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On Ola Tunji, Ola Tunji channel a luminous strain of spiritual and free jazz: collective meditations where Ornella Noulet’s fierce, tender saxophone rides a young quintet’s searching interplay toward something like secular devotion. Ola Tunji introduces a young French quintet, now rooted in Brussels, who treat spiritual and free jazz not as museum pieces but as living, breathing practices. Performing under the same name as their debut, Ola Tunji draw explicitly on lineages traced by John Coltrane, Pharoah Sanders and Albert Ayler, yet their music feels less like homage than continuation. At the centre stands 24‑year‑old Ornella Noulet on saxophones, whose sound can sear or soothe, splitting the air with grainy cries one moment and tracing supple, hymn‑like lines the next. Her phrasing carries the authority of a much older player, but the group’s dynamic makes clear that this is a collective endeavour: each piece is a conversation, not a vehicle for solo display. The ensemble around her amplifies and complicates that vision. Roman Raynaud’s guitar moves between haloed chords, wiry single‑note patterns and restrained distortion, shading the music from prayerful to urgent in a few strokes. At the piano, Loïc Lengagne supplies both harmonic ground and splintered commentary, alternating spacious, modal voicings with clustered runs that tug the improvisations into new shapes. Anthony Jouravsky’s bass acts as the music’s deep spine, sometimes walking or vamping with earthy swing, sometimes holding long tones that turn the band’s meditations into slow‑moving tides. Behind them, Egon Wolfson’s drums pivot fluidly from incantatory rolls and cymbal washes to fractured, free‑time exhortations, keeping the energy in constant, breathing motion. The band describe their pieces as “collective meditations,” and that ethos runs through the EP. Themes tend to emerge slowly, as if discovered rather than imposed, before opening into broad fields of improvisation where love, compassion, joy and serenity are less stated than enacted in sound. The quintet search together for a deeper sense of humanity, trusting that sustained listening and risk in the moment can summon something larger than any individual. Even at their most turbulent, there is a core of warmth and intention that anchors the music, a sense that the goal is not virtuoso display but shared elevation. Originally issued as a self‑released digital EP on Bandcamp, Ola Tunji quickly travelled far beyond its modest origins. International listeners tuned in to the group’s intensity and sincerity, with platforms such as All About Jazz praising the recording for its freshness and emotional clarity, while Bandcamp itself spotlighted it as a jazz highlight. What might have remained a local calling card instead became an underground word‑of‑mouth success, signalling the arrival of a band ready to step onto a larger stage. As the quintet prepare their first full‑length album, W.E.R.F. records now grants this remarkable debut its first vinyl pressing, giving these collective meditations the tangible weight they deserve and inviting a wider audience into their circle of sound.
Morphing between the sensory and the suppressed, Radwan Ghazi Moumneh and Frédéric D. Oberland’s debut album summons a poetic musical proclamation of transfigured reality and social amnesia. These seven tracks evolved collaboratively over two years, beginning as a series of duets that Moumneh instigated at Montréal’s Hotel2Tango studio in summer 2023. The Arabic title of Eternal Life No End translates more literally as "A dark, cursed night, like the seekers themselves" and the album is an outcry amidst the oceans of injustice flooding the SWANA region, haunting the lives and visions of vast populations.
Like Dante and Virgil in Dante’s Inferno, Oberland and Moumneh’s compositions chart an emotional vortex, as dream-time seeps into trancelike percussion and hypnotic melodies, channeling collective urgencies that ripple through the currents of Radwan’s voice and Arabic lyrics. Oberland’s passages of saxophone and clarineau evoke shamanic exhortations of evil, while Moumneh’s buzuk strums and swarms, often through electronic processing, with tempestuous mourning about unfolding tragedies. An array of instrumentation fleshes out the wider soundscapes: daf (a Middle Eastern frame drum) and bongos, a modified electric rababa, shuddering bass and other synthetic filigree from Oberland’s Buchla and Deckard's Dream synths.
