Back catalogue: Classical

Review: Pom Poko, also known as The Raccoon War, is a charming animated comedy-drama from Studio Ghibli that premiered on July 16, 1994. As the first feature film created at Ghibli's new Koganei studio, it marks the directorial debut of Isao Takahata. The story follows a group of tanuki (raccoon dogs) who band together to defend their forest home from encroaching urban development. The film's title, Pom Poko, refers to the traditional sound made by tanuki drumming their bellies, highlighting the rich folklore and cultural references woven throughout its enchanting and emotional narrative. The accompanying Pom Poko (Image Album), envisioned by Takahata, showcases an exploration of various facets of Japanese music, with raccoons as the film's central characters. This impactful soundtrack enhances the film's themes and moods, providing a delightful auditory experience that resonates with viewers. Overall, Pom Poko stands as a testament to Ghibli's ability to blend whimsical storytelling with profound environmental messages, making it a cherished addition to the studio's illustrious repertoire.

Review: The 1986 sonic pentad by Diamanda Galas, Saint Of The Pit, is the second of two records forming the devised, pestilent occult rite - in her terms, the "plague mass" - known as the Masque Of The Red Death. In clairvoyant dialogue with the first part (The Divine Punishment), both records, in symbiosis, are said to possess an innate correctitude, with saintly playback "possible at maximum volume only." When we oblige by Galas' command, we find ourselves thickly immersed in the kind of sonic esoterics that only the most adept of oneiromancers might be able to swallow and integrate into their mantic: waspish whispers, dulotic dirges, heathen hums. Galas' episcope is a dissenting, idolatrous projection in sound and vision, with 'Artemis' and 'Deliver Me' spanning red-robed, sectarian vocal operatics, not to mention their backing, low-noted, open piano chord strikes. The *eschaton* of the record is, of course, is its quintessential fifth star-point: 'Cris D'aveugle (Blind Man's Cry)', on which Galas, the occult visionary, profanes the lyrical votive candle wax with blasphemous talk of nailed eyes and desecrated caskets.

Review: Elliot Galvin is a leading figure in UK jazz with four solo albums that have topped year-end lists in respected media outlets. He is also a member of the Mercury-nominated Dinosaur and has collaborated with key jazz cats such as Shabaka Hutchings, Emma-Jean Thackray and Norma Winstone. Known for his improvisational prowess, his latest solo album taps into that skill once more and is an entirely improvised record that takes in quiet beauty like the opener, more theatric drama on 'Still Under Storms' and world jazz sounds on 'High & Wide'.

Review: We Have Dozens of Titles by Gastr Del Sol is a treasure trove for fans, offering a glimpse into the experimental post-rock pioneers' journey from their Bastro roots to their groundbreaking work as Gastr Del Sol. This collection, curated from their 1993-1998 recordings, shows their evolution into sonic explorers, pushing the boundaries of post-rock with influences from musique concrete and free improv. The unearthed CBC recording from Festival International de Musique Actuelle de Victoriaville in 1997 is a highlight, featuring ethereal versions of familiar tracks like 'The Seasons Reverse' and 'Blues Subtitled No Sense of Wonder.''The live rendition of "Onion Orange' is a revelation, with Jim O'Rourke's kosmische synth waves intertwining seamlessly with David Grubbs' intricate guitar work. Additionally, the inclusion of rarities like 'The Harp Factory On Lake Street' and tracks from various compilations adds depth to the collection. Each track, whether a live performance or a studio recording, has been meticulously mastered or remastered by O'Rourke, enhancing the listening experience. We Have Dozens of Titles not only fills in gaps in Gastr Del Sol's discography but also exemplifies their innovative approach to music-making.

