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Allchival’s admirable, ongoing Roger Doyle retrospective takes in his brace of rudely glitching piano scapes and subtly febrile dream sequences written between 2011-2017 and comparable to everyone from the Eno siblings to K. Leimer or aspects of Alva Noto & Ryuichi Sakamoto.
Chasing invaluable reissue reminders of Doyle’s pioneering post-punk classics with Operating Theatre and The Threat in recent times, the languid and restless airs of ‘Homemade Ivory Dreams’ weighs in as a Doyle’s second solo curio to be dusted down and redressed by new ears increasingly attuned to Ireland’s lesser-covered past. More sublime and spacious than the expansive yet dense and delirious ‘Babel’ suite, which covered his late C.20th computer-based scores for theatre, the elegant and labyrinthine corridors of ‘Homemade Ivory Dreams’ spotlight farther sides to the Irish composer who is considered among the leading, progressive and experimental voices of his country and generation.
Doyle typically parses a range of extra-musical cues from literature, poetry, and film within the 10 tracks on show, variously navigating fissures of memory and figments of figurative forms with a poetic grasp of musical metaphor that has long been his calling card. The notion of dreams seeded in the title guides him thru parallel dimensions of cuboid chamber classical in ‘CBG’ to ruder bouts of offbeat Autechrian electronica on ‘Skunk Hours in the Demon Mist’, and spur him to more rage dervishes of keys and guitar on ‘Enniode’, a tribute to Ennio Morricone, or setting of Irish language poem ‘Urnaí Maidne’ to a sort of brooding Euro film score vernacular on ‘The Nenuphar of Nina.’
He is perhaps most effective when more simply bask in the half light of memory on ‘Growing Up In Formaldehyde’, whose title is canny transliteration of a friend’s comment, “’what would you know - you grew up in formaldehyde”, which is a “benign reference to the village of Malahide where I spent my youth. Embalmed memory” and redolent of his shortcircuiting of the musical links between dialect, accent, and memory in the title and music of his classic ’Oizzo No’. Along with the feathered nuance of ’The Long Take’ and melancholia of ‘No Lone Man’ it’s a quietly charming 44’ in Doyle’s presence.

