MUSIC

坂本龍一とのコラボレーション3曲収録。Lee BannonとしてもNinja Tuneなどで活躍する北カルフォルニアのプロデューサー、Fred Welton Warmsley IIIによる真打ちである、インダストリアル・ミュージックをノイズやポスト・アンビエント、モダン・クラシカルといった現代的かつ先鋭的なアプローチで革新する一大プロジェクト、Dedekind Cutの8年振りとなる待望の新作！
Dedekind Cutによる〈DED〉トリロジーの最終章『Dede-K-Tion』。長い時間をかけて構想・制作されてきたシリーズの集大成となる作品で、これまでの〈DED〉シリーズで展開されてきた音響的探究をさらに拡張し、微細でスピチリュアルな電子音響とミニマリズムが交錯する世界を形成。坂本龍一特有の洗練された静謐さも相まって、Dedekind Cutの新たな領域へ到達した重要作。

The Vinyl Factory presents a brand new Ryoji Ikeda release. music for strings comprises three works written between 2020 and 2023, commissioned by Ensemble Modern, Muziekgebouw aan 't IJ, and DTzM, and built entirely around the physical behaviour of bowed strings.

“In 2016, I had a series of audiovisual concerts at a festival in Kyoto. Ensemble Modern from Frankfurt was there, performing a large piece by Heiner Goebbels. We became friends, and years later, in 2021, they commissioned me to create a new piece for their 2023 season,” Ikeda explains. “Through a workshop with their players, I decided to focus exclusively on strings”.

REFLECTION [for string nonet], op.13 has all nine players locked into a seven-eight rhythm, but staggered so the parts seem to answer each other.

PRISM [for string nonet], op.14 takes the idea of white light splitting into a spectrum and applies it to sound, with Ikeda working through almost the entire pitch range of the ensemble, pulling out clusters of notes the way a prism pulls out colour.

MIRROR [one for two], op.12 is built on a sheet of music where the staff notation is mirrored, allowing it to be read simultaneously from both the normal and opposite directions. As a result, two players share the single notation, performing together while reading it in opposite directions.

“For many years, I had ideas for MIRROR [one for two] that exists only as a dream. It seems simple, but it is extremely difficult to make sense of due to its very restricted rule. At the start, I decided to tackle this piece,” says Ikeda.

“Another dream of mine was to form a string ensemble arranged linearly on stage. Usually players perform in a semicircular formation to see each other. A linear formation, however, denies this visual connection. The challenge was implemented with PRISM [for string nonet] and REFLECTION [for string nonet].”

Performed by Ensemble Modern and recorded by SWR, the work premiered in Amsterdam on 8 February 2024 before its UK premiere at the Barbican on 20 February 2026.

Japan’s leading electronic composer and visual artist, Ryoji Ikeda collaborates with The Vinyl Factory on a 12” vinyl-only release housing 10 locked grooves each consisting of a unique sine wave with a different frequency correlating to a different planet in the solar system.

Pressed on 180-gram heavyweight vinyl, housed in a bespoke screen printed sleeve, this unique edition has been produced in celebration of UK premiere of Ryoji Ikeda’s supersymmetry installation, showing at The Vinyl Factory Space at Brewer Street Car Park from 23 April - 31 May 2015.

Ikeda's supersymmetry is a fully immersive auditory and visual experience - an artistic vision of the reality of nature, an interpretation of quantum mechanics and quantum information theory from an aesthetic viewpoint. The work draws on his exchanges with scientists and engineers during his stay at the European Organization for Nuclear Research (CERN), the world’s largest particle physics laboratory.

code name: A-Z by Ryoji Ikeda comprises 26 sonic frequencies which form an audio conversation derived from the US military use of Morse code. Pressed on clear 12" vinyl with 13 locked grooves on each side and the title of each hand etched into the grooves.

Initially released on the occasion of Elevation 2017, an arts festival in Gstaad produced by LUMA Foundation, where Ryoji presented a site-specific installation of Test Pattern.

Commissioned and produced by 180 Studios, Ryoji Ikeda’s site-specific audio- visual installation data-cosm [n°1] is a unique immersive experience charting the full spectrum of data on nature – from the microscopic scale of particle physics to the macroscopic of astrophysics, as was previously evident in the artist’s data-verse project.Premiered at 180 Studios in October 2025, data-cosm [n°1] functions as a giant microscope, a scientific apparatus, a clinical device, a monitoring system, and a window to an infinitely vast space. Visitors are invited to lie down on the floor and look up at the large LED screen set on the ceiling above them, their bodies surrounded by Ikeda’s soundscapes – a total sensory experience.

