York's club scene and began playing in the vibrant ‘60s beat / bohemian Greenwich Village cafes, followed by stints in a wide range of different venues. These included Bronx dance halls and after-hours clubs in El Barrio, through to the elegance of Carnegie Hall, Central Park concerts, and off-Broadway theatres.

Later relocating to Los Angeles, Bobby played an important role in spreading Latin music far and wide. He became an inspiration to many on the jazz dance and acid jazz scenes in the ‘80s / '90s where his recordings were picked and played, becoming prized collector items amongst DJs. The track 'Tema De Alma Latina' was immortalised as a classic for many, after being featured on the Gilles Peterson’s Street Sounds Jazz Juice 5 compilation in 1987. A captivating listen from start to finish, the album features other treats such as the dynamic album opener ‘Nadie Baila Como Yo’, the blazing flute led 'Mambo Maxims', and the blistering piano shuffler 'Raices'.

A truly iconic Latin classic whether you’re being reunited with it like an old friend or discovering it as a fresh new find.

Space Echo is proud to present the new single by Derane Obika and Go.Soul.Map., arranged and performed by Sicilian
mastermind producer Salvo Dub - an overwhelming fusion of electronic sounds and soulful vibes. This track is a balance
of pulsating rhythms and enveloping melodies, a sonic journey that invites dancing and reflection.
The production stands out with its electronic soul — a rich blend of synthesizers and deep bass lines that pull the listener
into an energetic and immersive atmosphere. Every beat is crafted to move your feet and light up even the most
sophisticated dance floors.
It’s an explosion of energy, set against the unmistakable voice of Derane Obika. With his warm, soulful tone reminiscent of
Seal, Derane brings a unique spirit to the track, infusing every word with raw emotion and deep.
Here, Derane and Go.Soul.Map. don’t just celebrate dance music — they invite the listener into a full-bodied sensory
experience, where electronic beats meet soul tradition to create something truly extraordinary.
The lyrics expresses the idea of a complete fulfilment found in someone or something essential. It suggests that this
presence — a person, an emotion, or a spiritual guide — is so fundamental and complete that everything else becomes
unnecessary.
It evokes a profound sense of connection, purpose, and clarity. Like a path that leads directly to the essence of existence,
it conveys the feeling of being guided, inspired, and grounded all at once. It is a declaration of absolute trust, of love or
devotion — where the journey and the destination fully coincide.
Side B features a new version of “Walkin’ a Dream” from the debut album “Peaceful Sound for Broken Minds”. The new
rework 25, offers us futuristic and electronic sounds with 70s and 80s disco influences, mixing with space and cinematic
themes - very interesting!

In a fusion of science and sound, Kalocain's debut vinyl release, "Genetic Memory," unfolds an eerie tale. "W.N.G." opens a portal to an ancient world, where forgotten tongues unveil cryptic secrets. "Genetic Memory" weaves ethereal connections between ancestral recollections and the present, warping the fabric of time. "Ivermectin" delves into the surreal realms of molecular melodies, as if sonic DNA deciphers sound's enigmas. Remixes from Normal 4, Patricia Kokett, and Jacques Satre reshape the auditory cosmos with a dash of the bizarre.

To amplify the weirdness, Evaldas Bubinas aka Hermandrowning, concocts mind-bending artwork, beckoning listeners into a realm where sound and art meld in uncanny harmony.

But that's not all! The digital copy unveils an additional original track, "Groove Drift," along with a wild array of remixes by Henry Greenleaf, Frankfurt Bass, and Dogpatrol.

"Genetic Memory" isn't just music; it's a transcendent odyssey blending the past, present, and the surreal future, with a digital twist that will leave you questioning the boundaries of sonic exploration.

Introducing Nazareno (Argentina) – Making waves straight out of South America, Nazareno marks his arrival on the global stage with a powerful debut on Unearthed Records. Known for his raw energy, deep musicality, and forward-thinking sound design, this release not only introduces his artistry to the world but also celebrates a milestone: his first-ever vinyl pressing. With this record, Nazareno captures the spirit of Argentina’s underground while pushing boundaries into new sonic territory – a statement of what’s to come.