Holuzam re-masters and re-issues Tózé Ferreira's watershed sound art LP from late 80s Portugal.
"Two records came out in 1988 that forever changed the perception of "experimental" or "serious" music produced in Portugal. These were "Plux Quba" by Nuno Canavarro and "Música de Baixa Fidelidade" by Tózé (António ) Ferreira. Both were released by the same label - Ama Romanta -, an influential independent imprint closely linked to avantgarde pop band Pop Dell'Arte. Because those records appeared in what could be perceived as an "alternative pop" framework, they rescued this difficult music from Academia. It helps that Canavarro played in a successful new wave pop band (Street Kids) during the period 1980-83. By association, being a friend since 1976, António was in close contact with many of the musicians and bands that were part of the equally celebrated and detested Portuguese Rock Boom (roughly 79-82).
He was not a musician then but through his friendship with Canavarro, who had the means to acquire electronic equipment, António became involved with that equipment and shared Canavarro's passion for experimentation and curiosity for knowledge. They tried to get hold of as many technical magazines as possible and learn while testing ideas. In 1983, Street Kids were about to break up, young lives drafted into the Army and maybe, in Canavarro's case, a whole new passion for challenging music similar to his bandmate Nuno Rebelo, by then in the process of discovering a wide range of "other" music mainly through Jorge Lima Barreto. Barreto, who had started Telectu with Vítor Rua, possessed a huge book and record collection and, like Rua before them, Canavarro, Rebelo and Ferreira became fascinated by the pool of knowledge they now had access to by frequenting Barreto's house in Lisbon. He was roughly a decade older, had published several books and other writings throughout the 1970s, cultivated an anarchic stance and a penchant for cultural indoctrination. Rebelo was the first to be introduced via his contact with Rua (who had invited him to play in his other band GNR).
Overwhelmed, he felt the need to share his enthusiasm with friends and eventually took a few to the house in true pilgrimage fashion. To see the Light. Among the few he led there was even João Peste, founder of Ama Romanta. Canavarro and Ferreira preceded him.
Ferreira recalls an exciting learning process added to his experiments with Canavarro's array of synths such as the Korg Ms 20, Korg polysix, ARP Axxe, Roland SH-01, the Ensoniq Mirage sampler... He read in a magazine article about someone who had studied at the Institute of Sonology (then in Utrecht, Netherlands) and went there during a vacation trip in the Summer of 1983. He became excited by the prospect of studying at the Institute but money was a problem. Canavarro, on the other hand, was admitted there in the following year. Back in Portugal, Ferreira eventually abandoned his Chemical Engineering studies in Lisbon's Technical Institute in favour of a more focused music practice. He collaborated with Telectu during 1984 and 85 as a sort of technical engineer, implementing some recording solutions and background tapes and went to work at a thermoelectric power plant in Sines, hoping to make enough money to fund his musical studies. He did and proceeded with the paperwork for admission at the Institute of Sonology, now based in The Hague. António studied there in 1986-87 and the present album includes two compositions developed at the Institute: "More Adult Music" and "This Is Music, As It Was Expected", both featuring the voice of Rodney Waschka II. Among other activities and talents, Rodney is an expert in computer music and to António his voice sounded similar to Robert Ashley's, whose work he admired.
What happened at the Institute was a systematization of António's self-taught practice. Computer software, Musique Concrète, noise and silence, organisation of abstract ideas and sounds. The original notes on the back sleeve of the LP give some indication of process and thinking, but a more detailed account was given by António in the liner notes of the CD reissue in 2002, which are also included in this 2025 LP reissue.
The music sounds deep and detailed, despite the fact of António calling it low-fi ("Baixa Fidelidade"). It flows like an improvised performance where several musicians might be responding to each other, respectful of their mutual space. Drama occurs, as a natural emotional connection is sought by the listener. Piano, bells, drone, processed voices, even the clear narrative of Rodney Waschka II, contribute to create a sort of alternative perceptual reality. The sounds are almost tangible, more a part of the physical world than ethereal manifestations and thus it would not be correct to invoke "ambient music" as a selling point. But although "physical" and distinct, this music is still alien, more so in Portugal's 1988 environment. In March, helped by Canavarro, António set up a home studio and there he recorded the remaining material for this album: "Algumas Pessoas Olharam O Sul E Viram Deserto", "Um Som, Seguido De Uma Cena Negra E Malva" and "O Verão Nasceu Da Paixão De 1921".
"Música de Baixa Fidelidade" stands not only as a proof of great resilience but as one of those magnificent works of art coming from someone who balanced technical inclination and emotional sensibility. Because of that, Tózé Ferreira is able to decode the phantom world of sound for anyone who cares to experience the sensation of inhabiting a version of the Future. First ever vinyl reissue, reproduction of the original artwork with an additional insert. Made in collaboration with the artist and the support of Paulo Menezes (Plancton Music), who provided valuable assistance. Remastered by Taylor Deupree."



Four pieces by Estonian composer Arvo Pärt, a pioneer of “holy minimalism.” The album centers around a never-before-released rendition of “Silentium,” the second movement of Pärt’s most famous concerto, Tabula Rasa, performed by Boston-based chamber orchestra A Far Cry. The group plays “Silentium” at nearly half the speed of the best-known version, released on ECM in 1984. The piece, known for its healing properties for the dying and often used in palliative care facilities (one patient famously called it “angel music”), is breathtaking at half speed, seemingly stilling time itself.
The album compiles some of the most stunning renditions of Pärt’s music ever recorded. “Vater Unser (Arr. for trombone & string ensemble)” is somehow warm and austere at once. A miniature epic. Pianist Marcel Worm’s solo version of “Variationen zur Gesundung von Arinuschka” is as beautiful as anything we’ve ever heard. “Fratres for Strings and Percussion” is one of Arvo Pärt’s most celebrated works. The Hungarian State Opera Orchestra’s version is iconic, filled with emotional playing right on the verge of overly romantic, but never tipping over.
Pärt’s approach to both music and life is as sparse as the compositions he creates. He once said, “I have nothing to say… Music says what I need to say. And it is dangerous to say anything, because if I’ve said it already in words there might be nothing left for my music.” Silentium continues Mississippi Records’ fascination with this great contemporary composer.