"It's a healing process in a way," says Oberland about the work. "Since the genocide started, I’d had a complete artistic block and the inability to articulate what people are living through" explains Moumneh, who ultimately packed his instruments and gear and flew to Paris in the summer of 2024 to work on the album in earnest with his long-standing friend. The two had collaborated on multiple previous occasions, with Oberland’s primary group Oiseaux-Tempête, and through Moumneh's work as Jerusalem In My Heart and as a producer/engineer on various other projects. Eternal Life No End builds on their abiding allyship as Oberland and Moumneh navigate energies and emotional shifts in newfound ways, merging their sensibilities and uncovering deeper resonances. “We worked day and night together and made clear decisions collectively” states Oberland, who nonetheless also took the lead in positioning Moumneh’s voice to shine through these compositions—there is singing on four of the album’s seven tracks. The duo played reverse roles of a sort and ventured new creative processes, as Moumneh openly took direction from Oberland, setting aside his usual lead-producer role as steward of Jerusalem In My Heart.
"Squeal of Swine" and "Dagger Eyes" open the album with dual gut punch, as hand percussion, low end synth tones, and ricocheting buzuk and rababa set the stage for Moumneh’s keening Arabic singing, reflecting a sea of sickness currently drowning the state of humanity. On the instrumental track "A Dream That Never Arrived", a lo-fi dancehall-inflected beat anchors otherworldly melodic lines set against electroacoustic sound design in spatio-temporal displacement. Eternal Life No End is accompanied by an audio-visual essay for the electronic (and vocal) song "The Serpent", assembled by Oberland and shot on Super 8mm camera in Montréal, Paris and Beirut, including footage of Gaza protests in Paris, and of the Frequent Defect event at Irtijal Festival’s 25th anniversary edition in Beirut. Lebanese graphic designer, printmaker, and calligrapher Farah Fayyad provides talisman-like artwork of entwined serpents, similarly inspired by this centerpiece album track.
The second instalment of the Curio Cabinet gourmet-dub series, Bonnefoï Dub / Tolosan Dub straight from the southern city of Toulouse.
"Both are made by Stefan Dubs under the guiding light of his live project, Sòn Du Maquis. This project has deep roots in the free rave, micro-festival, and dub & sound system culture of his country. It’s also the name of his own label, home to his dub-infested productions; ranging from slo-mo jungle to droney steppers and blown-out trip-hop on a slightly medieval tip.
Staying true to classic sound system tradition, each side pairs the original cut with its own version.
First there is Tolosan Dub, a trancey bass meditation colossus with deep synth work moving around in the trees. Some early nineties UK digidub vibes are surely mashing up the dance here. The version workout slows things down a bit, taking you even deeper into the riddim... strictly warrior style !
On the B-side we've got Bonnefoï Dub, which is pure bass-bin filth with a rootsy harmonica touch and a raw clubby feel. This tune just screams to be played out loud on a proper sound system. The version is certified dance-floor gold, yet there are enough dubbed-out flavours going on for intimate headphone sessions or some mad home skanking."
Sounding like a lost Nu Groove record dug up in Detroit basement and played at the clubs of Ibiza in '93, Nicky Benedek and Tom Carruthers team up for a dream collaboration with the six track "Process 9" lp. These are detailed and anthemic tracks to be played at the night club, the perfect balance of rough drum programming and deep, lush synthwork, everything has fallen into place when these two hit the studio together. Absolute essential gear for lovers of the late nites and endless mornings!
Holidays Records is on fire! Hot on the heels of their recent incredible vinyl releases of the Italian sound artist and musician Ezio Piermattei’s “Gran trotto” and the duo Acchiappashpirt’s “Ninulla”, they return with one of their most important and captivating releases to date: Hartmut Geerken’s “Requiem for the Snake of Maidan”, a mind-blowing body of archival recordings from the 1970s, made on a stony ridge in the Hindukush mountains of Afghanistan, encountering the artist locked in a sprawling performance on a self-made “percussion environment”. An absolutely visionary revelation from this sinfully under-recognised collaborator of Sun Ra, John Tchicai, Michael Ranta, The Art Ensemble of Chicago, and numerous others, few experimental percussion records soar like this.
A Colourful Storm proudly presents remastered first-time vinyl and digital editions of Lone Capture Library’s modern-day DIY environmental masterpiece, All Natures Most Mundane Materials.