Ryoji Ikeda, Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media.

He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.

Eklekto Eklekto is a contemporary percussion collective founded in 1974 in Geneva. Constantly seeking to reinvent percussion music, the group collaborates with living composers and contemporary artists through concerts, multimedia projects and artistic events that question the listener’s expectations towards new musical forms.

Eklekto has premiered over 100 new works and performed hundreds of internationally acclaimed shows.

Experiments In Psychoacoustics, Timbre & Minimalism: 2011-2021

Late Music and Disciples are pleased to present the first and second volumes in an archival series of selected electronic and acoustic works by Sarah Davachi, all previously unreleased in the vinyl format. Featuring (way) back catalogue material from various CDs, cassettes, and EPs; singles and original film scores; as well as miscellaneous live and studio recordings.

“Something for everyone”

'The Will of Tongues' is the new studio album by Sarah Davachi, and it is certainly her most ambitious to date, spanning over two hours of music across three LPs. The album features five new solo compositions for historical pipe organs (recorded across the USA, Canada, and the Netherlands), a suite of three choral pieces, a collection of “interludes” for various microtonal ensembles (strings, brass, woodwinds), and a longform chamber piece for string trio, organ, and tape. The latter two pieces were commissions from the Experimental Media and Performing Arts Center (EMPAC) in Troy, New York, while the choral work was commissioned by Louth Contemporary Music Society in Dundalk, Ireland.

In addition to Davachi performing on organ throughout, 'The Will of Tongues' also features an incredible group of musicians and ensembles from across the USA and Europe, including Whitney Johnson (viola), Eyvind Kang (viola), Lucy Railton (cello), Diapason (an experimental/microtonal brass ensemble based in Los Angeles, consisting of Nev Wendell, Nicholas Ginsburg, Mattie Barbier, and Mason Moy), Phaedrus (a Renaissance flute consort based in Switzerland, consisting of Liane Sadler, Charlotte Schneider, Mara Winter, and Luis Martinez Pueyo), and Chamber Choir Ireland (conducted by Nils Schweckendiek).

'The Will of Tongues' engages the numerous compositional concepts and methods that have preoccupied Davachi over the past decade especially – including iteration, tuning theory, textural and timbral variation, extended duration, vertical harmony, intervallic affect, and canonic structure, all rooted in the minimalist tradition from which she operates – but with a more pointed and intentional touch than in previous forms. Across its thirteen tracks, ideas hocket from one ensemble or instrument to the next, slowly shifting in balance over the course of what is unmistakably a demanding length.

As a combined body of work, however, the music on this album seeks to articulate a deep reverence for the act of listening, and for the awareness that such listening can serve as a kind of imaginative negative space; one that critically promotes confrontation and creation rather than escape. This collection of music is not easy listening, and it’s not meant to be – when long durations and a reduction of materials are at play, the ear and the mind are forced to truly face the reality of sound itself and the significant mental spaces that it continually gives rise to, which can carry deep wells of meaning if the listener is willing to journey there. 'The Will of Tongues' is thus a celebration of iterative listening and of extreme engagement, of intimate aural experience and its vast psychic horizons.

Nothing expresses us beyond death, and I sometimes cried out: “that is how the will of tongues is made!”

'The Will of Tongues' is the new studio album by Sarah Davachi, and it is certainly her most ambitious to date, spanning over two hours of music across three LPs. The album features five new solo compositions for historical pipe organs (recorded across the USA, Canada, and the Netherlands), a suite of three choral pieces, a collection of “interludes” for various microtonal ensembles (strings, brass, woodwinds), and a longform chamber piece for string trio, organ, and tape. The latter two pieces were commissions from the Experimental Media and Performing Arts Center (EMPAC) in Troy, New York, while the choral work was commissioned by Louth Contemporary Music Society in Dundalk, Ireland.

In addition to Davachi performing on organ throughout, 'The Will of Tongues' also features an incredible group of musicians and ensembles from across the USA and Europe, including Whitney Johnson (viola), Eyvind Kang (viola), Lucy Railton (cello), Diapason (an experimental/microtonal brass ensemble based in Los Angeles, consisting of Nev Wendell, Nicholas Ginsburg, Mattie Barbier, and Mason Moy), Phaedrus (a Renaissance flute consort based in Switzerland, consisting of Liane Sadler, Charlotte Schneider, Mara Winter, and Luis Martinez Pueyo), and Chamber Choir Ireland (conducted by Nils Schweckendiek).