Continuing the percussive-driven and emotive themes from his previous EPs, CAIN reaches beyond the boundaries of experimental electronic and Celtic music from the Scottish Highlands. "Lineage" is the result of a life-long goal to combine his passion and experience in these respective worlds. The album includes Brighde Chaimbeul on Scottish small pipes, James Mackenzie on flute and vocals by Katie Mackenzie.

The common thread that connects his discography is the intense rhythmic and melodic elements that convey his love of ‘infectious rhythm, ethereal beauty, or an otherworldly strangeness’. His productions have garnered support from DJs like Ben UFO, Gilles Peterson, Peggy Gou, Hunee, Haai, Erol Alkan, Ame, Oneman, and Midland, amongst others. Balancing rhythmic precision with profound harmonic depth, CAIN weaves evocative builders that ignite dancefloors at peak time and reveal intricate sonic tapestries in the intimate confines of headphones.

CAIN's musical background is rooted in traditional Scottish bagpipe music, which evolved through his competitive performances on an international level. His experience and knowledge enhanced CAIN’s understanding of how regional folk music reflects specific environments and cultures. Through the competition circuit he met Brìghde Chaimbeul, out on the scenic games fields of Uist, Glenfinnan and many others. He also competed against James Mackenzie, an amazing piper and flautist. James is a former member of the band Breabach. His wife, Katie Mackenzie is a superb Gaelic singer.

The recordings with James and Katie were done on the island of Bernera, off the Isle of Lewis in the Outer Hebrides and recordings with Brìghde were made in Edinburgh.

Mastered by Sam at Precise, Design by Alexander Horne, Pressed and printed at Record Industry

Spiritual World's first archival 12" vinyl release from the UK’s free festival dub pioneers.

The Ullulators, an experimental dub and world music ensemble from Bath, UK, have long been associated with the UK’s free festival movement, tracing their creative lineage back to the mid-1980s. For the first time ever, two pivotal tracks from their early cassette-only discography—“Simply Conscious Dub” and “Eternal
Now”—are being issued on 12” vinyl, marking the first archival release on Spiritual World.

The A-side, “Simply Conscious Dub”, originally featured on the 1986 cassette Beyond the Gates of Ull, exemplifies the band’s signature fusion of weighty dub rhythms with expansive and euphoric electronics.
In contrast, the B-side, “Eternal Now”, drawn from the 1985 cassette Share a Calm with the Ullulators, ventures into more introspective sonic territory. Built on minimalist structures and ambient textures, it evokes the kosmische tradition and aligns with the spatial sensibilities of Manuel Göttsching’s E2-E4.

Together, these tracks not only showcase the group’s wide stylistic range but also underscore their forward-thinking approach to genre hybridity. This release stands as a unique document of a formative era in the
evolution of UK underground, dub, and ambient music.

GET OUT OF HERE!

Zarkoff brings it all:

– A cry to battle
– An ode to the abyss
– A sacriligious chant

INVOLUCIJA recruits vocalist & poet Zarkoff from Sumerian Fleet to deliver razor-sharp justice. You can label it EBM, industrial techno or even futuristic math-rock – we just call it Balkan Body Music.

“And after a line, another line” (Serbo-Croatian: I poslije linije, linija) is a flippant reference to Yugoslvia’s nostalgic lament ‘And after Tito – Tito!’ Oh how the ethical goalposts of the past are moved, again and again.

As Zarkoff warns: don’t turn your back on the golden youth!

