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"The stakes are high; if I mess up the last bar, the whole recording is ruined." As Dutch pianist Nicolas van Poucke acknowledges, there is an electricity in the room whenever the lathe is on. Direct-to-disc recording generates tension and release unlike other methods, not least in the final moments of a 20-minute solo piano recital. Described as "the young freethinker" of his generation, van Poucke relished the challenge. Having spent day one setting up to record works by Frédéric Chopin, van Poucke changed tack on day two to perform two Beethoven piano sonatas - Sonata No. 12 Opus 26 in A flat major, and Sonata No. 23 Opus 57 in f minor, also known as the "Appassionata".

Chris Korda is an internationally renowned multimedia artist, whose work spans thirty years and includes electronic music, digital and video art, performance and conceptual art, and culture jamming. Chris pioneered the use of complex polymeter in electronic dance music, and invented a unique Midi sequencer in order to explore polymeter composition techniques. Chris composes and performs music in a variety of genres, and has released many albums on labels such as Perlon, Mental Groove, and Gigolo Records. Chris also worked as a computer programmer for thirty-five years.

Her new album "Passion For Numbers" is one of the very few album in the world entirely composed in complex polymeter, meaning that each pieces of music uses several prime meters simultaneously. A unique way to compose music with a new generation of musical algorithmic, inside which Korda injects the DNA of neo classical, ambient and jazz music.

This refreshing album will please you whether you are into complex musical composition, experimental music or just seeking for a beautiful, emotional and accessible musical moment. This is a "In your hearts not the charts" album, as Irdial Discs once said.

Pleases read an extract of Chris Korda's letter about Passion For Numbers, included as insert in its entirety in this vinyl release:

This is an album of piano music, but I wrote it without a piano. Not having a piano turned out to be constructive, because I had to rely on my brain instead of my fingers, and particularly on my imagination and inner hearing. The album belongs to a category called phase music, and it’s also algorithmic, or more precisely rules-based generative music.

I don’t write music in the usual sense of the word “write.” I build kinetic sculptures, and the sculptures generate my music. My sculptures are virtual, meaning they’re invisible machines that exist only as data within my home-grown software. My process is related to the work of a relatively obscure early 20th century artist named Thomas Wilfred. Like me, Wilfred was an engineer-artist, and built machines that generated art from phase shift.

My music is in complex polymeter, meaning it’s not just in odd time, but in multiple odd time signatures, and not one odd time signature after another sequentially, but all of them running concurrently. Most music isn’t constructed this way, which is why I needed to develop custom software in order to compose my music. My software is called The Polymeter Midi Sequencer, and you can easily find it on the Internet. I also use music set theory, change-ringing and gray code, explanations of which can be found in Wikipedia.

Cologne - based composer and multi - instrumentalist Ozan Tekin’s second studio album “Anarya” will be released via Gülbaba Records on May 27 th . Tekin winds his musical journey back from Cologne to Adana with a long layover in Istanbul in “Anarya”. A triangle of migration drawn by musical notation and performance. The album is composed of 14 tracks and each one of them is a sound story that echoes Tekin’s distinct memories from these three cities. “Anarya” is the end product of a process in which Tekin and his upright piano co - tuned each other. It is an artistic representation of the idiosyncratic phenomenon called stimmung in German; a spectrum of tones, moods and atmospheres expressed in personal and instrumental terms. Tekin concludes the piano conversations from his previously released EPs in 2021 (“Anarya I” and “Anarya Ii”). The remarkably catchy melodies and immersive melancholic arpeggios fl ow throughout. The transposed narrative of “Anarya” sprung up from its roots when Tekin came across with a 66 - years old worn out piano in Cologne. Mesmerized by its unique sound, he felt the urge to make recordings with this piano before it fell apart. Aft er spending months learning its mechanics, Tekin recorded his second album with the old upright piano he repaired and brought back to life. The uneasy changes in time signatures and ambient ornamentations with gloomy synths of 80’s, lush strings and room tones set up the atmospheric stage of “Anarya I” in the first five tracks. Following six tracks of the album attempts to revisit Tekin’s emotional and episodic memories in Istanbul. His unaffected absorption into piano music in the first two parts of “Anar ya” are followed by his coyishly joyful tracks later in the album: an idle “ode”, a lost “lament” and a colorful “jam”. These three tracks blend the neoclassical, jazz and ambient sounds of Cologne and Istanbul with sentiments of childhood and rascality in Adana. The piano conversations of Tekin throughout “Anarya” are accompanied by his analogue synthesizers, vocals, bass guitar, Hanitra Wagner’s violin and Berke Can Özcan’s drums , percussions and vibraphone, and Emre Malikler’s mix and mastering. The sou nds of collaboration go deeper and louder as the album’s tracks move forward and Tekin’s memories go backwards simultaneously. Anarya gitmek (“to go back”) is a vernacular saying from Tekin’s hometown Adana and Tekin makes a figurative attempt to migrate b ackwards via the compositions that came into being in his most recent home, Cologne. Having been born out of an upright piano, Tekin’s compositions have instrumental origins, however, due to his constantly mutating sense of belonging, his melodies can’t be pinpointed to any specific heimat . Tekin’s continuously transforming music is an invitation to his listeners to explore and experience his music in their own terms. Tekin’s personal memories that shape “Anarya” is open to new forms of sonic exploration and rearrangement. This openness lies in Tekin’s determined faith in not to be entrenched in any single genre. The immersive intimacy radiating from the collaborative piano conversations in “Anarya” is an invitation signature to his music’s current and fut ure followers. Text by Mehmet Ekinci