Ltd. 300 copies, remastered edition, audiophile pressing. Perfect replica of the original packaging, newly remastered for optimal sound. ** The first-ever reissue of Gianni Marchetti's 1978 LP "Solstitium", released as part of RCA's venerable "Original Cast" series in a handful of promo copies only, sits among the most rare and enigmatic artifacts of Italian library music, it is heralded by collectors as one of the greatest free-standing gestures in the entire genre.
Long coveted by diggers, samplers, and beat makers, Library Music has, over the decades, remained one of the great, unheralded treasure troves within the history of recorded music. A relic of the golden age of the record industry, this body of recordings was almost entirely commissioned and owned by record labels, to be licensed for use within television programs, radio, and film - stock or background music. Despite the obvious limitations of the context, particularly in Italy, many composers found a way to write, produce, and record albums which, while heard by few for what they were, ranked among the most interesting and ambitious works of their era. Within these, there is arguably no better example than Gianni Marchetti's astounding "Solstitium".
The output of RCA's Original Cast stands apart in the history of modern Italian music, as it produced one of the most collectible and varied catalogs of instrumental music of its time. The purpose of the creation of this label was to present a catalogue mostly related to film soundtracks, original music and theme songs presented in television broadcasts or documentaries. During the late '60s until the early '80s the imprint released some of the best film scores and library music by legendary figures such as Bruno Nicolai, Ennio Morricone, Piero Piccioni, Mario Migliardi, Franco Micalizzi, Mario Molino, Gianni Oddi, and of course Gianni Marchetti.
If ever there was an LP to expand the notions of Library music’s vast potential and scope, Gianni Marchetti’s Solstitium has to be it. Nearly 50 years on, it feels as fresh and forward thinking as anything that has come since.

Ltd. 300 copies, remastered edition, audiophile pressing. Perfect replica of the original packaging, newly remastered for optimal sound. ** "Equinox", Gianni Marchetti's 1977 twin album of "Solstitium", released in a handful of promo copies by RCA in their renowned "Original Cast" series, takes us on a journey through the author's groovier and wilder temperament, feeling as fresh and surprising today as the day it was made, offering immediate understanding of the reasons why it has remained one of his most sought after - and virtually impossible to find - titles over the decades.
Long coveted by diggers, samplers, and beat makers, Library Music has, over the decades, remained one of the great, unheralded treasure troves within the history of recorded music. A relic of the golden age of the record industry, this body of recordings was almost entirely commissioned and owned by record labels, to be licensed for use within television programs, radio, and film - stock or background music. Despite the obvious limitations of the context, particularly in Italy, many composers found a way to write, produce, and record albums which, while heard by few for what they were, ranked among the most interesting and ambitious works of their era. Within these, there is arguably no better example than Gianni Marchetti's astounding "Equinox".
The output of RCA's Original Cast stands apart in the history of modern Italian music, as it produced one of the most collectible and varied catalogs of instrumental music of its time. The purpose of the creation of this label was to present a catalogue mostly related to film soundtracks, original music and theme songs presented in television broadcasts or documentaries. During the late '60s until the early '80s the imprint released some of the best film scores and library music by legendary figures such as Bruno Nicolai, Ennio Morricone, Piero Piccioni, Mario Migliardi, Franco Micalizzi, Mario Molino, Gianni Oddi - and of course Gianni Marchetti.
Flirting with the cinematic through its depth of emotiveness and scale, dynamics ding behind an aural shroud, is a stunning and ambitious, freestanding work which, had it been made in another context, would likely have been celebrated for decades, far and wide. Absolutely engrossing and creatively challenging at every turn.


