Back catalogue: Modern Classical

Review: Mute Records presents a newly reissued and remastered edition of Laibach's classic 1987 album, Opus Dei. This time coming to a black vinyl and CD box set, the album is renowned for its bringing Laibach to a wide audience; without the album's early successes, this pioneering industrial, neo-classical rock outfit might've never broken from their native Slovenia. With their unique interpretations of Opus' 'Live is Life' and Queen's 'One Vision' and produced by Rico Conning, the album still bears the torch of one of Mute's most eclectic yet captivating albums.

Review: An overview of Laraaji's earliest works, Glimpses of Infinity gathers selections from his 1978 debut Celestial Vibration, and six additional studio sessions from the era. This is a condensed version of the 2023's sold out 4xLP Boxset, perhaps among which the most notable track has been 'Segue To Infinity', the infamous 20-minute pan-piper (we intend the double meaning of the term 'pan', as its many wind instruments stretch out in a beautifully prostrated fashion, extending over both the entire stereo field and the entire length of the song). And though Laraaji's many multi-instrumental amusements are ambitious, the record never falls afoul of grandiosity or dilettantism, retaining that hard-to-achieve mix of humility and commitment to the sound, all throughout; our favourite 'glimpse' is the peek into his 'Koto' session, for which the infamous Japanese string instrument is put to work with total dexterity. Full of discovery and wonderment, Glimpses of Infinity is a miraculous chronicle of new age's most fabled artist.

Review: Austria band Lehnen embarks on something of a new beginning here as they unveil a new four-track work, Negative Space: Gradients, which comes on cassette via Past Inside The Present. This project was initially thought of as a four-song experiment and one that continues where the last album left off. That is to say with lots of lush synth layers and ambient textures of its parent album but all turned up a notch. It will still be familiar to fans but while the last album Negative Space funnelled post hardcore and post rock energy, this one joins things together and the result is a work full of healing compositions full of hope.

Review: Emilie Levienaise-Farrouch's All of Us Strangers soundtrack is a superb trip through plenty of highly atmospheric landscapes that blend delicate piano melodies with haunting electronic textures. Each track paints a vivid portrait, evoking a sense of introspection and emotional depth that only heightens the scenes in the movie. Levienaise-Farrouch's narrative captivates and guides the audience through a range of moods from tranquil introspection to moments of poignant intensity, and as such this soundtrack showcases her exceptional talent for composition and storytelling.

Review: Klara Lewis' latest release is a poignant tribute to her late friend, mentor, and former label head, Peter Rehberg. The EP opens with 'Thankful,' a track that directly acknowledges Rehberg's influential work under his PITA moniker, specifically the iconic 'Track 3'. This original piece has profoundly shaped the experimental electronic landscape, its influence still resonating across contemporary electronic music. Lewis' rendition offers a heartfelt homage with a cascading melody that transitions into an immersive digital landscape, evoking both reverence and a sense of finality. The track's abrupt ending mirrors the suddenness of Rehberg's passing, enhancing its emotional depth. Having first emerged with Ett on Editions Mego at 21, Lewis, now 31, presents Thankful as a mature and emotional milestone in her career. 'Ukulele 1' stands as another intimate tribute, featuring the titular instrument looping gently and capturing the essence of its recording environment. This track emphasises the human touch amidst an era increasingly dominated by mechanical precision. 'Top,' named after one of Rehberg's favourite expressions, offers a brief but intense burst of mutant acid techno, capturing the essence of Rehberg's eclectic taste. Following this is '4U,' a track that forgoes words for pure sonic expression, reflecting Rehberg's influence in its profound simplicity. The EP concludes with 'Ukulele 2,' which revisits the themes of 'Thankful,' reinterpreting the earlier melody with digital flourishes. Thankful stands as a meticulously crafted tribute, embodying the spirit and innovation of Peter Rehberg and the original MEGO label.

Review: A Strangely Isolated Place continues to be a vital source of intrigue in the broader sense of what ambient music can be in the modern era. Here they present the debut album from Liz Qun Wong, a classically-trained cellist and composer who has been releasing and recording as Lihla for nigh-on ten years. As you might well imagine, there's a strong electro-acoustic bed to the sound on this mesmerising full-length, but one of the real distinctions with this album is Wong's storytelling, which gently rests atop the nuanced, textural compositions and guides us into some intriguing, cinematic places.

Review: Heavyweight ambient partnerships don't come much bigger than Lawrence English and Loscil, who pool their considerable resources into this majestic album for Kranky. If you're familiar with Loscil's shimmering, sweetly synthetic sound, you'll be very happy with the grandiose blooms of undulating colour bleeding out of 'Cyan', while English's affinity for subtlety comes to the fore on 'Aqua'. The approach for the album was centred around a century-old pipe organ at the Old Museum in Brisbane, but of course there's been a lot of work done on the original sound sources. There's no great tussle between the respective artists - their sound practices merge beautifully, rendering an essential addition to both of their considerable catalogues.

Review: Brian Williams' Lustmord project has existed in different forms for over 40 years, though it's only in the last couple of decades - when it has become a vehicle for his solo work - that new musical missives have become a regular occurrence. On Much Unseen Is Also Here, the former industrial musician turned soundtrack composer once again showcases his mastery of pitch-black sonics, creepy soundscapes and horror-inspired dark ambient workouts. As you'd expect, the sound design is incredible - listen on good quality headphones for the ultimate listening experience - while Williams' penchant for throwing in suspenseful chords, billowing aural textures and unsettling vocalisations adds further layers of paganistic mystery.