"Absence of the loved one is a theme running through both films, but during the creative process we never discuss with the Havels the themes, symptoms or attributes of the characters. We do not specify any meanings. Our collaboration is intuitive, based on interconnectedness. We neither explain things to each other nor analyse. From the outset we have a common goal: to quieten the viewers’ perception, to attune them to certain vibrations by visual, musical and acoustic repetitions, thus enabling them to focus on every tiny detail, every subtle aesthetic quality, so that by the end of the film they have a sense of reconciliation. In fact it is a state similar to meditation or prayer. The aim is being shown Mercy. Each time, the linking of the filmed images with Irena and Vojtech’s music has uncovered a new quality that we have named: a commentary on eternity. Characters cease to be determined by their senses, psychological motivations, or the times they live in. They find liberation in the stream of eternal time." /Václav Kadrnka

"We would like to thank all our friends, sound engineers and musicians. The main thanks go to director Václav Kadrnka, his family and all his collaborators for the precious opportunity to assist them in creating both films. We have worked on our music for the film Saving One Who Was Dead for three years. We met with Václav, discussed the screenplay while it was being born and many other things. We have gradually prepared several working versions that included compositions for piano, Indonesian gamelan, gongs, Tibetan bowls, bells and mini-bells. Yet, step by step, we made it simpler and simpler and eventually only kept violas da gamba, organ and chanting. Everything else was redundant. We made most of the recordings of the compositions for viola da gamba in a church in Prague. The composition for organ was recorded in Milan where we performed a concert shortly before the pandemic arrived in December 2019. We tried to record it in various churches in Bohemia but it was not until the church in Milan that we found the best sounding organ.

As for Little Crusader, we recorded the music for the film after it was completed. We had several versions and used the piano version for this album. Together with Václav, we searched for instruments that would work the best for this Medieval story. Eventually, we opted for harmonium with simple chanting which accompanies the character little boy Jenik. Violas da gamba intertwine, move close and then apart from each other the same way as paths of little boy Jenik and his father who is searching for him. Simple chanting and Tibetan bowl accompany scenes with little boy Jenik’s mother who awaits them at home. Trombone and saxophone are like metal swords and the knights’ armor. Violoncello and viola da gamba walk in the rhythm of horse’s hooves, in the rhythm of heartbeat of both the horse and his rider – a father searching for his lost son." / Irena and Vojtěch Havlovi