“Environmental”, you say? Well, this certainly wasn’t recorded for dinner party ambience nor was it commissioned by Harrods. But it does document a haphazard wander through the English countryside, feeling the air and the earth, detaching oneself from confinement while attempting to make sense of it all.
Its protagonist is Rory Salter, London's restless improvisor extraordinaire, who has contributed to dozens of solo and collaborative releases in an ecosystem centred around his Infant Tree private press, as well as recordings for Bison, Alter and MAL. Under his Malvern Brume alias, he is responsible for some of the most enchanting sides of contemporary concrète that has graced our ears, each record a dérive, revealing beauty and curiosity within London’s urban banality. And while we’d argue that Lone Capture Library applies this approach but instead seeks the peculiar within the pastoral, there, too, lies a certain hermetic recklessness, with its unique disruptive details and discarded sonic bric-a-brac permeating the air.
“I'd walked from Swindon to Avebury and back, which is about a 21-mile round trip. I'd been a muppet and did the whole thing down the A4361, which is not a road suitable for walking on - there was a lot of jumping into the hedges to avoid lorries. Turned out, there was a really nice walk across the fields I could have done instead. But maybe that sums it up quite well. Instinctive and very impulsive. The day following, I was at home and recorded it in single takes, improvised and straight to the tape. There was a good deal of significance for me in walking to the stones, passing the Hackpen Horse, being in the landscape and dealing with some brain rot after being stuck in a house, anxious and depressed. There was a sense of freedom and detachment. It was all about the materials of the earth and the body and fucking the brain off for a bit - just wanting to move between places. I dunno, it's all very cliché.”
Soft Echoes presents the first physical edition of In a Few Places Along the River by Abul Mogard as a limited run of 500 vinyl copies. Originally released digitally in 2022, the album now appears in its intended form, marking the label’s second release. Three long pieces, composed between 2019 and 2022, emerged from Mogard’s meticulous experimentation with analogue and digital instruments. Slowly evolving harmonic fields of layered drones and spectral textures drift across the record. They are enhanced by reverb from Scotland’s Inchindown oil tanks, which hold the longest reverberation of any man-made structure, giving the music a haunting resonance and a sense of suspended space. Against a White Cloud and In True Contemplation open the album with their nocturnal tones that gradually intensify into dense, immersive waves of sound. Side B is devoted to the 21-minute elegiacal piece Along the River, which flows between weight and silence, unfolding with reflective depth and moments of subtle transcendence. As one listener observed, “His music doesn’t break the wilful suspension of disbelief: you stay in its trance.” “Recording for this album began in 2019, when I was still living in London,” Mogard explains. “The first version of Along the River was created at my studio near Brick Lane. It started with experimenting around a chord progression inspired by a classical piece I had once been recommended, though, strangely enough, I no longer recall what it was. Early in 2022, I revealed the identity behind Abul Mogard and wanted to mark this new period, so I decided to release it quickly, by myself, as digital-only.” After returning to Rome, Mogard created the other two pieces, working with new digital instruments alongside his modular synthesiser, and integrated recordings from the London sessions. The music reveals a patient attention to texture and space, defining his usual restraint. Mogard adds, “I was trying to explore very subtle changes in the spectral characteristics of the music using extremely slow, intertwined tones.” Described by critics as one of Mogard’s most melancholic and absorbing releases, the album maintains an austere beauty and contemplative weight, leaving a lingering impression that lasts far beyond the final note. The music has extended beyond the album itself, with tracks appearing in films and contemporary artworks. Most notably, Swedish artist Peder Bjurman’s Slow Walker audiovisual installation and French filmmaker Fleuryfontaine’s politically charged animated film Soixante-sept millisecondes. Mastered by Rafael Anton Irisarri and cut to vinyl by Lupo, the record emphasises the clarity and depth of Mogard’s frequencies, with each layer precisely balanced. The cover artwork and design are by Marja de Sanctis, who has collaborated with Abul since his first cassette release in 2012.
Multi-GRAMMY award winning virtuoso bassist & singer Thundercat releases a very special deluxe edition of his album “Apocalypse” on March 1st celebrating ten years since its original release in 2013.