Review: Australian vocalist and modern classical composer Lisa Gerrard presents Come Tenderness, a compilation inspired by the healing essence of water. Personally curated by Golden Globe winner Lisa herself, this album packs in ten of her most powerful tracks, all newly mastered, alongside the fresh track 'Whispers.' Each piece takes on renewed depth within this cohesive collection and the record is enriched by striking artwork from Nigel Grierson. Known for her collaborations, Come Tenderness features work with Daniel Johns, Astrid Williamson and Patrick Cassidy, all elevated by Lisa's ethereal vocals from a career that spans from her beginnings with Dead Can Dance to recent scores for Dune.

Review: There are back stories, and then there's Chess of the Wind. Sheila Gharachedaghi's remarkable movie soundtrack wouldn't be here today if it weren't for the fact the movie itself - a 1976, pre-revolutionary Iranian queer-gothic-class-horror masterpiece - had been banned in its homeland and presumed lost forever, until a copy turned up in an antique shop. That was 2014, and six years later it was re-released, having benefited from restoration by the Martin Scorsese Film Foundation. A remarkable insight not just into a society long since lost, but its pitfalls and problems, to accompany this Gharachedaghi combines classical Persian instrumentation and atonal dissonance, traditional melodies and experimental moods for a score that's just as much of a landmark.

Review: Dark Entries returns with Remote Dreaming, the ambient masterpiece by The Ghostwriters aka Philadelphia duo Buchla master Charles Cohen and multi-instrumentalist Jeff Cain, with proceeds benefitting SOSA (Safe from Online Sex Abuse). Formed in 1971 as Anomali, the duo adopted their Ghostwriters moniker and blended improvisation with structured composition. Following their debut Objects in Mirrors Are Closer Than They Appear, they crafted Remote Dreaming over nine months across various studios. Cain played electric and acoustic pianos, the Juno 106, and the Mirage sampler, while Cohen used his Buchla 200 Series. This double LP has been freshly remastered and includes five additional tracks, four of which are previously unreleased.

Review: Glasbird is the project of British composer Harry Towell, owner of the ambient label Whitelabrecs. Beginning in 2018, he anonymously created A Sonic Expedition, an eight-album series inspired by remote locations like Greenland and Siberia. In 2024, Harry revealed his identity in an interview and then announced Fenscapes, an album inspired by the South Lincolnshire Fens near his village. These flat, marshy landscapes are rich in biodiversity and shaped his compositions. Harry explored local fen roads, observing wildlife and open vistas for inspiration and it all plays out in a bucolic, widescreen, immersive record of the highest quality.

Review: Vikingur olafsson's interpretations of Philip Glass's piano works have captivated audiences worldwide. This recording marked a pivotal moment in Olafsson's career, with the Icelandic pianist's perceptive and nuanced playing bringing a new dimension to Glass's minimalist compositions, capturing the composer's ability to transcend space and time. From the hypnotic repetitions of 'No. 20' to the ethereal beauty of 'No. 14', olafsson's performance is nothing short of mesmerising.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


Vikingur olafsson's interpretations of Philip Glass's piano works have captivated audiences worldwide. This recording marked a pivotal moment in olafsson's career, with the Icelandic pianist's perceptive and nuanced playing bringing a new dimension to Glass's minimalist compositions, capturing the composer's ability to transcend space and time. From the hypnotic repetitions of 'No. 20' to the ethereal beauty of 'No. 14', olafsson's performance is nothing short of mesmerising.

Review: GNOD, the ever-evolving psychedelic noise-rock collective, returns with Inner Fucking Peace, a transformative collaboration with Portuguese vocalist MC Sissi. Known for constantly reinventing their sound, GNOD delivers an album that pushes new boundaries. Comprised of eight tracks for voice and electronics, this release merges experimental textures with Sissi's stream-of-consciousness Portuguese lyrics. The album showcases a broad sonic palette, from the minimalist tuned percussion of 'Stop' to the ominous electronics and crashing industrial drums on 'Get Out', reminiscent of GNOD's touring partners Harrga. Tracks like 'Tea & Eggs' delve into reggaeton-infused minimal synth, while 'Flute Theme' centers around chopped and screwed woodwind arrangements. MC Sissi's contributions, often improvised, bring an emotional depth to the album. Her irate vocals, mournful crooning and playful autotune add a new dimension to GNOD's industrial beats and spaced-out synths. With tracks ranging from hypnotic hand drum workouts to the gloom-laden 'Cannela Crematoria', Inner Fucking Peace marks another bold, unpredictable chapter in GNOD's extensive discography, leaving fans eager for what's next.