Jane Gregory's infamous 'Do Not Go' is a beautiful operatic drama, one seeped in a level of expression and passion rarely found across other genres. Rare too are the original pressings, with as few as 90 copies released by Crass Records in 1985 it's now one of the hardest on their back catalogue to find. One Little Independent have announced it as part of a new vinyl single reissue series. The origins of this record lay a long way from classical music. The band Crass put anarchy to use in a positive way in the post-punk era from 1978 with a mixture of brilliant records and a willingness to educate and engage with their followers through their collective-living mentality, concerts and concerns over a range of issues from animal rights to anti-nuclear campaigning. To be honest, such a summary does not do justice to the powerful effect of Crass, who offered up a sense of empowerment to themselves and their followers, and the influence then extended to the music business. As for Gregory's identity, she was (according to Rimbaud, who produced the single at Southern Studios) an "operatic and classical singer who acted as Sarah Brightman's understudy, in Andrew Lloyd Webber's Requiem". Requiem was actually a classical piece of music rather than a musical that came together in 1984 (with three soloists, Brightman, Placido Domingo and Paul Miles-Kingston and was premiered early in 1985. According to Rimbaud: "Crass wanted to do a crossover single and the idea was to make a popular, classical record, which it isn't - but it is nevertheless very beautiful." By the time Rimbaud had produced the single, Crass had split (1984) and their label - the Crass Records arm - was winding down as a viable concern. This probably accounts for the Jane Gregory single Do Not Go/ After A Dream being issued on the D Sharp imprint in late 1984 or early 1985. It would be fair to say that the record limped out rather than being released and there is web speculation that as few as 90 copies were pressed, so you were very lucky to pick one up. Like the Our Wedding single (which sells for up to a300), the Jane Gregory record is now one of the most sought-after and collectable records in the Crass and Crass Records catalogue. It is in the Rare Record Price Guide at a150 although copies have sold for up to a300 in competitive online auctions. The A-side of this single also appeared on the 1992 Crass Records compilation A Sides Part 2 1982-84.

Via tape loops and synth motifs sent from LA to NY, sound artist Christopher Royal King has teamed with violinist and composer Christopher Tignor toward richly timbral, emotionally gripping works of spontaneity that unfurl immense details with each replay while marrying west coast outboard-ambient to studied east coast modern classical. The resulting debut album, A Wave From A Shore, exhibits both artists' sonic identifiers falling in and out of cooperation before binding into a new entity distinct from either's solitary palettes. A visual artist whose work includes album covers for Thrice and Deftones in addition to video bumps for Adult Swim, Christopher Royal King spent his teenage years cutting his teeth on heavy metal and punk before gravitating, quickly and perhaps unexpectedly, toward experimental composers like Philip Glass and Terry Riley. This unlikely seesaw of influences led directly to King forming the post-rock pillar This Will Destroy You with fellow San Antonio native Jeremy Galindo. Similar to his former band's output, King's solo meanderings impart a mood of buoyancy and contemplation while hinting at darker, more shadowy hues beneath the glimmer, making his music stand apart from the glut of New Age droners and modular-synth influencers. Where the genre at large is sometimes guilty of being the spiritual equivalent of a topical balm, King's aesthetic is more like a rigorous therapy session that's as healing as it is confronting. Christopher Tignor first crossed paths with King in the mid 2000s, lending string arrangements to This Will Destroy You releases, and sometimes touring as a live member of the group. Over the years, Tignor has mounted an impressive discography under his own name and with his groups Slow Six, and Wires Under Tension, all while completing Princeton's PhD program for music composition, and NYU's Masters of computer science program. He put the full power of his dual studies to use, arriving at the illusionist-like meld of sound design and physical performance that his current-day solo efforts portray. In his own words "I banned backing tracks, click tracks, and even live looping - anything that would enforce a strict grid. All sounds originate from me kicking a drum, playing the violin, or various natural percussion sources. I built software that lets me do all this. This offers an unprecedented amount of control over this music's elastic sense of time." King's own music follows parallel rivulets of happenstance, but in desktop form, his array of analog gadgets in perpetual dialogue with one another as he omnipotently guides and documents the chatter. Tignor's lucid string work frames King's impressionism, sharpening the focus while being softened by the textural overgrowth. Their debut A Wave From A Shore does its part to rescue ambient music from its purely anesthetic functionality, offering instead a profound, often ravaging emotional experience for listeners who wish to be moved and not just lulled.

Ludovico Einaudi returns to the piano, this time alone, for his first solo piano record of new material in 20 years, since I Giorni in 2001. Underwater was written with "songwriting, not composing. A fresh approach" in mind, which can be heard in its memorable melodies. Ludovico says "a song is like a breath, it needs nothing more. The album is a place to freely reflect, a place without boundaries."

