New releases last four weeks: Classical

Review: Berlin trio AUSKLANG are back with Kairos, a second superb album that builds on their last effort, 2020's Chronos, also on Past Inside the Present, 2020. It finds the trio of Fabian Koppri, Benjamin Sohn, and Simon Ansing play with concepts of time and entropy across eight movements that balance melodic post-rock and layered ambient soundscapes. It's a deceptively complex blend of glitching electronics, drums, bass and guitar with classically inspired orchestrations that makes for something as immersive and grand as it is beautiful. As the summer fades and autumn arrives, this richly rewarding album is sure to prove a great companion as we spend more time indoors.

Review: Something's Up! is a masterful compilation that features the eclectic brilliance of John Barry's film scores. Curated by Saint Etienne's Bob Stanley, this collection highlights Barry's transition from a British arranger to a pop icon, renowned for defining the sound of the Cold War spy movie era. Focusing on music from 1964 to 1967, this album features Barry's iconic work on James Bond classics like Goldfinger, Thunderball, and You Only Live Twice, cementing his influence on the spy genre. Beyond Bond, Barry's contributions to films such as The Ipcress File and The Quiller Memorandum exemplify his ability to blend tension with sophistication. The collection also includes less-celebrated but notable scores like those for King Rat, The Chase and Seance on a Wet Afternoon, reflecting Barry's diverse range and ability to craft memorable themes beyond the mainstream. Barry's music, characterised by its lush orchestration and emotive power, extended its reach from the silver screen to the vinyl, resonating with listeners even if they hadn't seen the films - and his exceptional talent and enduring legacy in film music is on full display here,

Review: David Boulter returns to Clay Pipe with St Ann's, an evocative tribute to the Nottingham council estate that shaped his early years. Since his Yarmouth LP in 2020 and Lovers Walk in 2021, Boulter has focused on soundtrack work, scoring films like Volkan Uce's Displaced and Gregorio Graziosi's Tinnitus. St Ann's chronicles Boulter's childhood, contrasting the harsh conditions of the old estate with the improved, vibrant new development. The album's subtle use of guitar, double bass, vibraphone, tenor recorder, and field recordings vividly recreates the atmosphere of crumbling Victorian streets and the optimism of the post-1960s renewal. Boulter's narrative delves into personal memories, painting a poignant picture of community transformation. His reflection on moving to a new house with modern amenities, while still attending an old Victorian school being demolished, adds depth to the story. The project was deeply influenced by Boulter's emotional experience of clearing out his family home at the end of 2022. St Ann's is more than a personal memoir; it's a celebration of inner-city renewal and the enduring spirit of community. This album resonates with nostalgia, capturing the key moments of Boulter's formative years.

Review: The cream of contemporary ambient dub, Civilistjavel! (Tomas Boden), is back on the scene with Brodfoda. Through twelve roman numerical movements titled I through XII, the initially anonymous artist makes a subtle affective turn here. Earlier commanding the interest of the now sadly felled Low Company trunk - one of the best seedlings of which has to be the FELT imprint - Brodfoda sacrifices Boden's earlier emphasis on dubiously emotive but still progressive dub pieces in favour of a deeper mood-disclosure; a more expansive, but still demure, dozen tracks of grained-out audio-sepias and cathartic vocal swells, which creep up on the listener like latent realisations, as though they were always there somewhere in the mix-murk. The vocal contributions, this time from Mayssa Jallad and Laila Sakini, as ever lie among the most welcome contributions to Civilist's output, with 'IX' portraying an especially towering sense of depth, awestruck palpation.

Review: From the moment you hit play on 'A New Threat Is Born', the first few minutes on this soundtrack to the acclaimed video game, Resident Evil 3, you could easily close your eyes and feel like you're back sat in front of a TV playing the story through. If you're unfamiliar with the franchise, let's just say it (re)wrote the book on survival horror, and a big part of this was in the scores used to accompany the on-screen tension. Less focused on specific theme tunes and tracks, over time the emphasis has increasingly fallen on building atmosphere and setting up jump scares for unassuming players. On a record, that sounds like a combination of fast moving and quickly developing instrumental movements and intimidating sound effects. Perhaps not the dinner party soundtrack you were looking for, nevertheless it makes a big impact.