/// Berlin labels aufnahme + wiedergabe and INVOLUCIJA·ORG connect again for another split-label release // INVOLUCIJA is an experimental post-industrial collaboration with artists from ex-Yugoslavian countries, started by Michel Morin (Sneak-Thief / Polygamy Boys) and Lucija Invo. ///

Some things simply need time to brew. Loek Frey returns to Omen Wapta with his third release on the label: Nayan. The Amsterdam-based artist shares a long-standing friendship with label head Woody92 - keeping each other in motion as artistic peers since the label's inception. Over time, they've built a shared archive of material: sound sketches, tracks, and sonic touchpoints - an ever-evolving third space where their paths continue to meet as they move in parallel. Nayan emerges from this deep-rooted exchange: a distilled six-track release that fuses Frey's cerebral intricacy with the label's primordial uncanniness, reaffirming both as key voices in a yet-to-be-defined sonic realm. Diving into the release, Frey's signature remains intact - tactile, spatial, and rhythmically precise - but a subtle shift is at play. A paring down. A move toward something more reduced, maybe even more patient, yet no less absorbing. The A side leans inward: deep pressure, spectral traces, and an undercurrent of tension that never quite resolves. It's music for staying with, not escaping from. Flip to the B side and the palette widens - kicks land heavier, patterns loosen, textures fill the full frequency field. Still deeply rooted in the Wapta world, but with an assertiveness that whispers rather than shouts. Somewhere between absence and force. With Nayan, Loek Frey carries his Omen Wapta narrative into new territory - merging restless experimentation with dancefloor intention.

CAIV deliver rigorous, syncopated machine rhythms on the Lives EP from U.S bi-coastal collaborators Israel Vines and Camile Altay, following on from their formidable debut EP Dwellers on Tresor last year. Lives is four finely calibrated cuts riding a diverse tempo range, unified by rich harmonics and resonant percussive layering over veiled bass textures, where distortion becomes detail. Observe-Orient-Decide-Act.

On point, until it hurts. With a decade-spanning discography, several bands and half of SHXCXCHCXSH this restless creator presents himself. SSTROM embodies the calmly bold. Building a version of the modern disco that nobody asked for. SSTROM is the capsule that shocks and comforts, gathers and spark a new thought. The robust shell acts as a camouflage for the wild and wicked bleakness of the music he produces. If the contemporary club urge could be described as a helmet waiting to brake this experience is what you are after; surprising, uplifting and changing. With 'Avvik' SSTROM carves out 6 somatically clear scenes articulating diverse textures, densities and states of aggregation. The constructions evolves as fractious rhythms strives for another order. Trial and errors bungys droughty, moist, stiff and tensile. Sstrom forces us to flicker in twitches between layers and dimensions beyond the given three.

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series - Such A Good Feeling: 1988-1995 – a euphoric celebration of a truly transformative time in music.

This stunning 3LP set pressed on blue, white and yellow vinyl showcases 46 essential tracks that soundtracked the dancefloors, charts, and airwaves from the late ’80s through the ’90s — an era when dance culture reshaped the mainstream, soundtracked a generation, and lit up the charts across the UK and beyond

LP1 – Side A opens in style with ‘Such A Good Feeling’ from Brothers In Rhythm, this collection’s inspiring title…followed by Black Box with ‘Ride On Time’ — the best-selling UK single of ’89, and one of dance music’s defining tracks. Massive club classics continue with C+C Music Factory’s ‘Gonna Make You Sweat (Everybody Dance Now)’, house anthems from Inner City with ‘Good Life’, and ‘Dirty Cash (Money Talks)’ from Adventures Of Stevie V, plus dance-pop gems ‘Not Over Yet’ from Grace, and Billie Ray Martin with ‘Your Loving Arms’…Flip the LP over for the pioneering ‘Theme From S-Express’, a chart-topper from 1988, before dancefloor earworms from Kenny “Dope” Presents The Bucketheads with ‘The Bomb! (These Sounds Fall Into My Mind)’, Nightcrawlers with ‘Push The Feeling On’ and ‘People Hold On’ from Coldcut and Lisa Stansfield. The influential ‘Beat Dis’ from Bomb The Bass is up next ahead of Tony Di Bart’s #1 ‘The Real Thing’, Saint Etienne’s sophisticated dance-pop nugget ‘He’s On The Phone’, and LP1’s closer from D:Ream with the Perfecto radio remix of ‘U R The Best Thing’.