The gala evening at the Paris Opera on December 19, 1958 was announced in the press as ''the greatest show in the world'. Maria Callas, at the height of her glory, performed for the first time in front of a Parisian audience. The diva delivered all the facets of her art through the Italian classics that she loved, with the theatrical genius that is proper to her. Paris gave her a triumphant evening!

The original recording of this evening, broadcast in Eurovision throughout Europe, has been newly restored with the greatest care.

Presentation by Benoît Duteurtre, novelist, essayist and music critic.

Excerpts from Norma by Bellini Excerpts from Il Trovatore by Verdi Excerpts from Il barbiere di Seviglia by Rossini Complete second act of Tosca by Puccini'

The story of six soulmate musicians meeting at the intersection of classical composition, pop, electronic and minimal music begins in 2016 with their celebrated performance at the Cologne Philharmonie. After follow-up performances at the Bundeskunsthalle Bonn as well as the Hamburg Elbphilharmonie, Gregor Schwellenbach, Daniel Brandt, John Kameel Farah, Paul Frick, Erol Sarp and Kai Schuhmacher made a guest appearance at the invitation of Radio Berlin Brandenburg in the iconic Haus des Rundfunks in Berlin's Westend on February 2, 2019. "Live im Haus des Rundfunks" documents the first half of this evening, in which the individual composer-pianists introduced themselves to the audience in solos, duos and trios. This carefully choreographed set served as an electrifying prelude to the grand finale, the 20-minute collective mantra of Steve Reich's 1973 composition Six Pianos, a studio recording of which has already been released on the 2016 record Steve Reich "Six Pianos" – Terry Riley "Keyboard Study #1" (FILM LP/CD 002).

In celebration of Specialty Records’ 75th anniversary, a new Sam Cooke compilation featuring tracks from his Specialty catalogue focusing on his pop-leaning tracks plus the live recordings from the legendary 1955 Shrine Concert that has never been available on vinyl before. 3x10″ released in a triple-gatefold jacket, featuring replica flyers and other ephemera included as inserts in the packaging.

»In June 2017, I was due to perform in Moscow when I met Kirill Gilels, the grandson of the famous pianist Emil Gilels. He listened to what our Phoenix Mastering® restoration process, can achieve, and made the decision to entrust us with the results of several years of research: he gave us a list of dates and places of the previously unreleased recordings of his grandfather. In Berlin, Moscow and Saint Petersburg, we came across a treasure trove, stunning in terms of both the quality and consistency of Emil Gilels’s playing. We were fully aware that he was one of the greatest musicians of the twentieth century. It was in Amsterdam where at last, we succeeded in extracting this fabulous recital from 1976 at the Concertgebouw – recordings that had fallen into oblivion. We were allotted a studio where we listened to the tapes one by one, we did not utter a word, so overcome were we by the beauty of what we heard.« (F. D’Oria-Nicolas) Considered one of the most important pianists of the twentieth century, he was a pupil of H. Neuhaus. He wins the current Queen Elizabeth Competition in Brussels and takes on an international stature. In 1955, he was the first artist to be welcomed in the United States since the war: if the public, somewhat circumspect of Carnegie Hall, in New York, accompanies his entry on stage of a troubled silence, it is under a thunder of uninterrupted applause that he will refuse to leave the stage!