'The Will of Tongues' engages the numerous compositional concepts and methods that have preoccupied Davachi over the past decade especially – including iteration, tuning theory, textural and timbral variation, extended duration, vertical harmony, intervallic affect, and canonic structure, all rooted in the minimalist tradition from which she operates – but with a more pointed and intentional touch than in previous forms. Across its thirteen tracks, ideas hocket from one ensemble or instrument to the next, slowly shifting in balance over the course of what is unmistakably a demanding length.

As a combined body of work, however, the music on this album seeks to articulate a deep reverence for the act of listening, and for the awareness that such listening can serve as a kind of imaginative negative space; one that critically promotes confrontation and creation rather than escape. This collection of music is not easy listening, and it’s not meant to be – when long durations and a reduction of materials are at play, the ear and the mind are forced to truly face the reality of sound itself and the significant mental spaces that it continually gives rise to, which can carry deep wells of meaning if the listener is willing to journey there. 'The Will of Tongues' is thus a celebration of iterative listening and of extreme engagement, of intimate aural experience and its vast psychic horizons.

Nothing expresses us beyond death, and I sometimes cried out: “that is how the will of tongues is made!”

2026年リプレス！ドイツ・ハンブルクを拠点にニューエイジ・リバイバルを牽引したBasso主宰の名門レーベル〈Growing Bin Records〉や、ギリシャ系ニューエイジを掘り起こした〈Into The Light〉などからのリリースや、アンビエント・ダンス・ユニットEarth TraxやPtakiなどの名義でも活動するポーランド・ワルシャワのバレアリック／アンビエント鬼才ことBartosz Kruczynskiによる最新ソロアルバム、今回も凄い才能＆内容！16年リリースの『Baltic Beat』が当店でも大ヒットを記録した人気アクトによる、4年振り最新アルバム！温かみのあるビブラフォン、張り詰めたアルペジオ、重なり合うストリングス、孤独なディレイチェーンなど、アンビエントの重なり合うスタイルに、常に独自のスピンを加えてきた名手による、安定のバレアリック／アンビエント作品！

Komet, aka: Frank Bretschneider, is one of the founders of Germany's Raster.Music label and has become an important contributor to the world of microscopic sound and digital sonic art. Recently, he has been releasing material on labels such as Raster, 12k, and Mille Plateaux, among others. Rausch (roughly: white noise, or, distant noise) is a very organically composed blend of clean sinetones and faint echoes of melody and air with a subtle dub aesthetic and intensely polyrythmic microbeats. It is Bretschneider's most engaging album since 1997's Flex.

A long-lost vinyl album is back in stock: for the last 20 years, Kosmischer Pitch by Jan Jelinek, originally released in 2005 on ~scape, existed only as a digital download. Right on time for the 20th anniversary the remastered album is available again on vinyl. The digital album includes two previously unreleased pieces from this period. What the press said about Kosmischer Pitch back in 2005: “For Kosmischer Pitch, Jelinek draws from the obsessed-over rock produced by his German countrymen in the 1970s. (…) Trance-inducing repetition is constantly modulated by variations that hover on the threshold of audibility. (…) one of the more remarkable bodies of work in electronic music.” Pitchfork „Like the cosmic compositions it delicately references, Kosmischer Pitch is proof that the higher and lower pleasures can triumphantly combine.” The Wire Magazine “ The old Jelinek approach can also be heard on the new album - not least the “Pitch” in the title, which, as Martin Büsser explains in the info sheet, refers specifically to Wild Pitch House, generally to manipulation/exploitation of the sense of time - but there are striking differences: clear vintage synth, guitar and drum sounds, very subtle club references.” Groove “t's impossible to know how many layers of sound Jelinek has stacked up on any of these eight tracks, but each one seems to take on a shadowy, ghost-like life of its own as it morphs across time and space. Minimalist, yes, in a way, but thick as a wool rug.” AllAboutJazz