Review: To say there's a meditative quality to Golem Mecanique's third album would be like saying air is something we breathe. The nom de plume of French multi-instrumental Karen Jebane, the album title directly quotes the final comments made by Pier Paolo Pasolini in his last ever interview, given just days before his body was found on an Italian beach after being brutally murdered. "We are all in danger", he quipped. From what, or who, we are still trying to figure out, 50 years on. Siamo Tutti In Pericolo doesn't look to answer the great mystery of what happened to the great filmmaker and auteur. But it does look to feelings of tension, quiet unease, and opaque mystery for its incredibly atmospheric tomes. This is deep dive stuff, reliant on a combination of refrained notes, echoes, and sombre, spiritual voices inviting us to push through into some other state of consciousness. Whether that will shed any light on anything is, of course, the real question we need to answer.

Review: This is the debut solo album by Italian-born, London-based composer, bassist and vocalist Ruth Goller. It was originally released in 2021 on Bex Burch's Vula Viel Records but quickly sold out with its detuned bass harmonics and dense vocal arrangements. Skylla introduced a sound both otherworldly and unplaceable and Goller's reputation soared as a result. That led to the critically acclaimed 2024 album Skyllumina on International Anthem while Skylla remains the genesis of her distinct style as it evokes the experimental energy of 1980s Downtown NYC or a Bjork-adjacent Icelandic project.

Review: Chilly Gonzales' Gonzo offers an autobiographical dive into his rich, storied and accomplished career. While previous works showcased his musical depth, Gonzo explores some intriguing spoken-word sections and lyrics which are self-aggrandising and self-indulgent but always with a knowing irony. The opening track features Gonzales referring to himself as "Chilly G" in a way that is playful and songs like 'Surfing the Crowd' blend awkward nerd rap and poetry, while his witty lyrics add weight to the strong instrumental foundation. Packed with bright moments, Gonzales is in fine form here with a new type of work that is as interesting as his many other albums.

Review: The Sherlock Holmes: Granada TV Series (Soundtrack) is being celebrated with a 40th Anniversary DigiMIX Edition, available on vinyl from Jay UK. This release offers fans a beautifully remastered experience of the iconic music that underscored Jeremy Brett's portrayal of the legendary detective. The score, rich with period-appropriate orchestration, enhances the atmospheric and suspenseful tone of the series, making it an essential companion to the on-screen action. The vinyl pressing promises superior sound quality, capturing every nuance of the original compositions. This special edition is not just a nostalgic trip for long-time fans but also a great introduction for newcomers to the series' aural landscape. The packaging itself is a collector's delight, offering a mix of historical insights and stunning artwork. Overall, this 40th Anniversary edition revitalises the classic soundtrack, making it ideal for fans of both Sherlock Holmes and exceptional television music.

Review: Evgeny’s work on this release marks an exploration into the intersection of minimalist composition and cinematic storytelling, blending the intimacy of personal experiences with sweeping sonic landscapes. Living amidst nature, his creative process draws deeply from his surroundings, with each track inspired by a narrative of quiet, evolving moments. Adding trumpet to his usual mix of orchestral and electronic textures, Evgeny continues to refine his sound, maintaining the evocative qualities that first gained him attention. His subtle use of brass on pieces like ‘Hunter in Love’ adds emotional depth, while shorter tracks like ‘Prologue’ and ‘Epilogue’ exhibit his ability to encapsulate entire stories in brief yet powerful bursts of melody. With these compositions, Evgeny invites listeners into a world where stillness and fleeting beauty reign, offering a glimpse into the delicate balance between nature and music.