LP2 – kicks off with a run of electrifying Eurodance – all massive club anthems. ‘Rhythm Is A Dancer’ from SNAP! leads off; a UK No. 1 and another defining track of the decade – followed by smashes from Corona, Real McCoy, Dr. Alban, Haddaway, KWS and Cappella, before the side closes with the techno-pop of Opus III with ‘It’s A Fine Day’… The party continues on Side B with an irresistible lineup led by Deee-Lite with ‘Groove Is In The Heart’, their brilliant fusion of funk, house and pop that continues to be a massive floor-filler… as is ‘Dreamer’ from Livin’ Joy, a 1995 No. 1 smash, and vocal house classic ‘Finally’ from CeCe Peniston. Urban Cookie Collective scored a huge hit with ‘The Key, The Secret’, which is followed by the rave energy of Oceanic, N-Trance, Felix – and Utah Saints who sign-off LP2 with the epic ‘Something Good’.

Kicking off the final LP, Side A explodes into life with massive feel-good tunes:- Yazz & The Plastic Population’s ‘The Only Way Is Up’ – a 1988 No. 1 and landmark UK house hit ahead of 49ers with ‘Touch Me’ and Baby D with their #1 ‘Let Me Be Your Fantasy’. Another run of floor-fillers from Rozalla with ‘Everybody’s Free (To Feel Good)’, JX with ‘Son Of A Gun’, Blue Pearl’s ‘Naked In The Rain’ and ‘U Sure Do’ from Strike follows and the side closes with the electronic acid house of ‘Killer’ from Adamski that hit the top of the charts and introduced Seal… and over on the final side, the collection moves toward it's close with stunning and enduring tracks of the era – opening with Soul II Soul & Caron Wheeler’s #1 ‘Back To Life (However Do You Want Me)’ blending soul, R&B and club rhythms to perfection, while Beats International’s fusion of dub reggae and house: ‘Dub Be Good To Me’ (another chart-topper) follows with its iconic bassline and leads us into the stylish and smooth ‘Turn On, Tune In, Cop Out’ from Freak Power. The journey through this incredible era is completed with genre pioneers The Prodigy with ‘Charly’, ‘Infinity’ from Guru Josh, and closing with ambient house, ‘Pacific - 707’ from 808 State, and the timeless ‘The Sun Rising’ from The Beloved.

An unforgettable journey through the sounds that defined an era:- NOW That’s What I Call An Era - Such A Good Feeling: 1988-1995 — the definitive celebration of a golden age of dance music.

Shhh. The command to be quiet is not just part of the title of one of the two sprawling compositions on this pioneering album. It's also an apt metaphor for the relaxed hypnotism and spaced-out atmosphere that define In a Silent Way, a record that pushes the boundaries of studio possibilities, artist-producer relationships, and rock-jazz chasms. Recognized as Miles Davis' first full-on fusion effort and part of his "electric" era, the 1969 landmark claims a Who's Who line-up that sends the music into an ethereal stratosphere.

Mastered from the original master tapes and pressed at RTI, this unsurpassed 180g LP edition lifts the veil on the cutting-edge assembly process that created the pair of lengthy suites. Helmed by three electric instruments, the bevelled compositions melt away all preconceived notions of "jazz," ˜rock," and "ambience," following a loose theory Davis dubbed "New Directions."

Few albums are so delicately textured. And on Mobile Fidelity's meticulous reissue, such sulcate elements pour over ink-black backgrounds on a canyon-wide soundstage. In particular, Tony Williams' inventive percussive touch – he causes the cymbals to shimmer as a pieces of silver tend to do when exposed to sunlight – is broadcast with lifelike three-dimensional qualities, the panoramic view extending to Davis' nocturnal trumpet, Wayne Shorter's ribbon-unfurling saxophone, Dave Holland's extrapolative bass, and the mosaic of keys.