In August 2022, Australia-based, French born fourth-world music legend Ariel Kalma was invited to participate in BBC Radio 3’s Late Junction series of special collaborations. The program pairs artists who have not previously worked together to create new music cooperatively. Kalma was quick to suggest working with two musicians whom he had never met – International Anthem recording artists Jeremiah Chiu & Marta Sofia Honer, whose critically-acclaimed duo debut 'Recordings from the Åland Islands' had been released just a few months earlier. An invitation was sent to Chiu and Honer, which was received with great enthusiasm, as Chiu had long been a fan of Kalma’s work, even citing him as a major influence on his approach to electronic music composition. The essential structure of the Late Junction collaboration was that the artists would work together to create around twenty minutes of music. They began passing music back and forth, some that Kalma had started, and some that Honer & Chiu had started, with each adding to or editing the track before returning it to the other. The music would only go back and forth a few times before being finalized. After meeting their twenty minute goal for the program (four pieces total), the three musicians were satisfied in what they would present and sent along their work to the producers of Late Junction. However, there was a nagging suspicion that this wasn’t the end of the story. There were several pieces that they had nearly completed but that weren’t sent for inclusion in the radio program, and there were many ideas for refining those pieces that had. With this in mind Kalma, Chiu and Honer agreed that they would continue to work together to try to push the music further. The freshly minted trio felt like there was much more to be said and more work to be done. The Late Junction program was broadcast in September of 2022. Simultaneously, Kalma, Chiu and Honer began expanding upon the music they had started for the purpose of the broadcast, working diligently on the music for several months. After meeting their twenty minute goal for the program (four pieces total), the three musicians were satisfied in what they would present and sent along their work to the producers of Late Junction. However, there was a nagging suspicion that this wasn’t the end of the story. There were several pieces that they had nearly completed but that weren’t sent for inclusion in the radio program, and there were many ideas for refining those pieces that had. With this in mind Kalma, Chiu and Honer agreed that they would continue to work together to try to push the music further. The freshly minted trio felt like there was much more to be said and more work to be done. The Late Junction program was broadcast in September of 2022. Simultaneously, Kalma, Chiu and Honer began expanding upon the music they had started for the purpose of the broadcast, working diligently on the music for several months. Their collective approach to this work was born in improvisation and realized via collage-based editing. The end result brings several distinct musical moments — recorded sometimes decades apart — into conversation with one another, forming new narratives from building blocks of old ones. There are snippets of improvised playing from each musician, edited together with recordings that Kalma had made in the 70s at GRM, and even moments of audio notes — like Kalma explaining his ideas — that would make it into the final mixes. Their collective approach to this work was born in improvisation and realized via collage-based editing. The end result brings several distinct musical moments — recorded sometimes decades apart — into conversation with one another, forming new narratives from building blocks of old ones. There are snippets of improvised playing from each musician, edited together with recordings that Kalma had made in the 70s at GRM, and even moments of audio notes — like Kalma explaining his ideas — that would make it into the final mixes. Ultimately, the collection of music highlights the work of all three musicians, intertwining the contextual immersion heard on Chiu & Honer’s 'Recordings from the Åland Islands' with an intergenerational reverence for (and the undeniable presence of) Kalma’s decades-spanning body of work. It is work that has definitively enshrined him as one of the true, transcendent pioneers and sages of new age and fourth-world music. That reverence is affirmed by the album title chosen by the group — "The Closest Thing to Silence" — which is taken from a quote by Kalma included in a documentary by RVNG Intl (as part of their release of the 2014 compendium/retrospective An Evolutionary Music). Perhaps coincidental, Kalma’s quote was a slight modulation of a legendary ECM Records motto, as he said: “Music is the closest thing to silence.” Ultimately, the collection of music highlights the work of all three musicians, intertwining the contextual immersion heard on Chiu & Honer’s 'Recordings from the Åland Islands' with an intergenerational reverence for (and the undeniable presence of) Kalma’s decades-spanning body of work. It is work that has definitively enshrined him as one of the true, transcendent pioneers and sages of new age and fourth-world music. That reverence is affirmed by the album title chosen by the group — "The Closest Thing to Silence" — which is taken from a quote by Kalma included in a documentary by RVNG Intl (as part of their release of the 2014 compendium/retrospective An Evolutionary Music). Perhaps coincidental, Kalma’s quote was a slight modulation of a legendary ECM Records motto, as he said: “Music is the closest thing to silence.” The Closest Thing To Silence is an album-length collaboration between fourth-world music icon Ariel Kalma and the recording duo Jeremiah Chiu and Marta Sofia Honer, which evolved from a twenty-minute selection pieces they recorded in 2022 for BBC Radio 3’s ‘Late Junction’ program as part of a scheme that places together artists who have never worked together before. Chiu and Honer, who both cite Kalma as a huge influence on their work, beautifully fit into Kalma’s vision.