Review: Maurizio Pollini's new release marks his 70th birthday with a collection of Chopin's works, including the 24 Preludes Op. 28, the two Op. 27 Nocturnes, and the Second Scherzo. Notably, the inclusion of the four Op. 30 Mazurkas, previously absent from Pollini's discography, unveils an unexpected affinity for this genre. The Mazurkas are particularly revealing: Pollini's interpretation of the D-flat No. 3 exhibits dynamic accents and rhythmic vitality, while his voicings in No. 4's left-hand chords reflect a keen imaginative touch. Such elements suggest a promising future for a more extensive Mazurka exploration in Pollini's future recordings. The decision to revisit the Op. 27 Nocturnes, previously recorded in 2005, may seem puzzling. The earlier rendition of the D-flat major Nocturne offers a more fluid right-hand melody compared to the newer, stiffer version. Conversely, the C-sharp minor Nocturne benefits from a more defined presentation of its left-hand ostinatos in the new recording. The Second Scherzo, now nearly a minute shorter than its 1990 counterpart, is more compact and precise, with pronounced dynamic contrasts enhancing the outer sections. However, the Trio's leggiero passagework, once vibrant, now appears more generalised, possibly due to the recording's resonant ambience at the Herkulessaal in Munich. Pollini's latest Preludes suggest a more austere interpretation than his acclaimed 1974 recording. While the earlier Preludes feature varied textures and nuanced articulations, the new versions reveal a less flexible approach, with notable differences in the handling of arpeggios and rhythmic accents. Nevertheless, the new Nos. 13 and 15 stand out for their robust left-hand presence and vibrant tempos. The final Prelude's resonant D-naturals, sustained with pedal, contrast with the earlier version's clarity, highlighting Pollini's willingness to explore different interpretative avenues. Although this recording presents compelling elements, Pollini's 1974 Chopin Preludes remain a more consistent experience overall. Yet, this release demonstrates Pollini's commitment to continual artistic evolution, refusing to rest on past achievements as he enters his eighth decade

Review: Clark must be ranked among the most innovative, forward-thinking and shape-shifting music producers in the world today. At times ferociously intense, in other moments serenely beautiful, here he turns his abundant talent to Naqqash Khalid's award-winning debut feature film, 'In Camera', and the results are every bit as sophisticated and mesmerising as we might hope. Stop-you-dead synth overtures like 'Running Dreams' dissipate into otherworldly covers of The Carpenters and Sonic Youth's 'Superstar', the heartbroken alt-pop of 'Green Blood' and its compatriot, 'Blue Blood'. It's a stunning piece of work that showcases the refined talents of a studio behemoth, fitting in perfectly next to recent artist albums Playground In A Lake and Sus Dog. "I knew from the outset I wanted to work with an artist and have the soundtrack not be something that acts in support of the film," Khalid is quoted in the release notes here. Mission accomplished.

Review: Erland Cooper's latest album, Carve the Runes Then Be Content With Silence, is a unique and innovative project. The three-movement composition for solo violin and string ensemble commemorates the centenary of Orkney poet George Mackay Brown. Inspired by natural landscapes, the work reflects on themes of time, hope, community, and patience. The recording of the composition was made on 14 inch magnetic tape, with the digital files then permanently deleted. The tape has been planted to be "recomposed" by the earth, to be exhumed and released in three years' time. Cooper's decision to let the composition evolve naturally and be discovered later reflects a deeper appreciation for the passage of time and the process of creation. This project not only celebrates a significant milestone but also challenges the conventional approach to releasing music, making it a truly remarkable and thought-provoking endeavour.

Review: Carine Coppola broke the mold with the score to the first Godfather movie, perfectly encapsulating a film that's as much about pitting old world - or, at least, old ways - against new as it is mafioso wresting for control and the hierarchical organisation of the Cosa Nostra clans. The Godfather Part III was released almost 20 years after that inaugural landmark, and to say times had changed by then would be an understatement. Maligned at the time and rightly remembered as the weakest in the epic trilogy, this isn't to say that parte tre is a rubbish flick, but more emphasising how high the benchmark was set by the preceding pair. It also arrived into a far faster era for movie gangsters, but remained committed to the slow, thoughtful, almost sophisticated approach to getting dirty deeds done. The music reflects this, offering plenty of references to the earlier scores, and refusing to entertain modern sounds, while still cementing its own identity.

Review: The Cosmic Tones Research Trio's All Is Sound is a profound blend of healing music rooted in gospel, blues, and spiritual jazz. Led by alto saxophonist Roman Norfleet, alongside cellist Harlan Silverman and pianist Kennedy Verrett, the trio creates an immersive soundscape perfect for meditation and mindfulness. Each track unfolds with a peaceful, meditative quality, gently building layers of sound through the interplay of sax, cello, piano, flutes and even didgeridoo. The album's melodies are delicate yet rich, reminiscent of the spiritual jazz of Sun Ra, Alice Coltrane, and Pharoah Sanders. Tracks like 'Creation' and 'Black Rest' invite deep introspection, while 'Peace Prayer' and 'Nada Brahma' echo with a restorative, almost mystical atmosphere. With its slow-building compositions and organic instrumentation, All Is Sound offers a unique, serene listening experience a d a powerful healing force. The trio's commitment to creating purposeful, mindful music shines through, making this a great example of work in the contemporary spiritual jazz genre.