If the record's only accomplishment is its introduction of guitarist John McLaughlin to the world, it alone would be enough. Yet In a Silent Way continues to bedazzle, puzzle, and inspire for myriad reasons – not the least of which is the seemingly telepathic communicative methods employed by the group's members. The line-up is great on paper, but, if it's even possible, the octet sounds even better in practice, with the instruments and tonalities conjoining in avant-garde communion like hyper-sensitive tentacles exploring the stippled landscapes of an undiscovered planet.

Diverting from expectation, tubular grooves twist, turn, and spin, sometimes piling atop of each other, always shying away from structure and melody. Ellipsoidal solos provide hesitant guidance, ranging from Chick Corea's Fender Rhodes phrases to Davis' decorative spirals. And as colour is the primary unit of currency on Davis' Sketches of Spain, laid-back episodes, geometric spaces, and quiet sensuality reign here, with the set's maverick reputation attained via musings on solitude rather than explosions of noise.


Controversial for the period, the heavily edited production of In a Silent Way blew open the once-locked doors on what producer's could attempt – and how artists could assist them. Knitted together as one would construct a cross-hatched quilt, songs contain grafts of repeat passages that provide unifying structure and experimental continuity. What a statement.

Sound Metaphors 23 is back with more output from the pioneering free-party clan & scourge of the establishment, Spiral Tribe - this time with a reissue Stormcore 3 from 1996. This record comes from the mind of 69db aka Sebastian Vaughan, the improvising electronic musician who joined Spiral Tribe after their infamous ’91 New Year's Eve party at the then-abandoned Camden Roundhouse. We have here three powerful cuts of uncompromising hardcore freetekno - coming in north of 180bpm but structured on complex rhythmic patterns so this music is at once punishing yet also meditative, penetrating deep within the micro dimensions of these newly explored sonic paradigms.

The creative visionary behind a remarkable catalogue of widely celebrated releases and two critically acclaimed albums, Monolink returns this fall with his most thought-provoking and introspective project to date. Titled The Beauty Of It All, the multi-faceted German artist's third studio album is slated for worldwide release on September 26, 2025.
Marking a bold new chapter in Monolink's artistic evolution, The Beauty Of It All will dive deep into themes of beauty, impermanence and human connection, blending his signature fusion of live instrumentation, soulful song-writing and electronic innovation. The announcement arrives on the heels of two standout singles already this year - "Mesmerized" (January) and "Powerful Play" (March) - both of which will feature on the new album. With The Beauty Of It All, he builds on the foundations laid by his first two long players, pushing his sound into new, uncharted territory while staying rooted in the organic, humanistic qualities that have defined his career. The album is poised to be his most revealing and boundary-defying release yet; a sonic statement from an artist who continues to redefine what it means to be a modern musician.

Grandbrothers are internationally regarded as one of the key acts redefining the intersection of modern classical and electronic music.
Elsewhere is their fifth studio album and marks their most transformative work to date.
The album sees a bold creative evolution: expanding beyond their signature grand piano sound into analog synths, drum machines, and a more physical, rhythm-driven aesthetic.

Gwenan Spearing, known for her perceptive, groove-oriented DJ sets, and more recently as a live performer working with hardware improvisation, launches a new imprint, Phase Space, with Degrees of Freedom, a debut album diving deep into generative electronics, modular systems, and real-time response. Composed and recorded in 2019-2020, the album treats constraint as creative fuel, floating between ambient,
sonic sculpture, and improvisation, mapping Gwenan’s path from rural Wales to Berlin’s outer zones of experimental sound.
Sync opens with a theme on a slow triangle wave, expanding the space as it evolves. Some Pluck explores generative counterpoint using LFOs and Euclidean rhythms. Generator I unfolds in an oscillating time where keyboard and bass circuits cross-modulate. Sleep Pressure is a lullaby for grown-ups, capturing that eerie threshold before sleep, followed by Loper, where time flows fluid and unstable. The closer, Generator II, holds machine heartbeats in delicate equilibrium before unraveling into graceful decay, a soft farewell. (That’s the Universe waving.) Degrees of Freedom is algorithmic music with a pulse: visceral, hand-wired, and built for deep listening.