A masterpiece of heavenly beauty minimal poetry left by Robert Ashley, a solitary composer who has made his name in the history of American contemporary music, in 1977! The most important masterpiece of Ashley's career as a legendary experimental music collective and Sonic Arts Union with Alvin Lucier, David Berman and Gordon Mumma. Recorded at Mills College's Center for Contemporary Music in 1977, and put on a clear examination of piano, polymoog, and clavinet by the famous performer "Blue" Gene Tyranny, who has also left many works on Lovely Music. Krishna Bhatt's tabla sounds fluently, and Ashley's spiritual poetry is layered on top of each other.

A computer-based work by David Behrman, a major figure in American experimental music. An exceptional masterpiece that uses a computer to synthesize the sounds of musical instruments played by Rhys Chatham, Ben Neil, and Takehisa Kosugi, and develops a fantastic sound with sharp edges. Unlike the content received by core contemporary music fans such as "Wave Train", it is a comfortable and easy-to-listen content that appeals to ambient to club music lovers.

Named after a now-shuttered nightspot that overlooked the beach on Italy's picturesque Tuscan coast, Maxime Denuc's 'Club Imperiale' is a work of speculative historical fiction, a record that imagines a point of creative symbiosis between the Catholic church and the ecstatic dancefloors of the early '90s. Using a MIDI-controlled pipe organ, Denuc creates dense clouds of impossible-to-play notes that ricochet backwards and forwards through history, from Rome's reverberant cathedrals to the white, sandy beaches of the Balearic Islands. Not simply an album of trance and techno music performed on the organ, 'Club Imperiale' is a byzantine mass of references and lived experiences that considers the physical impact of sound, architecture and setting - and Denuc can trace its genesis to a single moment. Two years ago, the Brussels-based French composer was forwarded a surprising video by a Belgian fan. It was shot during a Wedding at a church in Menorca, where the organist was playing 'Infinite End', the lead track from 2022's 'Nachthorn'. Immediately, Denuc knew that this was the thematic backdrop he'd been waiting for; he imagined the aftermath of the event, wandering through small villages and teetering on a cliff's edge, finding a provincial nightclub and retracing his steps back to the beach to witness the sunrise.

This time around, Denuc was gifted the time and the access he needed to fully refine his concept. The technical side of the process had already been solved; after recording 'Nachthorn', he was now very confident with his system, able to control the pipe organ's keyboards, stops and pedals incredibly precisely using Max/MSP and OpenSoundControl, or OSC. And his relationship with the St. Antonius Church in Düsseldorf had deepened significantly. The cantor offered him a three or four days each month for a year to record the project and Denuc jumped at the chance. He moved into a small apartment nearby and spent every available hour behind the organ, working from 9AM until 5PM, stopping for mass and then returning for another long session, heading back to his studio on the off days to listen back to the recordings and plan fresh approaches. This allowed him to sculpt the experience meticulously, thinking about the history of sacred music and considering the real reasons that its compositions have lingered in the secular consciousness for so long. He wanted to concentrate on the visceral acoustic qualities of the church itself, so used a spatial multi-microphone setup to situate listeners between the concrete walls, fabricating an acoustic experience that's multi-dimensional and cinematic.

And the music itself also had to completely validate Denuc's themes. His compositions needed to feel like waves lapping at the shore, humid air rushing through aging pipes and hazy rave memories imprinting themselves on pliant brains. So on opening track 'Hallucinogen', Denuc reaches back to the mid-'90s directly, directly referencing 'LSD', an enduring psychedelic trance anthem penned by Shpongle's Simon Posford. The track interpolates a minuscule section of Posford's original, mapping its brain-tickling squelches to the pipe organ and using the church's natural reverb to capture the vast majesty of the building. "I tried to construct a whole world on top of it," Denuc explains. The album's aquatic themes meanwhile make themselves visible on 'Atlantis', the first example of Denuc's most recent compositional breakthrough, when he realized that using extremely short note repetitions he could create a seemingly continuous drone that shimmered like the surface of water. Imagining a dazzling white church in the Balearics, Denuc pens a revisionist trance anthem on 'Everytime', enhancing the imagery that inspired the record and letting the core motif bounce around the church walls.