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: Polish producer, multi-faced musician and multi-instrumental maestro Albert Karch knows his way around the sound engineer's desk. So much his finesse is unmistakeable, with a number of standout records already behind him. For example, the 2019 stunner, Celestially Light, created in collaboration with Japanese folk singer and songwriter Ichiko Aoba, Here, he delivers another exceptional joint project, teaming up with Irish ambient icon Gareth Quinn Redmond, himself no stranger to the WRWTFWW label, for a sublime outing of precise strings and pianos. A slow, meandering journey into melodic immersion which captivates and lulls, it moves between moments of sparse quiet, electronic experimentation, and more complex and full sounding arrangements in a way that holds the attention until the very last. A thing of patient beauty that deserves to be in your shopping basket.

Review: The reissue of Moltitudine in labirinto, originally released in 2003, is a profound sonic exploration by ambient pioneer Gigi Masin and electronic artist Giuseppe Caprioli. This album merges Masin's signature subtle minimalism with Caprioli's raw electronic textures, crafting an intense and introspective experience. Moltitudine in labirinto draws listeners into a maze of sound that evokes hidden corners of the psyche, with low-frequency drones and looping motifs guiding the journey. Across nine movements, Masin and Caprioli create a cinematic symphony that feels simultaneously vast and deeply personal, channeling a 'harmony of the spheres' through restrained yet emotionally powerful soundscapes. The intricate structure and fluidity reflect a complex inner world, making each listening experience unique and meditative. For long-time fans, this vinyl reissue is a welcome revival of a work that remains a cornerstone of ambient and electronic music. Moltitudine in labirinto stands as both a historical document and a timeless exploration of ambient's expressive potential, an artful encounter of melodic finesse and electronic depth that feels as relevant and poignant today as it did upon its original release.

Review: This EP weaves a labyrinth of sound, where the absence of clear genre boundaries is the only constant. The opener leads with ambient pulses, before shifting into the hypnotic, bass-heavy swells of 'Infrasound Loop,' as if crossing into a parallel dimension. As it unravels, 'Submerged Reactions' builds a wave of evolving textures, quietly oscillating between glitchy abstractions and weighty drones. Throughout, the artists' mastery of subtle, complex layers remains apparent, each track a gradual immersion into its own sonic world. On clear vinyl, it's an intricate, immersive listen-complex yet fluid, intricate yet accessible, making it easy to lose yourself in the flow.

Review: Ben Salisbury and Geoff Barrow's soundtrack for the 2024 thriller drama Civil War is a triumph of atmospheric soundscaping. Known for their work on Ex Machina, the duo brings their signature touch to this film, blending ambient synths with subtle guitar to create an immersive auditory experience. The score, perfectly complements the film's intense narrative and striking visuals. Tracks like 'Body Pit' deliver a haunting, dissonant edge, while 'Flashback,' 'Aftermath,' and 'Moving Out' offer a poignant, minimalist theme that subtly underscores the emotional journey of the characters. The music's simplicity and repetitive motifs evoke a powerful sense of place and mood, making it an essential companion to the film's story. Now available on vinyl for the first time, this score is for fans of the innovative film music and those who appreciate Salisbury and Barrow's evocative style.

Review: "One might thus regard the Welsh rarebit as a Machine in which a process is applied to the conditioning and perception of the world of bread and cheese." Suffice to say, John White might not have had the same ideas about what constitutes Machine Music back in 1976 as you do today. This is also the first time we've ever managed to get a reference to Welsh rarebit into the first line of writing about a record, so everyone is learning something today. "The Machines" White refers to are the individual tracks themselves, all recorded between 1967 and 1972 and all comprising different combinations of a thing. Six pairs of "bass melody instruments" made 'Autumn Countdown Machine', different permutations of "the articulations 'ging, gang, gong, gung, ho!'" comprise 'Jews Harp Machine'. And 'Son of Gothic Chord' is crafted from the sequential chord progression of four keyboard players, spanning an octave. Conceptual experimental and wildly imaginative stuff on the borderline of electronica, abstract, mathematical and something otherworldly.