Hogan’s involvement with new wave, new romanticism, post punk and all-things-avant makes her a uniquely placed character through the last four decades on the scene - her recording/performing biography intersects with everyone from Soft Cell, The The and The Human League through to Simon Fisher Turner, Barry Adamson, The Style Council and more recently with Karl O’Connor aka Regis’ Downwards universe. For ‘Without the Moon’ (a title borrowed from Cathi Unsworth’s book of the same name), Hogan pulls out some of the most satisfying collaborations from her archive, featuring a couple of tracks originally released in 1985 on Cabaret Voltaire’s Doublevision label, as well as recordings that are here issued for the very first time. It’s properly all-over-the-place brilliance, ranging from Nick Cave’s incredible 1983 piano blues slo-mo grind ‘Vixo’ all the way thru to the Paul Kendall (Nitzer Ebb/Depeche Mode) engineered ‘Come Take My Hand’ produced and featuring Barry Adamson and sounding like some vintage Les Disques du Crépuscule poolside obscurity. Opening with ideas mapped out while staying at Lydia Lunch’s gaff in summer ’83, the record lassos 30 years of Hogan’s personal highlights, harking to a time circa 1984 when she regularly caught The Birthday Party playing Leeds or London, often crossing paths with Cave, and right thru to 1989’s ‘Come Take My Hand’. While ‘Delirious Eyes’ is a gorgeous slow dervish of swaying middle eastern scales featuring Gini Ball’s elusive smoke trail vocals, it’s best heard in context of the sequencing, which soon erupts with Marc Almond’s vocals on the arsonist thrill of ‘Burning Boats’ and JG Thirlwell’s signature clangour, while ’Scattered Carelessly’ was written in 2008 and gives the sweetest canvas for Hogan’s keys complemented by a whispering Jarboe ov Swans, and ‘Black Nocturne’ stars a perfectly tempered guitar shimmer by Kid Congo Powers, a longtime accomplice, whom Hogan first heard playing guitar on The Cramps’ records that she played in DJ sets at the time. Illuminated by Hogan’s favoured solo piano, ranging from flickering candlelight to hammering theatrics, and even including a rare appearance of her vocals on the could-have-been-a-popsong closer, the six songs on ‘Without The Moon’ speak to an incredibly rich artistic life spent immured at the core of her practice. Song to song, she outlines an extraordinary oeuvre that ties together and leaps between eras, drawing on decades of experience as a performer, composer, collaborator and ardent listener to portray a full spectra of styles she’s been involved in shaping for decades. Stunning.

Piano Day 2021 sees Nils Frahm surprise the world with his Erased Tapes debut. Wait, what? How? Anyone who has seen the trail blazing sonic pioneer live will know Nils likes to deadpan a joke. Graz is in fact the first studio album he recorded for the label back in 2009, that somehow remained a secret… until now. Nils Frahm has quietly changed the musical landscape, reincarnating the centuries old figure of a pianist-composer for a new generation of music fans. As Nils’ word-of-mouth popularity grew and grew, so did the pop-culture profile of his instrument. He founded Piano Day with a team of like-minded friends in 2015 to help that process, some years releasing an album of piano recordings to celebrate one of humankind’s greatest inventions. Graz is one such record; an unheard snapshot of a young Nils recorded at Mumuth, the University of Music and Performing Arts Graz, in 2009 as part of the thesis Conversations for Piano and Room produced by Thomas Geiger, which received an award in the Classical Surround Recording category at the 127th AES Convention in New York. Whilst at the time it was decided to keep the grand piano recordings from the Graz sessions locked away and instead focus on his close mic’ed, dampened piano explorations which would become his acclaimed studio album Felt in 2011, two of the pieces — most notably Hammers — lived on as part of his live set, and were expanded on and re-recorded as part of his breakthrough 2013 record Spaces (a collage of field recordings from concerts which broke the Fourth Wall and included audience coughs). Over his mercurial career, Nils has pushed and pulled at the boundaries and parameters of his prolific work like that. He’s physically changed his piano (the softened prepared strings of Felt) played with a modified body (Screws recorded with 9 fingers and a broken thumb) played with scale (Solo recorded on the 3.7 metre high Klavins M370) and with the different layers of formats (last year’s Tripping with Nils Frahm nested his studio setup inside a live performance, concert film and live album). Now with Graz he has found the final frontier for play: time itself and his own discography. Graz is a moment of time at the very beginning of Nils’ quiet revolution. The essential genius is already evident; the harmonic language of classical, and the immediacy of jazz. Nils seems to pull down each idea moment by moment, gently, to not scare away the muse. He describes: “sometimes when you hear a piano, you might think it’s a conversation between a woman and a man. At the same time, it can hint at shapes of the universe and describe how a black hole looks. You can make