These core elements course through 'Club Imperiale', folding in on themselves and melting into each other. Using his own hand-built Max/MSP sequencer, Denuc flutters towards the sun on 'La Paloma', noting the similarities between baroque music and progressive trance. And on the title track, Denuc hits the album's dreamy emotional core, a space where the afterparty begins in earnest, heralding the blurry, mirage-like second half of the record, where natural delays and breathy emotional traces seem to dissolve the very fabric of time. Moving through the dramatic 'Plasters Figures' and the '90s music video atmosphere of 'Impreza', 'Club Imperiale' concludes with 'Pegasus', a long chord sequence that heads steadily downwards into contemplative reminiscence, never quite taking flight. Even the best parties come to an end eventually.

Named after a now-shuttered nightspot that overlooked the beach on Italy's picturesque Tuscan coast, Maxime Denuc's 'Club Imperiale' is a work of speculative historical fiction, a record that imagines a point of creative symbiosis between the Catholic church and the ecstatic dancefloors of the early '90s. Using a MIDI-controlled pipe organ, Denuc creates dense clouds of impossible-to-play notes that ricochet backwards and forwards through history, from Rome's reverberant cathedrals to the white, sandy beaches of the Balearic Islands. Not simply an album of trance and techno music performed on the organ, 'Club Imperiale' is a byzantine mass of references and lived experiences that considers the physical impact of sound, architecture and setting - and Denuc can trace its genesis to a single moment. Two years ago, the Brussels-based French composer was forwarded a surprising video by a Belgian fan. It was shot during a Wedding at a church in Menorca, where the organist was playing 'Infinite End', the lead track from 2022's 'Nachthorn'. Immediately, Denuc knew that this was the thematic backdrop he'd been waiting for; he imagined the aftermath of the event, wandering through small villages and teetering on a cliff's edge, finding a provincial nightclub and retracing his steps back to the beach to witness the sunrise.

This time around, Denuc was gifted the time and the access he needed to fully refine his concept. The technical side of the process had already been solved; after recording 'Nachthorn', he was now very confident with his system, able to control the pipe organ's keyboards, stops and pedals incredibly precisely using Max/MSP and OpenSoundControl, or OSC. And his relationship with the St. Antonius Church in Düsseldorf had deepened significantly. The cantor offered him a three or four days each month for a year to record the project and Denuc jumped at the chance. He moved into a small apartment nearby and spent every available hour behind the organ, working from 9AM until 5PM, stopping for mass and then returning for another long session, heading back to his studio on the off days to listen back to the recordings and plan fresh approaches. This allowed him to sculpt the experience meticulously, thinking about the history of sacred music and considering the real reasons that its compositions have lingered in the secular consciousness for so long. He wanted to concentrate on the visceral acoustic qualities of the church itself, so used a spatial multi-microphone setup to situate listeners between the concrete walls, fabricating an acoustic experience that's multi-dimensional and cinematic.

And the music itself also had to completely validate Denuc's themes. His compositions needed to feel like waves lapping at the shore, humid air rushing through aging pipes and hazy rave memories imprinting themselves on pliant brains. So on opening track 'Hallucinogen', Denuc reaches back to the mid-'90s directly, directly referencing 'LSD', an enduring psychedelic trance anthem penned by Shpongle's Simon Posford. The track interpolates a minuscule section of Posford's original, mapping its brain-tickling squelches to the pipe organ and using the church's natural reverb to capture the vast majesty of the building. "I tried to construct a whole world on top of it," Denuc explains. The album's aquatic themes meanwhile make themselves visible on 'Atlantis', the first example of Denuc's most recent compositional breakthrough, when he realized that using extremely short note repetitions he could create a seemingly continuous drone that shimmered like the surface of water. Imagining a dazzling white church in the Balearics, Denuc pens a revisionist trance anthem on 'Everytime', enhancing the imagery that inspired the record and letting the core motif bounce around the church walls.

These core elements course through 'Club Imperiale', folding in on themselves and melting into each other. Using his own hand-built Max/MSP sequencer, Denuc flutters towards the sun on 'La Paloma', noting the similarities between baroque music and progressive trance. And on the title track, Denuc hits the album's dreamy emotional core, a space where the afterparty begins in earnest, heralding the blurry, mirage-like second half of the record, where natural delays and breathy emotional traces seem to dissolve the very fabric of time. Moving through the dramatic 'Plasters Figures' and the '90s music video atmosphere of 'Impreza', 'Club Imperiale' concludes with 'Pegasus', a long chord sequence that heads steadily downwards into contemplative reminiscence, never quite taking flight. Even the best parties come to an end eventually.