Beautiful string drones drawn in longform by Belgian cellist Gwen Sainte-Rose, evoking the wide rolling natural landscapes of a region nestled between the Ardennes and French Lorraine.
‘Collines, Racines’ is the 5th presentation on By The Bluest of Seas, a new wing of the Okraïna label, renowned for their attention to detail in the packaging which is typically on point here to match the music. On two works reaching well over the 25’ mark Sainte-Rose coils her cello gestures via Loopstation and unfurls ribboning motifs that limn vast vantage points over green scapes of forests and fields.
She finds just the right balance of textured, biting point discord and harmonious sentiment as the pieces proceed to build upward and outward in the more melodramatic cadence of tension and release to ‘Collines’, whilst ‘Raciness’ feels more nocturnal in its development from sweeping, panoramic post rock intimations thru widescreen scope recalling Richard Skelton, to a magnificent passage of sustained lift into vertiginous heights.


After years of exploring classical and popular music on the violoncello, as well as delving into contemporary composition and improvisation, Garcia presents IN / OUT, an album that pushes the boundaries of musical convention. Recorded in an underground reservoir in Geneva, this unique project transforms the site’s natural acoustics into an integral part of the compositions.
Through nine meticulously crafted pieces, Garcia blends minimalist contemporary music, dark ambient, and experimental noise. By using expanded cello techniques, microtonality, and alternative tunings, she creates sonic landscapes that evoke the depth and complexity of a multi-cello ensemble. The resonance and reverberation of the cavernous space infuse the album with a haunting, immersive quality, where each sound interacts organically with its environment.
Drawing inspiration from composers like La Monte Young, Eliane Radigue, Jürg Frey, and Arvo Pärt, Garcia integrates elements of sacral minimalism and acoustic experimentation into her work. The result is a project that bridges improvisation and composition, showcasing the cello’s versatility while challenging traditional notions of recording and performance.
Produced in collaboration with Bongo Joe, IN / OUT stands as a testament to Garcia’s innovative vision and her ability to transform unconventional ideas into deeply evocative musical experiences. This album invites listeners to step into an auditory world where instrument, space, and artistry converge in profound harmony.