MCRV017 – Transient States. Feedback is an evocative four-track compilation that captures the deep essence of dub techno—equally suited for the dancefloor and for immersive, focused listening. Label veterans Eric Louis, Genning, Osman Oz, SUBMINIMAL (with a Tvardovsky remix), and Etzu Mahkayah all contribute. From the very first listen, the EP draws in discerning ears with its richness and detail.

Each track unfolds smoothly, evoking deep emotional textures and building a sensuous, introspective atmosphere. The release moves from subtle cues to vast sonic terrains, weaving through warm harmonics and resonant low-end thumps that captivate the body as much as the mind.

These tracks are ideal for transitional moments in a DJ set, yet stand strong on their own. Whether elevating the narrative arc, introducing mid-set tension, or closing a journey with emotional depth, each piece functions as a zealous tool for navigating sensation—crafted not just for movement, but for lasting memory.

Transient States exudes quiet power beneath a deliberate veil of restraint. Emotionally charged, sonically rich, and full of nuance, this release is a standout addition to any selector’s arsenal.

Limited edition

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation.

Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of “Adam Nana”. Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare.

The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market

Black Truffle is pleased to announce Melopea, presenting two new pieces highlighting the incredible voice of Amelia Cuni (1958-2024), the great Italian singer, based in Berlin in later life, whose mastery of the classical Indian dhrupad developed in parallel with a commitment to contemporary experimental approaches. After two stunning archival releases documenting traditional dhrupad performances in India in the 1990s (BT079 and BT092), the two side-long pieces here embody the freedom with which Cuni explored new contexts and settings for her singing.

Both make use of a long recording of Cuni singing the pentatonic Raag Bhoop (or Bhopali) made in 2012 by her partner Werner Durand in Berlin. ‘Melopea’ began from Cuni and Durand’s superimposition of this recording with violinist Silvia Tarozzi and cellist Deborah Walker’s performance of Éliane Radigue’s ‘Occam River II’. Inspired by the beauty of this chance encounter (and other experiments with non-synchronous collaboration during the pandemic years), Tarozzi and Walker recorded independently, without hearing Cuni’s voice but ‘having her present in memory’. Tarozzi and Walker’s bowed strings places Cuni’s magisterial performance in a new context, emphasising, as Radigue commented upon hearing the initial layering of her piece with Cuni’s voice, a shared ‘searching toward the partials, overtones, these natural constituents of acoustical sounds in their richness’. Beginning with whispered bowed harmonics, the violin and cello swap the stability of dhrupad’s traditional tanpura drone for a slowly evolving, uneasy web of harmonic interactions recalling some of Harley Gaber’s work, sometimes sitting on dissonances for long periods or allowing changing interference patterns to come to the fore. Primarily focusing on her lower register, Cuni’s performance demonstrates her mastery of microtonal pitch subtleties, elegant sweeping glissandi and meditatively unhurried pacing.

The continuation of the same recording by Cuni forms the foundation of ‘Bhoop-Murchana’, with Anthea Caddy on cello and Werner Durand on soprano saxophone. In contrast to the randomised layering of the first piece, here Durand and Caddy have carefully selected pitches based on the raag Cuni sings, using the ‘Murchana’ form, which uses the constituent notes of the raag as tonics of new raags, retaining the same interval structure. Both players who have developed tones of striking depth and harmonic purity on their instruments, Caddy and Durand’s patient long tones are simultaneously rigorously grounded in the physical properties of sound and possessed of an immaterial, floating quality. Combined with Cuni’s voice and, near the piece’s end, her contributions on hammered and plucked tanpura, the effect borders on miraculous. To surrender to this music is like slipping into an onsen pool, feeling the instantaneous release of every tension. Accompanied by liner notes from Durand, Tarozzi and Walker, Melopea is both a moving tribute to the profound art of Amelia Cuni and, for the uninitiated, a perfect introduction to it.