The new edition contains two previously unreleased tracks, ‘Before I loved myself “I” pooped my ankles (true)’ recorded with Austin Peralta and Taylor Graves, and ‘Paris’ (with Mono/Poly). The deluxe LP also features special rainbow holographic artwork housed inside a transparent PVC outer slipcase complete with “x-ray” holographic skull print.
Packed with gems including the certified classics ‘Heartbreaks + Setbacks’, ‘Lotus and the Jondy’, ‘Tron Song’ and the all-out cosmic funk bullet ‘Oh Sheit, It’s X’, Thundercat brings a fusion of pop, soul, electronica, prog rock and funk into an unexplored dimension with his signature basslines gliding sky high to meet Executive Producer Flying Lotus’ astral touch.
In the wake of its release in 2013, Pitchfork praised the record’s “endearing blend of plainspoken nonchalance and almost limitless musical eccentricity” and gave it an 8.2 rating. The LA Weekly was equally impressed: “Thundercat's Apocalypse... takes its name from the end of days but sounds more like a new start.” Meanwhile, Complex proclaimed it “the best album of the year… a shimmering collection of celestial funk.”
Closing out the Special Sound Series in style, we are proud to present the long-awaited vinyl reissue of Shigeo Sekito’s 1985, an instrumental masterpiece that arrived nearly a decade after his iconic Kareinaru Electone Special Sound Series of the 1970s. A true pioneer in the world of Electone music, Sekito’s name—instantly recognizable in katakana—has left an indelible mark on the genre. This album showcases his signature artistry across eight captivating tracks, blending originals and covers with his distinct sonic palette. The cosmic allure of the original composition “Amish At Dusk” stands out among the set, while the Manhattan Transfer cover “Twilight Zone, Twilight Tone” brims with dynamic, fast-paced arrangements. Meanwhile, Sekito’s take on The Crusaders’ “Rhapsody And Blues” unfolds with a laid-back groove, gradually building into an uplifting crescendo. Drifting between chill-out and ambient sensibilities, 1985 captures a wistful, melancholic beauty— where the rich textures of the Electone transport listeners into a world of nostalgia and dreamlike introspection. This final reissue in the series is a must-have for collectors and fans alike. Experience 1985 in its warm, analog glory, now on vinyl.
Andy Jenkins always assumed Nick Sanborn was going to get rid of his guitars, anyway.
In March 2021, Sanborn had mostly finished construction at Betty’s, his studio outpost with partner Amelia Meath in North Carolina’s cozy Piedmont woods. Both busy pieces of their respective but intertwined music scenes in Richmond and Durham, Jenkins and Sanborn had been fans of one another for years but had never formally collaborated. Jenkins had spent the last several years gathering songs for the follow-up to his 2018 solo debut, Sweet Bunch; the new ones were intricately rendered odes to the assorted assurances and anxieties that can come with finding some measure of contentment as you cross into yours 30s. He’d even played them all during two outdoor concerts in Richmond, folks scattered throughout his backyard to listen. Sanborn reckoned that was enough rehearsal. Don’t send demos, he suggested; simply drive the two hours down, and live and work in the studio for two weeks while spring drifted into the South.
As Jenkins rolled through his assembled tracks in Betty’s Studio B, Sanborn listened and allowed his imagination to run wild. Sanborn recalled a conversation with the songwriter Damien Jurado, where he said he’d once arrived at the studio of producer Richard Swift without dispatching anything in advance; that instinctive and improvisational strategy led to Maraqopa, a modern masterpiece. What could Jenkins and Sanborn conjure?
Sanborn flooded Jenkins with ideas—rhythmic shifts, keyboard flourishes, vocal effects—and looked for and listened to his responses. There was the double-time piano, a mistake dropped into “Too Late” they both loved. There was the Vocoder selection during “Emptiness Is,” a choice that allowed the pair to hang so much of the song on bass and drums alone. There was the sequence that bubbles beneath “Leaving Before,” a mirror of the lyrical nervous heart.
When Meath and Flock of Dimes’ Jenn Wasner were palling around the studio, Sanborn asked if they would mind singing on a few tracks. That’s Meath on “Blue Mind,” sweetly trailing Jenkins’ lines about being under love’s spell like she’s offering an incantation, and Wasner rising through the static dawn of “Lovesick.” “Andy wanted someone to make decisions he would never make,” remembers Sanborn. “It was this mining operation we got to do together.”