14 years in the making, “Les Jardins Mystiques Vol.1” comprises 52 tracks / 3.5 hours of music composed, arranged and produced by Miguel with contributions from 50+ friends including Kamasi Washington, Thundercat, DOMi & JD Beck, Jeff Parker, Carlos Niño, Austin Peralta, Bennie Maupin, Gabe Noel, Jamael Dean, Jamire Williams, Burniss Travis II, Deantoni Parks, Josh Johnson, Marcus Gilmore and many more.
Based in his hometown of Los Angeles, Miguel is one of the preeminent musicians, orchestrators, arrangers and composers of our time. “Les Jardins Mystiques Vol.1” is his long-awaited inaugural album. It presents us with a passionate statement of intent, a labor of love, and a realm of beautiful possibilities.
“Les Jardins Mystiques” is a project that throws open and shares Miguel’s musical universe. It took shape over a dozen years, largely self-funded by Miguel, and showcasing his distinctly elegant musicianship (on violin, viola, cello and keyboards among other instruments) alongside his free-spirited dialogues with more than 50 instrumentalists. Volume 1 is the first in a planned triptych, which will collectively comprise ten-and-a-half-hours of original, refreshingly expansive music. Miguel connected with his guest musicians in versatile ways: through convivial studio dialogues; over remote communication during the pandemic era; and via the energy of live performances at LA venues including Del Monte Speakeasy (the gorgeously invigorating, piano-led “Dream Dance”) and Bluewhale (including “Ano Yo” with vivacious alto from Devin Daniels, and the cosmic harmonies of “Cho Oyu”). Bennie Maupin, the legendary US multi-reedist whose repertoire includes Miles Davis’s fusion opus Bitches Brew, plays bass clarinet on the entrancing opening number, “Kiseki”.
“Les Jardins Mystiques” reflects Miguel’s ethos that music is a natural, vitally unaffected life force. The titles across Volume 1’s tracks draw from international languages and traditions, including Spanish, Swahili, Sanskrit, Ancient Greek, Japanese and Hebrew, as well as the Buddhist practice that has been key to Miguel’s life since his twenties (“It’s very joyous and very hard, because it says that there’s no retirement age in human revolution,” he says). The tracks contrast in length, from “Zarra”’s vivid burst of analogue synths to the alluringly chilled melody of “Kairos (Amor Fati)”, yet there’s a gloriously unconstrained flow throughout, and each piece seems to unfurl and blossom into its own wondrous world.
The blissfully radiant “Airavata” derives its title from the white elephant who carries the Hindu deity Indra: a divine being associated with elemental forces. It features Miguel on electric guitar (recorded then reversed to mesmerizing effect) and acoustic violin/viola, alongside bassist Gabe Noel and cellist Peter Jacobson. The stirring “Tzedakah” alludes to a Hebrew and Arabic concept of philanthropy and righteousness, and incorporates soulful bouzouki and oud within its multi-instrumental whirl. The vividly emotive piano melody “Mångata” is inspired by a Swedish word that describes the moon’s undulating reflection on water.
“To me, playing music in any kind of setting is like swimming in an ocean of sounds and emotions and vibrations,” he says. “It’s the combination of all these different rivers, right? Western European classical music is an intense love and passion of mine; all the different genres within jazz music are a joy to practice and have given my life so much meaning; electronic music, world music, and all these different things I’ve been exploring all these years.”
“I just want to be an enabler for magic and empowerment, everyone and everything. I believe in people… and I think that this is a very benevolent multiverse we’re living in. I feel like everything has infinite worth. That’s why I tried to have the diversity of tracks on there; every one is a mystical garden, in my opinion.”


Vind is 12 pieces written and performed by CTM and produced by Jakob Littauer.
The album consists of cello compositions with few exceptions - a daf enhancing the rhythm, a distant memory of the kora, a pensive flute or folly sounds. The softness of the acoustic instruments is counterplayed by concise compositions and hyperreal productions.
The music presents itself as part spirit, part form; the movement in the moment, repetition, anticipation, what happened and what is to come. It's a sensuous search into stretched out moments, captured and held in one’s hand for a little while. It finds play and devotion, love and light.
Dedicated to Jannis Noya Makrigiannis




Honey for the Ants completes an ‘alchemical trilogy’, after The Funnel and Syphon. These albums are informed by mystical and gnostic texts, celebrating the weird, unhinged and occasionally beautiful.
In this forthcoming album the tonalities have shifted from mediaeval and renaissance to modernist dissonances. New singers and instrumentalists contribute to an emotional and textural richness achieved in a collaborative process. Distant musical periods, real and fictitious, are nonchalantly interwoven to create a delirious mongrel that salutes the imagination.
Wojciech Rusin is a Polish-born audio visual artist based in London. He draws inspiration from alchemical and gnostic texts, early renaissance choral music and Eastern European mythologies. He released Syphon LP on AD 93 in 2022 and The Funnel LP on Akashic Records in April 2019. He designs and makes 3D-printed reed instruments, reworking ancient designs with contemporary 3D modelling technologies.
In 2020 he released Meat for the Guard Dogs on Cafe OTO’s Takuroku digital imprint, and the Rufus Orbis cassette for Boomkat Editions / Documenting Sound series. His music has been featured on BBC Four and he has worked for The National Theatre and The Southbank Centre.






重要前衛作曲家ルイジ・ノーノの生誕100周年を記念した弦楽四重奏のための作品の再解釈音源が登場!ノーノ自身が「私はまったく変わっていない。優しさ、私的なものにも、集団的、政治的な側面がある。それゆえ、私の弦楽四重奏曲は、私の中の新しい回顧的な路線の表現ではなく、実験的な現在の私の立場の表現なのだ」と延べており、ベートーヴェンから続く西洋音楽の伝統を感じさせるターニングポイントとなる作品と評された超重要作品。演奏は現代音楽、エレクトロニクス、マルチメディアの実験分野で20年以上活躍しているモーリス・クァルテットで、ノーノの最も親密で熱狂的な側面を捉えることに成功した名演!300部限定お見逃しなく!







