Back catalogue: Classical

Review: Named in honour of an experimental silent movie of the early 1920s, Polish duo Nanook of the North are a unique proposition: a collaboration between composer/violionist Stefan Wesolowski and electronic musician/guitarist Piotr Kalinski that defies easy categorization. Heide, the pair's second album, was recorded pretty much in the middle of nowhere, and its' musical blend of effects-laden ambient electronics, simmering strings and acoustic guitar motifs was reportedly inspired by "wildness and untamedness". It's a genuinely brilliant, ultra-atmospheric affair that uses repetition magnificently (a nod, we'd argue, to American minimalism) and benefits from guest contributions from mezzo-soprano Margarita Slepakova.

Review: Since its release way back in 1968, The Perfumed Garden has become a much-discussed cult classic. It's certainly a unique offering, with the whole thing built around Indian vocalist and poet Chitra Neogy's sultry and expressive spoken word interpretation of a centuries-old erotic text that has been likened to the better-known Karma-Sutra. Neogy's spoken word vocals, which often come drenched in reverb, are simply sublime, with some tracks consisting merely of these inspired readings. Where the album really comes alive, though, is when her words are given musical accompaniment - think sitar, tabla, strings and more - from an ensemble of experienced Indian musicians. An oddball gem that's well worth further investigation.

Review: Horror of the Hexham Heads by The Night Monitor is a haunting and immersive journey into the realms of the unexplained. Inspired by the eerie electronic experimentation of the 1970s and the enigmatic lore of the BBC Radiophonic Workshop, The Night Monitor skillfully weaves layers of analog synthesis and spectral ambience to create a spine-tingling sonic landscape. Listeners are invited to explore the murky depths of the paranormal saga surrounding the Hexham Heads, a pair of stone heads that mysteriously appeared in the town in 1971, with dissonant whispers and pulsating rhythms guiding them through the unknown. The result is a genuinely chilling experience that resonates with mystery and intrigue, capturing the essence of one of the weirdest supernatural news stories of the 1970s. Bob Fischer of Fortean Times aptly describes it as a "glorious celebration" of the unexplained.

Review: Nocturnal Emissions are an exploratory three piece led by Nigel Ayers. Given where they're coming from, near Stonehenge, their work is fittingly concerned with the relationship between humans and industrial materials and processes, stretching right back to Neolithic construction techniques, and the shroud of mystery that surrounds this barely-understood past. Simply put, everything here feels shrouded in ancient myth, but resolutely contemporary. On record, that sounds like a combination of serenity and bliss with drones, sirens, tension and steam. There's darkness here in deep, almost bottomless pits, but it's still anyone's guess as to whether they could exist - or would feel so vast - without the lighter elements at play, too. Weird, wonderful, and thoroughly ahead of its time when it first landed on more adventurous sound systems back in 1991.

Review: Singer, songwriter and author Ali Sethi had been entranced by Nicolas Jaar's music long before they began collaborating. He'd absorbed the sounds over a number of years, listening casually and taking in their subtleties in bars and rooftop parties across Lahore and London. "It felt familiar to me, that sense of adventure you have when you hear his music, like a tale that teases you and plays with your expectations as it unfolds," says Sethi. "In that sense it resembled the leisurely improvised ghazals and qawwalis I grew up hearing in Pakistan." When the two were finally introduced by Indian visual artist Somnath Bhatt, a regular Jaar collaborator who also handled the album's artwork, Sethi was well prepared. He began to sketch out voice notes using loops snipped from Jaar's acclaimed 2020 album 'Telas', improvising vocalizations and seductive Urdu poems over Jaar's weightless, time-bending productions.