As the songs steadily cohered, though, Jenkins insisted it was finally time to drop his guitars. “I have never been,” he says now with a little laugh, “a particularly competent guitar player.” But Sanborn loved the idiosyncratic way his strums sat against his voice, so he stalled. He wasn’t much of a guitar player himself, so they’d need to wait for Jenkins’ longtime collaborator, an ace named Alan Parker, to come down from Richmond and replace those parts. When Parker did, he heard the same thing as Sanborn—yes, he was more technically proficient, but his overdubs didn’t have the same personality, the same narrative truth. Jenkins relented, so his guitars stayed, the anchor for most of these 11 tracks.
One notable exception: “Nobody Else,” the album’s brief but brilliant centerpiece, a testament to holding close to the people in your life, of not losing nobody else. It stems from a quiet moment Jenkins and Parker shared in an otherwise-empty studio. Parker (who, in the end, added leads and fills throughout the record) plays a rubber-bridge guitar, while Jenkins’ voice rises and falls like the waves of the maritime scene he limns, his curious voice making melodies from mere air.
It is the exception here, Jenkins stepping away from guitar to lean into an old friendship and render something exquisite in its ache.
Since Always came, in large part, from letting go—of self-perceptions, of expectations, of assumptions. Jenkins found space to trust himself as the guitarist for his own songs. Sanborn stepped into a new kind of production role, dreaming up ideas and filtering through them together. There was, in short, a very adult trust to it all, two fans working in tandem to make something. The process feels of a delightful piece with Since Always, a record where the loss and love, compromise and gain of adulthood come into full view.
Grayson Haver Currin
Ward, Colo.
January 2025
Andrea Burelli unveils her latest work, 'Sonic Mystics for Poems (of Life and Death of a Phoenix).' Rooted in her autobiography and metaphorically intertwined with myth, this work opens a portal to a mystical perspective on life, seamlessly weaving into the tangible fabric of our vulnerable human existence.
Structured around Andrea's evocative poetry, the album delves into the profound complexities of being, navigating shadowy depths while basking in the illuminating light of life. Burelli's vocals traverse landscapes lost in the sands of time, capturing the essence of captivating sunsets, the boundless infinity of the sea, and imaginary lands teeming with magic.
The sonic journey unfolds across 15 meticulously crafted pieces, showcasing the virtuosity of esteemed violinist Mari Sawada and cellist Sophie Notte, distinguished members of the renowned Berlin ensemble Solistenensemble Kaleidoskop. Drawing inspiration from a diverse palette, including experimental electronica, classical, and Mediterranean music, the album orchestrates both simple and intricate polyrhythmic structures and harmonies influenced by classical and folk traditions. Burelli's flexible vocal range intertwines seamlessly with the emotive resonance of acoustic strings, the textured tones of FM synthesis, minimal Machinedrum kicks, and deep Moog Synths basslines.
"'Sonic Mystics for Poems' is a work that has taken on profound meaning for me," confides Andrea. “When I think of where this record developed, my memory leads me to my origins, the Mediterranean. Its waters are home to me." The album's thematic richness derives from the Mediterranean diverse cultural influences, from Southern Europe, to Middle East and North Africa. Her texts are filled with colors, an imagery derived from her past practice as a painter, in stark juxtaposition to her black and white analog videos, which portray an intimate world of symbols and poetic associations, leaving open to one’s interpretation the possibilities of their significance.
Central to the album is an imaginary journey of a phoenix, an invisible pilgrim guarding Burelli’s world of dreams, symbolizing rebirth and creative transformation in her own artistic evolution. : “Involuntarily, my poetry becomes symbolist, occasionally revealing confessional undertones." The album encapsulates change, with water as its elemental force, signifying beginnings, endings, and the eternal cycles that arise. Andrea Burelli's 'Sonic Mystics for Poems' beckons listeners to embark on a transformative journey, where the boundaries of genre dissolve, and the magic of music transcends into a realm of timeless resonance.
She concludes with a heartfelt wish echoing through the waves of her evocative melodies, saying “I dedicate this album to my sea. May the peoples of its shores one day coexist in peace."
