Back catalogue: Modern Classical

Review: An about-face is a complete and utter change in direction; it's this sonic capriciousness that the producer, whose namesake is drawn from the word, finds solace in, and wishes to welcome. Following a period of exploring theta wave and hemi-sync techniques - don't ask us, we're still not sure - the artist also known as Le Sculpteur d'Esprit (the Mind Sculptor) is said to have touched down in this dimension with the ambition to transport listeners through at least four portals of altered consciousness; each of these are intended as thought-worlds in which interactive sculptures, evoked through sound alone, are revealed in the listeners' collective mind. From opener 'Le Tournesol (The Sunflower)' to closer 'L'il De L'elephant ('The Elephant Eye'), these are thoroughly well-sound-designed sonic lemni-scapes, bringing complex sets of progressive builds and electro-spirituals to an awestruck form; immaculately experimental, the record would sound well at home on an Invisible Inc. or Cascine tape.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


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: Berlin-based composer Andrea Burelli's new album Sonic Mystics for Poems (of Life and Death of a Phoenix) is an autobiographical work that draws on the vulnerability of the human existence. It takes the form of 15 pieces written for polyphonic voices, strings, and synthesizers and arrives on super limited, hand-numbered 180 g vinyl. The pieces are all intricately constructed with rich harmonic structures taking inspiration from experimental electronica, classical from both the West and the Middle East, plus folk from across all of Europe. It's a beautiful, confessional and thought-provoking work that makes a devastating impact despite its delicate artistry.

Review: Coral Morphologic's brilliant debut album guided us through space but with their sophomore LP, if feels much more like we're arriving at a final destinationia vibrant, water-filled world brimming with life. The rhythms are lithe and heavily atmospheric with distant pads, sci-fi motifs and sense of the unknown ever-present. It's brilliantly evocative and cinematic from front to back. To sweeten the deal even further, the album comes with a foldout poster with the fantastically dreamy and otherworldly album art by Robert Beatty

Review: Renowned composer Simon Fisher Turner's new album Instability of the Signal comes on limited edition black vinyl with extensive sleeve notes. It was produced with Francine Perry and across 13 tracks it delves into sound exploration inspired by Breda Beban, Hrvoje Horvatic, and poet Harold Pinter, whose works appear on the record. The artist integrates four elements: slivers, sounds, strings, and Singing where 'slivers" are brief audio snippets from Salford Electronics reimagined into track foundations. The album also features string arrangements by the Elysian Collective and overall the record reflects Fisher Turner's rich career as it blends experience with introspective soundscapes and personal expression.

Review: The soundtrack to Graham Eatough's stage adaptation of David Keenan's novel, This Is Memorial Device, composed by Stephen Pastel - of Kurt Cobain faves The Pastels fame - and Gavin Thomson, offers a compelling third iteration of the book's myth. Fusing reworked home recordings from the era with expanded versions of music originally scored for the theatre production, the album captures the essence of Glasgow's post-punk scene from 1978 to 1986. Tracks like 'Introduction To Why I Did It' and 'We Have Sex' evoke a sense of youthful hope and creativity, reflecting the play's exploration of art, music, and romance in small-town Scotland. Directed by Julian House, the video for 'We Have Sex' adds a vibrant visual dimension to the DIY aesthetic of the era. This Is Memorial Device: Music from the Stage Play not only complements the book and stage adaptation but also stands on its own torch for the spirit of post-punk and the power of belief in the transformative potential of art.

Review: This new one from our favourite US ambient outlet takes the form of a selection of long-form compositions from artists who are close to the label. As such it's a perfect reflection of its signature sound - deeply immersive soundscapes, slowly shifting synths and meditative moods made with a mix of hardware tools, guitars, pedals and even baritone vocals. It's named after a Norwegian term for warmth and intimacy, which certainly plays out from the evolving loops of 'A Whisper' to the textured melancholy of 'Canaan' and the reverberant drift of 'Coronation Ring'.

Review: The first in a series of solo piano compilations curated by section1 designed to celebrate the beauty and versatility of piano music. Blending contemporary classical, experimental and ambient styles, these pieces highlight raw emotions like joy, sadness, doubt and certainty. Artists were guided by two rules throughout the process: the piano was the primary instrument and no vocals. All 12 tracks are immersive and showcases the unique creative relationship each artist has with the piano while demonstrating how 88 keys can evoke drastically different moods. It works equally well for active or passive listening with calm and introspective results.