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"The organ dates back to 1790 and was made by Venanzo Fedeli, who came from a prestigious family of organ builders. This particular organ is tuned in the ancient way at 430 Hz. Tuning relies on pure thirds that aim to create dissonances within the instrument itself.

Since the organ is an instrument modeled according to the principles of nature, the intonation of the pipes was performed according to an incompletely equal system that reflects the natural intonation based on mathematical ratios.

This produces a purer sound for the thirds but slightly harsher and more difficult to listen to. The hardness of the intervals of the organ is a metaphor for the hostile climate that prevails in the Potenza valley during winter and autumn.

The sound of the organ with the register of the flute returns a particularly sweet and penetrating sound but, at the same time, a very complex timbre with intricate harmonic texture, given the numerous fluctuations and beats. The warm tones of the organ reflect the good and welcoming sould of the people who inhabit these lands. The absence of dynamics inside the instrument allows the listener to focus and understand the harmonic texture and timbral differences between the various notes more clearly.

Trombone and trumpet played by Matteo Paggi on track 2 and 3 were recorded during a hot summer day at Elefante Bianco Studio in Rome by Matteo Scarchilli. Sax, effects and noises in track 6 played by Giulio De Asmundis and Pietro Rianna were recorded in Fauna53 studio.

Many thanks goes to Marco and Giuseppe for making this happen. Thanks Federico, Sami, Marisa, Romeo and everyone involved in this project. You know who you are."

Mastered by Alessandro Caldarola. Photos and color grading by Filippo Corsi. Graphic project and design by Flavio Mancini. Vinyl pressed by AFG Record Manufacturing.

Prolific Georgian sound artist and composer Natalie Beridze (fka TBA) returns to Room40 with an elegant set
of uncanny vocal treatments, smudging artificial cries into endless, frozen echoes.
When we last spotted her on Room40, Beridze collected up 14 years of unreleased tracks on the brilliant
‘Of Which One Knows’, showing her understanding of ambient chamber music. ‘If We Could Hear’ is a more
recent suite that centers its energy around vocals, but those voices are probably not real. And for an artist
so notorious for her command of song forms, it’s a bold move to take such a different approach. Honestly, it’s
hard to tell that the vocals are synthesized, even; the first time we played ‘If We Could Hear’, we would have
sworn it was Beridze singing. But focus a little closer and the cracks appear. On the extended ‘Who hears it
all’, the sound artist rubberizes a virtual choir, prodding it and pulling it to accentuate the uncanny qualities.
Freezing phrases in time and granulating them so they become gusty pads, Beridze provides an unstable,
anxious ambience, and when she disrupts the relative calm with tape-saturated screams, it’s genuinely
unnerving.
‘Who wakes the dawn’ is a little less bone-rattling, but no less enigmatic. This time an operatic solo voice
leads, sometimes sounding painfully human, before Beridze uses discreet tells to remind us we’re listening
to a synthesizer. Each track uses a similar sonic palette but appears to approach a different musical form:
‘Who whispers to hysteria’ sounds like AI church music, and ‘Who dwells in possibility’ is a Michael Nyman
opera conducted by robots. It’s disquieting material that provides us with plenty of food for thought. Certainly
worth a look if you’ve exhausted Lee Gamble’s ‘Models’ already.

New out on Feral Child is a super limited 7” EP from Italian Kosmische | Library artist Alessio Bosco, under his 30 Door KEY moniker. A wonderful 5 trk 45 heavy on Hauntology vibes, samples, nods to minimal electronica and kosmische. With one foot firmly within the “long lost ‘70s supernatural TV themes” camp, the record is superbly and consistently fresh and ambitious- and comes hugely recommended to devotees of all the above, Trunk records heads and minimal synth, electronica nuts. It looks as cool as it sounds too; screened black board sleeves, with inserts galore and hand numbered to 187 copies on black wax.

Tropicantesimo is an extended musical ritual which takes shape through the celebration of sound and dance. Originally born as a regular party at the Fanfulla club in Rome, Tropicantesimo gradually transformed into a collective listening experience which eventually found place at Pescheria the group's official home and studio. Slowly the collective animated by djs Hugo Sanchez, Lola Kola, Rocco Mago, Gabor and Egeeno, began to open up to impromptu jams and collaborations with musicians and djs of various backgrounds. The rhythms are incessant, the BPM is slow and hypnotic. Voices flow between songs, messages and pure sound. The music is kneaded organically to release energy. All this can be found through the extensive production work based on tons of recordings collected over the years. Tropicantesimo Session 3 is the third in a series of three EPs that anticipate the release of the album "Gitania". Like in the previous two chapters here you have three songs recorded and mixed at Pescheria.