Post-punk/new wave hero Ann Margaret Hogan’s second album of solo piano and field recordings for Downwards is a box of subtle wonders, mastered by Veronica Vasicka and highly recommended if yr into Satie, Virginia Astley, Sarah Davachi. A weight of history flows through Hogan’s keys with a stark intimacy, beautifully illuminated by naturally effortless, quietly grand songwriting. It’s a direct continuation of the landscaped themes and atavism of 2020’s ‘Honeysuckle Burials’ and the ‘Reversing Into Tomorrow’ collaboration with Karl O’Connor, vividly capturing the slow passage of time in a way that has quite literally compelled us to stop the relentless mind-grind for its 40 minute duration on more than one occasion. After previous fixations on the iron age forts and burial mounds of the Clywdian Range in North Wales, Hogan transmutes the scenery of her more immediate locale, Oxton on The Wirral - from the cadence of its red sandstone landmark Thor’s Rock, to memories of its boating lake, for example - into a quiet yet ravishing suite inflected with traces of wildlife and industry recorded on long walks, all subsumed within a deep blue estuarial atmosphere silted by the strange reality of life in the current era, echoing the surreal, sunny period when the album was conceived. A generation on from her pivotal work with spar Marc Almond and likes of Deux Filles and Nick Cave, and forty generations since The Wirral hosted, as she says “a Norse parliament at Thingwall”, Hogan weaves time and place into a reflective, funereal sort of parlour music, turning daily ambulations amid the gorse and under luminous skies into gorgeous, life affirming and intimate self expressions. The eight pieces are mostly improvised and flow with a free, fleeting concision from the palpable warmth of ‘Forgotten Prelude’ and bluesy ache of ‘Fragile Elements’ to more funereal modes in ’Mesto’ and ‘Funeral Cargo’ suggestive of a Viking burial soundtrack. At its core, ‘Wolfswalzer’, a dedication to her one time collaborator and erstwhile Kraftwerk member Wolfgang Flür - is described by Hogan as “a simple waltz of coffee, food, friends and music”, and ‘Impromptu’ is the album’s slowest, soaked in the feeling of atmospheric immanence that defines the album’s timeless appeal. It’s an unspeakably moving album, words really do it no justice.

Moby’s eclectic career has cast him in the roles of electronic dance music pioneer, singer and songwriter, producer, activist, and restaurateur, but for his latest venture he presents his music in a whole new light. Together with Deutsche Grammophon, he is releasing an album of some of his best known tracks in stunning new arrangements for classical instruments – featuring Moby himself and a stellar lineup of collaborators from across the musical spectrum.

Though it was as a creator of dance music that he found fame in the 1990s, Moby’s music has never been easy to pigeonhole – his 1999 smash hit album Play, for instance, drew heavily on samples from Alan Lomax’s archive of field recordings. On this newly announced album, to be released on 26 March 2021, classic Moby songs including “Porcelain”, “Why Does My Heart”, and “Extreme Ways” will be released in innovative new versions. The album concludes with a cover of David Bowie’s “Heroes”.

Always a daring and imaginative thinker, Moby’s first classical collaboration came in October 2018, when he performed a selection of his songs alongside the LA Phil and conductor Gustavo Dudamel. This was the inspiration for the current project, which features not only full orchestral versions but new electronic arrangements, as well as sophisticated smaller-scale acoustic interpretations.

The 14-track album features some eye-catching collaborations including both Jim James (My Morning Jacket) and the acclaimed classical pianist Víkingur Ólafsson on “Porcelain”; Gregory Porter and Amythyst Kiah on “Natural Blues”; and Kris Kristofferson as well as original vocalist Mark Lanegan on “The Lonely Night”.

180g vinyl, limted to 200 copies, including download code.

The corona pandemic slowed life down. No more gigs, clubs closed, festivals canceled. For me the chance to try new things and find a new way to make music. Without the club context, I was free in my mind. Making music right out of myself was a liberating feeling. I could do what had been dormant in me for a long time. There were attempts now and then, but in the end I couldn't get rid of the feeling of always doing techno. Nice too, but not everything for me. Many inspirations of my music come from artists such as Nils Frahm, Ólafur Arnalds, Yann Tiersen, Martin Kohlstedt, Poppy Ackroyd and many others, as well as nature, forest and city noises. And often from the instruments themselves. I switched my setup in the studio from the electronic to a minimalist instrument setup, just piano, double bass and a Moog synthesizer. I also like the background noise that comes from an instrument, like the hammers and dampers on the piano, the fingerboard and bow noises of the double bass. So I tried a lot of recording techniques and microphones until I found the sound I was looking for. After a few recordings, a number of pieces came together that went well together. I decided to finish it as an album. Some of them are one-takes with the associated imperfections, others are recorded and arranged layer by layer in the studio. I also used field recordings. A warm summer rain was the starting point for "Rain". The album will be released in May 2021 as a limited vinyl edition and digitally on my newly founded label "Feldeffekt".