UK supergroup Flock return with their anticipated sophomore album ‘Flock II’. Comprising an exceptional line-up featuring Bex Burch (fresh from her debut solo album on International Anthem), Sarathy Korwar, Tamar Osborn (Collocutor, Dele Sosimi, Unknown To Known), Danalogue (The Comet Is Coming / Soccer96) and Al MacSween (Kefaya), the new recordings showcase Flock’s ability to push the boundaries of the composition process and craft unique tracks based on their collective spirit. Recorded amidst the serene landscapes of the Welsh countryside during 2022, 'Flock II' emerges as a compelling departure from their debut album, which was captured in a single day at London's Fish Factory. Nestled within the enchanting environs of the Druidstone, a mystical coastal retreat in West Wales, the group embarked on an immersive week-long recording session. Here, they crafted unique "jump-off" devices for each musical piece, drawing inspiration from unconventional structures and atmospheres. From diagrams utilising shapes and repeated patterns to a revolving lamp throwing out dappled light and a mobile app creating intense strobe effects in front of each musician, each device set a state of mind and a unique approach to their compositions. Studio Owz, housed in a converted country church, provided an ideal setting for their creative exploration. The resulting compositions, ranging from intense to hypnotic, invite listeners to embark on a deeply personal voyage, weaving their own narratives amidst the ethereal soundscape. The fruits of a strong and joyful bond between five of the UK’s finest musicians, ‘Flock II’ stands as another essential recording without genre or category. Cover artwork illustration is courtesy of the brilliant Muhammad “Rofi” Fatchurofi, providing the ideal nebulous artistic foil to Flock’s creation.

On June 3rd Gondwana Records present ‘Next Time Could Be Your Last Time’ – the debut album by Forgiveness, AKA Jack Wyllie, JQ and Richard Pike. Described as “not really jazz, not really new age, not really ambient or electronica”, instead they welcome you into a synaesthesia-inducing technicolour fantasy, full of wondrous emotive beauty. This genesis began with the sharing of music, burgeoning friendships, and the mutually-inspirational benefit of the collective power of a group dynamic, with each spurring the next on to heighten their already expansive skills. Intertwining the acoustic, electric and digital, utilising instruments and tools from across the decades, their synthesized Shangri La is a place where craftsmanship meets musicianship, even including sections notated on sheet music. The mood whilst recording, however, was one of loose freedom and enjoyment, with parts displaying a light-hearted playfulness. A world where shiny electronics meet flute and sax motifs, subverting them into something new. Jack Wyllie is best known for his work with Portico Quartet, Paradise Cinema and Szun Waves as well as collaborations with artists such as Luke Abbott, Adrian Corker and Charles Hayward. Whilst JQ has released on Boxed and Lo Recordings, with his music also remixed by Loraine James, Sun Araw and Foodman. Richard Pike has had multiple records on Warp as a member of PVT, collaborated with Modeselektor and Ital Tek, recorded under his alter-ego Deep Learning, and founded the tape label Salmon Universe, all whilst composing scores for TV drama. Wide-ranging influences on the LP include 70s era ECM and Miles Davis, Spencer Clark/Star Searchers, Ansel Adams, Steve Reich, H Takahashi, Don Slepian, The Blue Nile, Talk Talk’s ‘Spirit Of Eden’, Michael Gordon’s ‘Rushes for 8 Bassoons’, Sir Simon Rattle’s documentary ‘Leaving Home’, Horoshi Yoshimura, Ulla Strauss and Disasterpeace, plus new developments in vaporwave and software experimental. Hitting the centre at the ven diagram of these interests, the record converges the trio’s individual sound worlds into something singular. Primarily purveying a sense of endorphin-flushed tranquillity, they build synthetic, bucolic, lysergic landscapes, which although imbued with processed plasticity also contain multi-stranded depths of textural field.