Created at the foot of Mount Taranaki, 'Hewn' is the sophomore release by Wellington, NZ based producer / musician Groeni. Representing a departure from one idea in order to rediscover and understand another, the record deals with the interactions of two sets of people, paralleling and contrasting them. Throughout the record, the lines become blurred - subjects merge and intertwine, adopting combined, often confused perspectives.

“There are links between the songs, things tie together and reappear at various points. Certain words, subjects and sounds are cut up and redistributed between the five songs.” - Alexander Green / Groeni

While retaining the melancholic / dark-pop quality of his previous EP, this record further explores UK bass music from a south west pacific perspective. Using elements of lo-fi mixed with clean production and resampling field recordings and digital synths through tape players and old microphones, Groeni creates an intimate and eery atmosphere that will draw in and mesmerize his listeners.

‘Hewn’ comes out worldwide on limited vinyl and limited handmade cassette edition (both including download code).

The vinyl single Love/hate brings together two sample collages on the theme of good and evil. Often evoked and sung about, but rarely in such concentrated, systematic form, these collages present the words Love and Hate in a variegated catalogue of articulations. Poirier’s miniature radio play is anything but misanthropic: never before has the message of hate been conveyed in such a wonderfully warm-hearted manner. The Love side features a track originally released by Jan Jelinek in 2005 on the Eastern Developments label under the long-forgotten pseudonym The Exposures.

Argentine modal master Acid Twilight’s third raga saga maps a dusty plain of tumbleweeds, circling vultures, and bleached bones, across which rides a nameless stranger: Shadow Wrangler. Inspired by visions of high noon dread and the textures of psychedelic twang, they turned westward, layering shakers, synths, spurs, and six-string navigations into 12 crooked canyon instrumentals.

Shades of spaghetti western, Spacemen 3, and outlaw country whisper in the wind, but ultimately AT’s mode is more silhouette than song, at the axis of campfire jam and commune improv. Loping and loose, windswept and waterless, blowing over the sand of trails long since vanished. Another smoke signal rises in the distance; another scorpion sunset begins to dim. The Wrangler rides on.

The album "Interstitial" is a document of a musical experiment, created in collaboration of the musicians Oh No Noh, Jenny Berger Myhre and F.S.Blumm.
The title refers to the process of the album's creation, to the letting go and filling of interstices, the temporally and spatially staggered collaborative composing, the accompanying addition and omission with the foresight to leave room for the ideas of others - without knowing how they would ultimately sound.
The three musicians layered individual elements from field recordings and improvisations into new units. The music developed in this way is a trance-like snapshot and spans wide arcs of ambient, sound art and soundscapes. Oh No Noh, Jenny Berger Myhre and F.S.Blumm each composed a piece, which served as the basis for the overlays of the other two musicians. Each of the three resulting pieces was processed, directed and shaped in its timbre and structure in different ways. The titles of the tracks describe the order of the overdubs (JBM Jenny Berger Myhre, FS Frank Schültge, MR Markus Rom).

Long serving veterans of the electronic scene Somatic Responses are back on Acroplane Recordings with Doomsday Conduit - their 4th LP on the Irish imprint. Always looking forward, the Healy brothers have crafted an album with two distinct identities, presented on either side of a limited edition cassette.

On Side A of this run of 100 tapes, the somewhat introspective opener Other Destinations breaks the ice to make way for the heavyweight material that the Welsh duo are known so well for. The aptly named Photon Barrage features frantic acid lines and punishing breaks, followed by the title track where pulsating bass lines dominate the neo-jungle landscape. Synth layers unfurl in the fast paced The Fault Inside Us, leading to a change of velocity in the form of Slewed Diffusion where the marching percussion is pierced by hyperspace drills.