Beirut-via-Berlin polymath Raed Yassin summons the supernatural thru a modular synth and spectra of strategies derived from Terry Riley’s minimalism, Suicide’s no wave rock freedom, and synth-pop structures. A strong follow-up to his ambitious ‘Phantom Orchestra’ side with Rabih Beaini - one side panoramic melodrama, to one side turbulent helical spiral.
Issued to coincide with Yassin’s debut London exhibition of the same name, ‘Eternal Ghost’ is the latest iteration of his decades-long artistic thrust toward consolidating improvised and composed musics. Concrète yet ephemeral, minimal yet majestic, the results diverge and contrast in their outlooks and formations with a guile that has served Yassin well thus far, from a memorable 2009 solo debut of illbient collage for Annihaya Records, to jams with Alan Bishop & AMM as part of “A” Trio, and in Praed/Praed Orchestra!, and most the centre of a complex maelstrom for Morphine Records.
Perhaps unusually ‘Eternal Ghost’ frames Yassin mostly solo and left to his own devices for one of their most intimate, if widescreen, expressions of self. ‘A Spectre of a Stranger’ creeps crepuscular with modular synth evoking onset of night before his synth leads tear at the sky in Riley-esque ribbons layered with wholehearted wail in a compelling forward tilt. The B-side ‘Eternal Ghost’ also charges the metaphysical thru synthetic means with its initial lift of saccading arps knotting into panel-beaten industrial pulse and epic pop vox vamps that switch from fourth world optimism to more ragged no wave dystopia, or the other side of the same wave?
Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five full-lengths of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”
Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.
Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.
Despite, or perhaps because of, these factors, the collection stands as a testament to Cinder's belief that “so-called experimental can only remain so if you keep challenging yourself.” This is singular and challenging music, texturally jagged and emotionally conflicted, swimming through shivering darkness into fragile pockets of light. At the time of its recording, Cinder was attempting to leave London after many years in the city, dreaming of an ancestral return. But as much as “ideas of homecoming were percolating,” there remained unfinished business, old ghosts to exorcise, culminating in Wappinschaw's heady, harrowing voyage: “An invocation of spirits of resistance – as much a declaration of war as a declaration of love.”
Anguish [ang-gwish] noun: excruciating or acute distress, suffering, or pain.
Originally released by Octopus, a label devoted to thematic libraries, “Angoscia” is one of the best works by Alessandro Alessandroni: here the composer native of Lazio shows his unique skills as an author and as an arranger.
Famous for his work in the movies – often with masters such as Piero Umiliani and Ennio Morricone, with whom he collaborated to create some truly immortal soundtracks (especially those written for Sergio Leone) – Alessandroni also developed a parallel career as an author of libraries, freely crossing and touching every music genre. Alone, or together with friends and pupils like Rino De Filippi (aka Gisteri) and Giuliani Sorgini (aka Raskovich), he always managed to push the boundaries of experimentation – but with great taste and personality, never giving up on the majestic orchestrations which are characteristic of his art.
“Angoscia” (released in 1975, when the artist was at his own creative peak) features twelve tracks revolving around the core theme of the album – an oppressive state of mind. Each one portrays a facet of distress (“angoscia”, in Italian): in the beginning it’s anguish, then it becomes dismay, desperation, uncertainty, pride, resignation, frustration, desolation, agony, prostration, obsession and – finally – fear. Thirty minutes of anguish never seemed so enticing and nuanced before...
Edition of 300 copies, first-ever reissue on vinyl, remastered sound.
“Static,” a work by Italian producer Nicolò, explores experimental bass music and abstract electronic soundscapes. Rather than presenting straightforward club tracks, it depicts a liminal sonic space through fragmented, wavering rhythms, decaying signals, and undulating sub-bass. Within its cold synthetic textures, the composition conveys melancholy and a sense of bodily resonance, embedding personal memories and emotions. The work is dedicated to his father, Giordano.
Stepping back into the socio-realist bass mutations of his 2024 LP Municipal Dreams, Low End Activist pulls together a heavyweight remix package responding to the source material in a multitude of ways.