Received an 8.1 rating from Pitchfork. Since its original release in 1977, RAGNAR GRIPPE's seminal debut album entitled Sand has been adorned with immense praise and influenced a myriad of ambient musicians and minimalist composers. Grippe’s unique approach of bonding post-modern classical composition into the tape techniques of musique concrète allowed him to be one of the leading experimental electronic musicians of the late 20th century.  Originally trained as a classical cellist, Grippe had relocated to Paris in the early 70’s to study at the famous Groupe de Recherches Musicales (more commonly known as GRM) founded by musique concrète pioneers Pierre Schaeffer, Pierre Henry and Jacques Poullin. Around the same time, Grippe had struck up a close friendship with French avant-garde minimalist Luc Ferrari. It was under Ferrari’s direction and guidance that the young Grippe started to build a shared experimental music studio, aptly named l’Atelier de la Libération Musicale (ALM), in which Ferrari shared his knowledge and instrumental supplies, thus forging Grippe’s implementation of harmonic tone within the confines of musique concrete.  After a brief stint of electronic music study at McGill University in Montreal, Grippe returned to Paris in 1976 to compose with Ferrari at the now fully-realized ALM studio. One of the visiting artists passing through the creative epicenter of the Cité Internationale des Arts during this time was the painter Viswanadhan Velu. Velu’s recent works consisted of various Sand paintings which were to be exhibited at the Galerie Shandar, the avant-garde art gallery and home to the Shandar record label which was the home to minimalist composers Terry Riley, La Monte Young, Cecil Taylor and Charlemagne Palestine.  Grippe was asked to compose a composition that was to be played during the Sand painting exhibition and was then to be released on the Shandar imprint in 1977. This release would be the first official album that would start Grippe’s career as a modern avant-garde composer and electronic musician. After a celebrated release, “Sand” has since been out-of-print on its original vinyl format for four decades and original copies fetch high prices amongst minimalist listeners and collectors.

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Release date Feb. 9th. Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden. Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone’s music is the intimacy stirred by the close listening it encourages. Malone’s new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve. All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition’s internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony. The titular composition “All Life Long” appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with “The Crying Water” by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, “All Life Long” moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator’s relationship to the timeless tears of the sea. “Passage Through The Spheres,” the album’s opening piece, contains lyrics in Italian pulled from Giorgio Agamben’s essay In Praise of Profanation. In it, Agamben defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs. This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.

2025 edition. Kali Malone’s The Sacrificial Code is the 2019 breakthrough album of the acclaimed composer’s pipe organ pieces. Her temporally informed studies of harmonics and intonation breathed life into a suite of compositions which leaves the heart moved and mind still. This 2025 edition was mastered by Rashad Becker and features a new track Sacrificial Code III.

Pitchfork praised the album for its "time-stretching properties" and "clean minimalism". Resident Advisor described the album as an "exercise in concentration, restraint, and focus". Tiny Mix Tapes emphasized the "intensity and intimacy" of the album, pointing out how Malone's close miking technique brings out every textural detail of the organ, creating a highly focused and immersive listening experience.

48k/32bit master by Rashad Becker

Time and duration are core themes in the work of both William Basinski and Janek Schaefer, and this long-distance collaboration took a suitably long gestation of eight years from start to finish. In that time, our collective perception of time has at times become disorienting. “ . . . on reflection ” remodels that instability as an exquisite work of art – one that is unmoored by time or space. Limitation breeds creativity, revealed as an expression of minimalism and close focus. Deploying a delicate piano passage from their collective archive, Basinski and Schaefer weave and reweave in numerous ways, forging an iridescent flurry of flickering melodies. The sounds of various birds heard from late night windows on tour can occasionally be heard throughout, ricocheting off mirrored facades, reflecting on themselves as they continually reshape their own environments with song. “ . . . on reflection ” looks backwards, a bustling revelry of positive emotions heard through the aging mirrors of memory. It is a celebratory meditation where sound shimmers through time like the light of the sea’s waves glistening as it folds and unfolds upon itself. Created 2014-2022 between L.A. & London. Mixed at Narnia, Walton-on-Thames.

Time and duration are core themes in the work of both William Basinski and Janek Schaefer, and this long-distance collaboration took a suitably long gestation of eight years from start to finish. In that time, our collective perception of time has at times become disorienting. “ . . . on reflection ” remodels that instability as an exquisite work of art – one that is unmoored by time or space. Limitation breeds creativity, revealed as an expression of minimalism and close focus. Deploying a delicate piano passage from their collective archive, Basinski and Schaefer weave and reweave in numerous ways, forging an iridescent flurry of flickering melodies. The sounds of various birds heard from late night windows on tour can occasionally be heard throughout, ricocheting off mirrored facades, reflecting on themselves as they continually reshape their own environments with song. “ . . . on reflection ” looks backwards, a bustling revelry of positive emotions heard through the aging mirrors of memory. It is a celebratory meditation where sound shimmers through time like the light of the sea’s waves glistening as it folds and unfolds upon itself. Created 2014-2022 between L.A. & London. Mixed at Narnia, Walton-on-Thames.