Review: Oxide Manifesto serves as an audio sketchbook, exploring a unique approach to music creation by blending obsolete machines with experimental composition. The album embraces the imperfections of magnetic tape, such as wow, flutter, wonky pitch, and tape hiss and so, explains the artist, makes the recording equipment as central to the process as the music itself. The method involved quickly composing ideas, deconstructing them onto tape loops, and performing with reel-to-reel machines and effects. The whole thing was recorded in a tiny, temperature-fluctuating studio on Hornsey Road and the final album reflects a collection of sound-art experiments that are structured and fragmented and capture the raw creativity of what was a hugely hands-on process.

Review: The Head As Form'd In The Crier's Choir is Sarah Davachi's latest album, and her sixth or seventh for her very own Late Music. Inspired by the tragic myth of Orpheus and Eurydice, this new record is a vanishingly passionate septet of songs, a suite of mystifying reverence bound in the otherwise kept-simple arrangements of organs, strings, trombones, woodwinds, voices and electronics. A doomy liturgical feeling is instantly evoked here, with peacefully pure yet mournful drones sense-dashingly likened to the pealing of a bell, as though the sonorous resonances thus emitted had been stretched out in a worthy but failed attempt to stop time. A lengthy theoretical tract accompanies the release, minutely detailing the various specialist pipe organs used on the record, as well as their formal relevance to the record's theme as impurely meantoned instruments, as well as their historic, occult provenance.

Review: Sarah Davachi's latest record, The Head As Form'd In The Crier's Choir, is a septet of compositions, written between 2022 and 2024, that form a conceptual suite and album-length observation of the mental dances that we construct to understand acts of passage. Transient in both name and sound, this stunning, droning set of compositions will work as timely quellers for those currently in a migratory state of mind, literally and/or figuratively. Often basking in the impure associations evoked by pure harmony and tonality, all the pieces are slow-moving, suggesting a lowered existential frame rate. Drawing inspiration from the classical myth of Orpheus and Eurydice - in which Orpheus ventures into Hades while living, dodging the usual psychopompic rites applied to those who have actually died, in a wager with the gods to resurrect Eurydice, his love - Davachi's record is a worthy intertext, bringing stygian drones of egress - woodwinds and electronic stretchings most notably - to the theme.

Review: Healing Sound Propagandist releases Julien Demoulin's Ephemeral Maps, a beautifully fitting follow-up to Dreams In Digital Dust. This album continues the journey through the same lush soundscapes that captivated listeners on Demoulin's previous work, but this time subverts them to produce a, well, less dusty, more aerial take. The LP, released on cassette and digital only, sounds like it took a long time to make, and as though its drones were being overturned through and out of ancient soils. From the jump of 'Land Before Memory', we're thrust into what sounds like a contradictorily landed but birds-eye-view of an epochal realm, with an atonal drone heard pocketed below a set of slow-release rustlings and leaven fadings-away. Some moments, like 'Through The Drowned City', revel in high pitch and clarity, while chromaticism and tension thrive elsewhere on moments such as '27th Day (Challenger Deep)'. Intended as a challenge to the idea of the anthropocene, this is somewhat abstracting, depersonalising ambient record, so it's not for the faint of heart, but it doesn't come without a deep reserve of human sentiment either.

Review: Last Epoch is an action role playing game that's been picking up some serious commendations since it arrived early 2024. For one thing, critics have lauded the open nature of its 'skill trees', which effectively means players can create characters with an entirely bespoke balance of talents and abilities, surpassing the vast majority of other titles in this genre. Others have praised the look of the title, with vivid detailing helping set the scene of this time travelling adventure. But what about the music? Well, for one thing Eric Desiderio has certainly embraced the atmosphere and the idea of Last Epoch. These tunes are epic, grand, transportive, ancient and futuristic all at the same time. It's an odyssey in itself, and one that really does elevate the overall playing experience. For some, that might be just enough to own a standalone copy of the score, too.

Review: Demon Records honors Tom Baker's iconic portrayal of the Time Lord with a new 4xCD set, nearly five decades after his unforgettable debut on 28 December 1974. The Tom Baker Collection offers fans a blend of classic audio dramas, rare interviews, and readings by Baker himself, capturing him in the iconic role as Fourth Doctor. The collection includes Genesis of the Daleks, the original 1979 album version of the much-loved TV serial, and Doctor Who and the Pescatons, the exclusive audio drama from 1976. Also featured is Exploration Earth: The Time Machine, a special production for BBC Schools Radio in 1976, along with The State of Decay, an audiobook reading from 1982, available on CD for the first time. The set is rounded out by Tom Baker in His Own Words, a compilation of BBC radio interviews from the 1970s and 1980s. Packaged in a deluxe gatefold cover with striking Fourth Doctor artwork, the set includes four CDs in individual sleeves, along with a full-color booklet detailing cast, credits, and track listings. This collection is an essential tribute to one of Doctor Who's most beloved eras.