The B side sees the Somatics exploring the acid drenched, electro occupied realm of their collective output. 2Hlec kicks off with morphing mechanical breaks. Imagined Darkness (Elektro Mix) follows with the sounds of machines engaged in mutual destruction. Process Layer is stripped back in comparison, almost hypnotic, eventually decomposing into a chorus of digital lamentations. SLec has one foot in a post-apocalyptic Detroit, with the other located somewhere off-world. Closing the LP out is the dark ambient ode to the void, Tec Cymru.

The mech-scape imagery for this release has been designed by Timothée Mathelin (www.futurorg.com) and features full colour on shell printing on both sides of the LP's blue cassette.

Mastering for this release is by Alex Lennon at Ashmus Mastering.

With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it’s a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives.

There is already plenty to know both artists by. Lorenzo Dada creates across multiple fields – a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he’s released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance.

Luciano Michelini’s history is yet richer. He may be best known, to many, for his piece “Frolic”, the theme to Larry David’s Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022’s “Crip Ya Enthusiasm”. But there’s much more to Michelini’s story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L’Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977).

In the eighties, Michelini and his wife Anna Gutling founded the Electronic Music Division studio and academy in Rome, which is where the majority of Lucifer was recorded. Dada reflects on the experience: “We never worked together before, so it was all new for both of us,” with Michelini adding, “I truly love this experience with my son. He’s a talented pianist and composer. I am not very familiar with electronic music nowadays, but we did it fluently.” There’s certainly a familial energy at play through Lucifer, and you can hear how Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada’s tendency toward minimalism, and Michelini’s composerly voice.

Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini’s lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini’s friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada’s kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that’s because Lucifer was designed that way, as a suite or a sonata of sorts.

And the title? Dada reflects, “Lucifer was an angel who decided not to be one anymore. The miracle of life is that we can decide what we want to be, even if we are born as angels or vice versa.” This feels somehow apposite: there’s certainly something of the transformative, and the transportive, in Lucifer, a unique family collaboration of rare poetry and sensitivity, where two generations meet in the modern crucible that is the electronic music studio.

Amy Douglas should need no introduction, having supplied song-writing and vocal duties for Horse Meat Disco, Róisín Murphy, Luke Solomon, Soul Clap, and worked with Joe Goddard on their Hard Feelings project, Here she teams up with Craig Bratley, who dusts off the analogue synths to produce something which clearly wears its influence on its sleeve, taking in elements of Balearic, Street Soul and early Sheffield Bleep. On the Ashigaru Dub, Craig explores these influences further, the result reminiscent of Mad Professors take on Massive Attack.

Eurybia is the second solo album by Italian artist Francesca Heart. The result of a compositional process that began in summer 2020.

The work is the product of a series of intimate imaginary projections and aural engagements with a number of geographical sites scattered across the Italian landscape. Places which have resonated with Francesca during various personal travels and pilgrimages, due to their extramundane and often even mystic significance. The most outstanding / iconic being the cloisters and gardens of San Gregorio Armeno’s monastery in Naples and the Nympheum of Villa Giulia in Rome.

Indeed the whole record seems to bring the listener constantly together with the overwhelming, tender presence of the surrounding environment. Seemingly permeated with a feeling of refreshing musky moistures or textured with soft, wet soil, Eurybia reminds us of walking barefoot near the lush architecture of some ancient, overflowing fountain or amidst the continuous flows of shallow rivers’ bedrocks informing the album with strong physical, sensory qualities. Myth, senses, and imagination become anchors of artistic and healing expression as well as forms of romantic escapism from an ever complex world.

On the whole, Eurybia’s seven tracks alternate dense enmeshment of sounds and melodies with sparse, forthright single-instrumental devotional hymns, working as a personal cartography of ephemeral audio monuments to human, transcendental, and mythographic landscapes. Influences connected by means of nuanced ascendance going from classical New Age music and Video Game soundtracks to digital phone ringtones. The fluttering arpeggios used as the main compositional device coalesce together into an experience of relaxing trance which is yet a glaring, audacious work.