Beyond the immediate soundsystem styles that inform the Activist’s sound, the scope for experimental sound design and charged, pensive atmospherics leaves a lot of space for reinterpretation. From a distinct but compatible angle, Actress naturally nudges the contours of ‘T.W.O.C’; into his signature haze, finding a squashed undercurrent of blunted techno to carry great clouds of solemn pads. Andy Martin locks into a downcast, crooked house shuffle as he twists They Only Come Out At Night out for the twilight hour.
On the B side, Demdike Stare conjure raw pressure and deadly negative space around their jagged reappraisal of ‘Hope III’, before the Activist himself plates ‘Just A Number’ with a different coat of avant-grime armour. Shelley Parker delivers a madcap finisher with her take on ‘T.W.O.C’, channelling the rapid-fire complexity of singeli into acutely angled, hard-looped sampling that rides roughshod over rhythmic stability. It’s a bold collection from some of the most serious operators in the game, all thriving on the density of the Activist’s initial ideas to deliver daring abstraction and club-ready thrills beyond the expectations of the conventional dance.
The 9th Riddim Dub School psychonautic explorations in the 5th dubmension. The first side brings us DARE! VAMPIE, a tune made by Prince Istari and Nozomi in courtesy of the Dubstressors. This was done while Prince Istari holds a Dub Science seminar. Here you go with four versions in a strip down dub style. Flipside brings synth line driven stepper SONIC ATTACK OF THE CIRCADAS. that one and the following two versions of DUBMENSIONAL SACNTUARY are both supported by the old Hohner Rythm 80 percussion machine. Is Prince Istari dropping out from mid highschool with this release? Or will he be back for the 10th grade? we may see.
In a daring, hypnotic tribute to Detroit’s primal avant-rock roots, drummer Larry Mullins (aka Toby Dammit) and legendary bassist Mike Watt stretch The Stooges’ haunting mantra “We Will Fall” into a sprawling near 40-minute ritual of repetition, restraint, and raw atmosphere. Mullins and Watt channel the eerie pulse and narcotic drone of the original 1969 track, pushing its trance-inducing core into uncharted territory. Mullins, known for his work with Iggy Pop, Swans, and Nick Cave, builds a minimalist landscape with his shruti box, Moog electronics, tabla, and gongs. Watt’s signature low-end thrum mutates from subtle heartbeat to full-body hallucination. What emerges is not a cover but an extended invocation. Part séance, part dirge, part free-form exploration of mood and mind. It’s a slow burn of sonic devotion, honoring the spirit of The Stooges while opening the door to something entirely new: a deep-listening descent into the sacred and strange. This meditative and menacing piece is split into two full sides for a 12” vinyl pressing, available exclusively for RSD Black Friday 2025. Half of the pressing comes on gold vinyl and half on black, selected at random.
The Demise of Planet X is Andrew Fearn and Jason Williamson’s most expansive and ambitious release to date as Sleaford Mods. Boasting the duo’s most varied and expressive musical approach so far, it charts, critiques and satirises our times, while offering a universal cry of anger and release of energy that pushes against the encroaching cultural darkness.
Contemplating the world coming to an end not with a big bang but in slowly rising tide of irritating mundanity, The Demise Of Planet X strikes back with vivid sonics, acerbic words, enveloping atmospheres and a engaging wit across 13 tracks that will move hearts, minds and feet.
The album features a rare guest appearance from former Life Without Buildings frontwoman Sue Tompkins, plus collaborations with Aldous Harding, soul singer Liam Bailey and grime MC Snowy, the latter two both hailing from band’s hometown Nottingham. In her first foray into music, actress Gwendoline Christie (Wednesday/ Severance/ Game Of Thrones) also joins Midlands band Big Special on Sleaford Mods new single The Good Life, which is released today accompanied by a video directed by Ben Wheatley (The Kill List/A Field In England/Bulk).
‘“The Demise Of Planet X’ represents a life lived under immense uncertainty, shaped by mass trauma,” declares frontman Jason Williamson. “When we wrote the last album, it was about stagnation, a country that felt like a lifeless corpse. Three years later, that corpse has been split open by war, genocide, and the lingering psychological fallout of Covid whilst social media has mutated into a grotesque, twisted form of digital engineering. It feels like we’re living among the ruins. A multi-layered abomination etched into our collective psyche.”