Conceived At The Heel Of Italy's Boot-Shaped Peninsula In Apulia, Patrick Belaga's Blutt Makes Music For The Unruly Imagination. The Title Is An Old German Word For 'Naked', 'Bare', But It Can Also Mean 'Blood' When Spelt Blut. Take Away Another Letter And It Makes 'Butt'. None Of These Definitions And Adaptations Were What Prompted The Classically-Trained Composer And Cellist To Name His Second Album With A Word Simulating The Sound Of A Punctured Artery. That Came Later. Blutt's Nine Woozy Compositions Are Inspired By A Contemplative Road Trip With A Friend, And The Mysterious Muffled Music Heard From An Unidentified Source. It Was A Combination Of Jazz And Classical Music That Haunted Belaga's Wanderings Through The Byzantine Town Gallipoli, And Soon Infected His Dreams Of Long-Gone Civilizations. This Record Is Its Outcome, Where Organic Instrumentals And Electronic Production Merge Into A Sound That's Both Contemporary And Ancient. Samples Of Mewing Incantations And Tape Hiss Sway Atop The Waltzing Thud Of Piano Chords On "Sigh". Composite Layers Of Belaga's Cello Play In Downcast Harmony On "Rust". There's A Wistful Sense For The Romantic, In The Eerie Rhythm Of A Piece Like "Momentum". The Quarter Tones Of An Eastern European And Middle Eastern Folk Scale Probe A Profound Melancholy Via Kai Knight's Violin. Its Notes Are Haunted By A Field Recording Of Running Water On "Unsoft", Echoes Of Panpipes And A Jew's Harp On Opener "Lilt". As A Consummate Composer And Performer Known For His Work With Artists Wu Tsang, Boychild, Josh Johnson And Asma Maroof, Belaga's Blutt Is Itself Marked By Flawless Collaborations. Vocalist And Instrumentalist Jazmin Romero Sings And Composes The Surreal Melodies Of "Grey Eye". Multidisciplinary Dance Artist And Producer Riley Watts Contributes To The Muted, Motorik Movement Of "The Tunnel Is A Tower". Together, The Record Plays As A Stunning Soundtrack To The Strangeness Of Sleeping, And The Heartbreaking Transience Of Time. Like An Intense Dream Half-Remembered, The...

Melody As Truth present “Melodies In The Sand”, a collection of works from Czech artists Irena and Vojtěch Havlovi. The husband-and-wife duo began working together in the mid 80’s as part of experimental ensemble Capella Antiqua e Moderna, a unique association of musicians whose repertoire spanned various styles of European classical music. With an inventive and unorthodox approach to both historical and modern compositional techniques and interpretive procedures, the Havel’s have steadfastly developed a unique and musically autonomous language which continues to expand to this day. Spanning their early work in Capella Antique e Moderna to recent pieces recorded for Viola De Gamba, ‘Melodies In The Sand’ is presented to the listener with the simple aim of shining a light on these incredible musicians. Their work has within it the ability to penetrate and enrich the innermost corners of a perceptive human soul, a gift which they share with sincerity and humbleness.

When a synth master like Steve Moore joins forces with the legendary KPM, magic must materialise. And so it does with Analog Sensitivity: cinematic, enigmatic synthscapes to both haunt and heal. New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. The story of Analog Sensitivity starts with those soundtracks, or more specifically the time in between them. Rather than being commissioned by KPM, this LP comes from music Steve was recording sporadically and tinkering with for over three years during the downtime between his film projects. There were no ideas about what it was nor a plan for how it would be released, or even if it was going to be released at all. However, after Jon Tye invited him to play on the Ocean Moon project for KPM Steve realised that the hallowed library label might be the perfect home for what he had been working on. The people at KPM agreed. Finishing production in late 2019 in Albany, NY, he came up with the track sequencing and suddenly, he had an album: Analog Sensitivity.