14 years in the making, “Les Jardins Mystiques Vol.1” comprises 52 tracks / 3.5 hours of music composed, arranged and produced by Miguel with contributions from 50+ friends including Kamasi Washington, Thundercat, DOMi & JD Beck, Jeff Parker, Carlos Niño, Austin Peralta, Bennie Maupin, Gabe Noel, Jamael Dean, Jamire Williams, Burniss Travis II, Deantoni Parks, Josh Johnson, Marcus Gilmore and many more.
Based in his hometown of Los Angeles, Miguel is one of the preeminent musicians, orchestrators, arrangers and composers of our time. “Les Jardins Mystiques Vol.1” is his long-awaited inaugural album. It presents us with a passionate statement of intent, a labor of love, and a realm of beautiful possibilities.
“Les Jardins Mystiques” is a project that throws open and shares Miguel’s musical universe. It took shape over a dozen years, largely self-funded by Miguel, and showcasing his distinctly elegant musicianship (on violin, viola, cello and keyboards among other instruments) alongside his free-spirited dialogues with more than 50 instrumentalists. Volume 1 is the first in a planned triptych, which will collectively comprise ten-and-a-half-hours of original, refreshingly expansive music. Miguel connected with his guest musicians in versatile ways: through convivial studio dialogues; over remote communication during the pandemic era; and via the energy of live performances at LA venues including Del Monte Speakeasy (the gorgeously invigorating, piano-led “Dream Dance”) and Bluewhale (including “Ano Yo” with vivacious alto from Devin Daniels, and the cosmic harmonies of “Cho Oyu”). Bennie Maupin, the legendary US multi-reedist whose repertoire includes Miles Davis’s fusion opus Bitches Brew, plays bass clarinet on the entrancing opening number, “Kiseki”.
“Les Jardins Mystiques” reflects Miguel’s ethos that music is a natural, vitally unaffected life force. The titles across Volume 1’s tracks draw from international languages and traditions, including Spanish, Swahili, Sanskrit, Ancient Greek, Japanese and Hebrew, as well as the Buddhist practice that has been key to Miguel’s life since his twenties (“It’s very joyous and very hard, because it says that there’s no retirement age in human revolution,” he says). The tracks contrast in length, from “Zarra”’s vivid burst of analogue synths to the alluringly chilled melody of “Kairos (Amor Fati)”, yet there’s a gloriously unconstrained flow throughout, and each piece seems to unfurl and blossom into its own wondrous world.
The blissfully radiant “Airavata” derives its title from the white elephant who carries the Hindu deity Indra: a divine being associated with elemental forces. It features Miguel on electric guitar (recorded then reversed to mesmerizing effect) and acoustic violin/viola, alongside bassist Gabe Noel and cellist Peter Jacobson. The stirring “Tzedakah” alludes to a Hebrew and Arabic concept of philanthropy and righteousness, and incorporates soulful bouzouki and oud within its multi-instrumental whirl. The vividly emotive piano melody “Mångata” is inspired by a Swedish word that describes the moon’s undulating reflection on water.
“To me, playing music in any kind of setting is like swimming in an ocean of sounds and emotions and vibrations,” he says. “It’s the combination of all these different rivers, right? Western European classical music is an intense love and passion of mine; all the different genres within jazz music are a joy to practice and have given my life so much meaning; electronic music, world music, and all these different things I’ve been exploring all these years.”
“I just want to be an enabler for magic and empowerment, everyone and everything. I believe in people… and I think that this is a very benevolent multiverse we’re living in. I feel like everything has infinite worth. That’s why I tried to have the diversity of tracks on there; every one is a mystical garden, in my opinion.”