Rome's Egisto Sopor has been making little waves with his releases for quite a while now. As Polysik, he’s put out music on Legowelt’s Strange Life Records, on 100% Silk label, and on Mike Paradinas' Planet Mu. As ‘TheAwayTeam’ he’s released a DVD ‘Relax & Sleep’ and a cd ‘Star Kinship’ on Japanese label Moamoo, and he's also one half of the low key video unit Aavv (whose work has graced many of the important releases of new lofi electronic movement). This time around he delivers another fine instalment to the Edizioni Mondo's kaleidoscopic catalogue. If you've been following Egisto Sopor's productions over the years, chances are you're already familiar with the visual, highly cinematic, quality of his works – it's music that don't evoke just emotions, it suggests landscapes, painting vivid pictures as it builds up. In the same way, Flora e Fauna tells the story of an extemporaneous, surreal walk in Rome. The 8-track album, organically navigates through imaginary urban and maritime scenarios, with an expansive sound palette that draws on deep and shimmering atmospheres, occasionally drifting from blissful textures and sub-aquatic, swirling moods to eerily quiet, suspended moments, often perfused by subtle field recordings of city life, wild animals and distant shores. Take a deep breath and soak away.

Omochi’s debut single, Devil is an amorphous urban lysergic bass-pop expulsion. A motorbike ride through late night Tokyo, headlights and neon ooze across wind battered eyeballs. A sudden lurch takes the ramp up to the overpass, revealing the electrified vista. With a dime bag of psychoactive tweaks and bleeps, a foraging bassline - a Billy Cobham on K. Dial-ups cry out to connect, once the signal catches, it's moved out of view, as the organ mourns the hint of dawn on the horizon.

A Happy Moment: percussive spasm, bass once again lurches, unfolding. Omochi’s lyrical push-me-pull-you phased out vocal, the drum machine falls down the stairs, while church organ goes secular, concentrating on the notes outside - mind your pews and Qs.

Omochi, (honorific “O” before mochi - show some fucking respect) in daily parlance is actually a rice cake, a dense glutinous product suited to many recipes, be they sweet or savoury. Stick one under the grill, watch it burst open, wrap it in crisp seaweed and dip it in soya - a healthy snack, and a staple around Japanese New Year. Like everything, Omochi also has its dark side - each year it kills off a small section of the aged community, the gluey bolus a hard act to swallow - the unwary can quickly choke to death.

So maybe Omochi's music is best to sample in small chunks initially? Could be too much for the uninitiated? A 7” might be a safer initial taste of what Omochi is going to do to your brain - there's an album on the way - could be time to stock up on soft furnishings.

Omochi is in fact Tadaki Matsunaga, of early 2000s Tokyo three piece Femini Flyers. The Feminis were Tadaki (bass), Sachie (vocals) and Koji (drums). Their 7” single “Like You See” / “Masterbed” was an early Ethbo release - the most requested track from Japan Blues’ Boiler Room Collections video, since it was first aired, way back in 2014. Since that recording, Tadaki has built, and been working in, his home studio. Devil and Happy Moment are a hint of the album that Omochi has ready. Grill-ready - wanna bite?

Mastered by Kuratani, pressed at the only independent record pressing plant in Japan: Toyo Kasei. Housed in psychoactive sleeve and label artwork by Mishumaro Nakamura.

With airpay support from Ben UFO, On The Wire (BBC),
Do!! You!!! (NTS) and Japan Blues (NTS).

Heinrich Dressel was an archaeologist, epigraphist and numismatist, creator of a table, still in use, for the cataloging of Roman amphorae. For over ten years, one of the founders of MinimalRome, Valerio Lombardozzi, has embraced the name of the German scholar, becoming both the guardian of a dense collection of sounds from the past and the creator of new brilliant electronic ones. Completion Of The Amphoras Table, originally released on cd by Legowelt's Strange Life Records, was the final chapter of the so-called 'Studium Amphorae Trilogy', a triptych of albums which tried to 'evoke' in notes not only the discoveries and the studies of Monte Testaccio's fragments made by the former pupil of Theodor Mommsen.
The first vinyl release of Completion Of The Amphoras Table, curated by Souterraine.org and Envlp_Imprint, fills not only a recording void, but also gives posterity a remarkable album to rediscover, worthy successor of Mons Testaceum (2007 ) and Escape From The Hill (2008),
which reconstructs one more time the ghostly atmosphere of a Rome at the dawn of the 20th century. Heinrich Dressel adopts the stylistic features of gloomy soundtracks and, above all, relies on a set of polyphonic synthesizers that, starting from the rare Elka Syntex, favor the composition of abstract textures, punctuated by some appropriate variations, and harmonies which, net of the
deep bass, make every single track even more magnetic.

close to NM