Back catalogue: All genres

Review: Ghost Dubs aka. Michael Fiedler returns to pile on the Pressure. Following recent acclaim-gatherer Damaged, this extension of the LP further serves to distend the dub, surveying and excavating fossil-rich terrains of soiled bass and coarse texture. Six reconstructed dub reformations, only two tracks, ';Chemical Version' and 'Wired Version', were previously available digitally; both introduce the record as warped yet unassuming undercuts, ripe for the meditating-to. 'Thin Dub' dissolves the mood into an echo-drenched texture; the track is marked by an up-down, contradistinct set of tuned impacts. 'Dub Craft', meanwhile, snatches the crown for most subby tune of the year.

Review: A record that explores deep, hypnotic rhythms with a strong tribal and mystical undercurrent, the latest Siamese Twins records pushes the boundaries of what is possibly in eastern influences underground techno. Side-1 opens with 'The Golden Triangle', an atmospheric introduction that feels cinematic, setting the stage with ambient textures before giving way to movement. 'Lens of Time' follows, locking into a deep, primal groove where rolling percussion and rich low-end create an entrancing effect. On Side-2 'Mekong' leans into tribal mysticism, blending ancient rhythmic patterns with a modern pulse. The production is detailed yet raw, drawing from rich percussive layers. 'Ruak' closes the EP with pulsating bass and deep, rolling rhythms, channeling Eastern influences into a hypnotic techno flow. A powerful release from Siamese Twins Records, driven by Sunju Hargun's distinct vision.

Review: Grand River's (Aimee Portioli's) fifth studio album (her first after the brilliant In uno spazio immenso, her debut for Caterina Barbieri's label Light-years label) began as an installation in 2022. Having since evolved into multi-channel, 4DSOUND, and stereo formats, the record has bridged every hurdle to live performances it could possibly face. The 36-minute composition is divided into two parts: Portioli recorded various winds and transformed them via layering and pitch adjustments, fashioning the wind itself into an instrument. Going so far as to align the gusts to a 440hz reference and tuning particular instruments to windward passages, Portioli went with the wind, yet still wound up more alive than ever. Wind and synthesizers merge seamlessly, erasing the line between natural and human-made sound; silent until it meets an object, air currents produce an array of tones, from whispers, to roars, to melodies.

Review: Michael Grigoni and Pan•American's latest collaboration is a series of contemplative reflections on the isolation, fractures and uncertainties that define today's world. The album delves into the emotional landscape shaped by political divisions, personal solitude, and the lingering aftereffects of the pandemic. Through its fusion of folk, country, bluegrass, and blues elements, paired with a modern, ambient atmosphere, the sound is both rooted in tradition and forward-looking. Tracks like 'Sun Morning Sun' and 'Silver Streams' carry a sense of quiet introspection, while 'Black River Song' and 'Mirage/Afternoon' showcase the duo's ability to merge organic instrumentation with spacious, textured soundscapes. The album's exploration of personal and collective experience creates a reflective space, asking listeners to pause and engage with the complexities of modern life. A musical journey that speaks to the heart of the American experience, offering an emotional response to an uncertain future.

Review: Orange Marmalade was originally released in October 2021 after being recorded by Evgeny Grinko at the Funkhaus in Berlin. The title holds a double meaning as it nods to Alice in Wonderland, a book Ginko was reading during its creation, as well as to his nostalgic childhood memories of life back home where metal jars were filled with marmalade. Musically this one picks up off where The Naive Album left off in that it showcases a composer in utter command of his voice and own unique style. It captures a range of emotions from sorrow to joy, triumph to introspective solitude, all with sweeping orchestral moments adding to the scale and drama.

Review: Mille Plateaux and Raster hero Andreas Tilliander meets Fire! Orchestra's Goran Kajfes somewhere deep - and we mean DEEP - in the jazz cosmos. The farthest reaches of a universe far, far away, but one that still seems to understand how joyful vast can sound when pierced by the haunting yet strangely alluring sound of brass. But simply defining this as jazz misses a point, then throws us well beyond the pale. In Cmin would be nothing without the electronic tricks and gadgetry that first made us feel as though we'd space-walked off the edge of the known galaxy, out past the Milky Way's stardust. Echoes, tape delays, things that add mood and timbre without necessarily shouting their presence. There's magic at work here. And, contrary to the 21st Century's obsession with under-the-hood, not knowing the how is the reason why you want this.