Ludvig Cimbrelius - Moonshadows [Sound In Silence 139]

Making a return to the Greek Sound In Silence label via his new album "Moonshadows" is Swedish producer Ludvig Cimbrelius. With his new longplay piece released on May 18th, 2k26 Cimbrelius is serving a sonic menu spanning a total of 14 tracks over the course of roughly 63 minutes, exclusively consisting of pieces written and composed between 2020 and 2023 whilst working on his longplayer named "Love Letters From The Sky" which was originally released in September of 2k22. Once again diving deep into the intricacies of Piano Ambient bordering on both (Neo)Classical and Ambiance x Easy x Comfort Listening we see the album transporting an unscathed beauty and simultaneously an innate melancholia of sorts, starting with the title track "Moonshadows" and the subsequent "The Beauty I Can't Describe" progressing into the tender caressing timelessness of "Längtan Efter Att Leva (Fran Floden Till Havet)", the chiming innocence of "The Day Your Eyes Learn To See", the cascadings mists of "Hearing Your Voice In The Wind" or the super romantic "The Beauty I Try To Describe" as well as the cascading "The Day You Let Yourself Live" which might be our personal favorite on this well comforting longplayer just to name a few. Go check if you're into beautifully organic Ambient music and x or Contemporary or (Neo)Classical.

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Flavio Zanuttini - Requiem For Democracy [Aut Records 154]

This is a concept album. Put out on the circuit via the Italian Aut Records imprint as their cat.no. 154 on June 3rd, 2k26 "Requiem For Democracy", conceived by composer and trumpet player Flavio Zanuttini and brought to life with the help of Miljan Minic, Andera Liani, Marco D'Orlando and Giustina Selvelli functions, at least according to the accompanying press sheet, as a rite of passage for contemporary democracy, pointing towards things to come subsequently in terms of a new system of whatever shape and form this might take. This being said, the conceptual mass and service is rolled out over a total playtime of roughly 28 minutes and seven compositions including rather ecclesiastical titles like "Kyrie Eleison", "Dies Irae", "Lacrimosa" and "Lux Aeterna", exploring a path of deep mourning and introversion from the get go, adds a grain of explorative, tentative and playful Jazz explorations to its atmospheric theme, touches on adjacent genres like DarkJazz in the echo- and delay-heavy "Tuba Mirum" and weighing in a deeply comforting take on sustained harmonies alongside experimental electronic rhythm signatures created by modular synthesizers in pieces like "Hostias". Imagine this as a soundtrack x score for grainy vintage experimental black and white movie of yore and you'll have a perfect audiovisual representation of this albums sonic contents. One to check out for the avid collector of all things Deep Jazz and beyond.

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Julien Gasc - Perles, Coraux & Requins [Prohibited Records 077]

Released via Prohibited Records on June 5th, 2k26 is "Perles, Coraux & Requins", the latest full length album cooked up by Julien Gasc, acclaimed solo musician as well as touring member of Stereolab and part of the Aquaserge super group. Catering a menu of ten brand new songs and pieces on this 38 minutes spanning musical outing we see Julien Gasc - with a little help from Tim Gane, Anton Newcombe and others... - exploring a realm that is, if anything, very distinctly French not only by language but also by sound, referencing Indietronica as well as Easy Listening in its uniquely quirky take on Leftfield Pop and dreamy Chanson culture, drawing inspiration from Club Pop, Art Pop and Exotica - think: Pizzicato Five and similar bands from that era - as well as Indie cool and the distinct artsy boredom showcased by bands like Superorganism recently and all their sleazy predecessors in the 90s, blending in minimalist basement bar whiteouts, experimental arthouse films and cold cigarette smoke without sounding deliberately retro, nostalgic or anything along these lines. Instead "Perles, Coraux & Requins" seems like a long lost artefact, an old friend not seen for a while, a reacquaintance, an old barn, garden shack or attic that hasn't been entered for a long time. An album that has always been there but remained unexplored, comforting, warm and beautiful, yet still timeless and positively trapped in its own reclusive reality and therefore not to be seen or to be set in relation to anything in contemporary fast fashion Pop culture. This album is. And this is all one needs to know.

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The Bionics - Sea Otters [Tender Storage]

Coming to us directly from the UK, from the premises of Mr. Daniel Mudford of Balham himself to be even more precise, is "Sea Otters", the October 1st, 2k25 released sophomore album by his The Bionics project. Put out on the physical circuit as a limited to 100 copies CD edition the six rather cryptically named tracks - "b125", "c113", "d108", "e115", "f118a" and "g120+" - to be found on this approx. 54 minutes spanning longplay journey are covering a wide range of electronic exploration and experimentation, starting with the rather funky, yet dubbed out subaquatic IDM x Electronica vibes of "b125" which take a drastic and well surprising turn from busy, buzzing and advanced dancefloor friendly towards certainly uplifting and positive DubTechno x TechHouse within seconds before "c113" embarks on a misty melodic journey backed by a pulse of deep 4/4 drum sequencing further evolving into deep Armchair Techno with metallic textures reminiscent of Monolake ca. 1999 before echoes of oldskool Balearic Rave take over. Furthermore "d108" dives deep into sparse Downtempo rhythms, Ambient textures and Dub-infused fanfares building up to what one could imagine being the final track played on a main floor after an ecstatic rave night out, sending punters home on a cloud of grooves driven forward by what are to become complex, yet comforting Intelligent Techno signatures whereas "e115" provides a little more late night pressure in the form of spatial, stripped down and precisely sculpted UK Intelligent Techno - think: X-Mix-3 here - and therefore might be one of our favorite cuts on this album. With "f118a" we see The Bionics on a chiming and cystalline Ambient Techno x Armchair Techno tip for classic ChillOut floors before "g120+" rounds things off with a state of trance-inducing, ever meandering take on, once again, DubTechno turning towards futuristic, hyperelastic minimalist dancefloor hypnotisms for those who know somewhat around the four minutes mark. A recommended addition to the collection of fans of electronic live jams and free floating ChillOut atmospherics.

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ZÖJ - May The Devil's Ear Be Deaf [Parentheses Records 022]

Another fresh release in the roster of the Belgian Parentheses Records label is "May The Devil's Ear Be Deaf", the latest album outing by the Australian duo ZÖJ which fuses Persian influences, instruments and Spoken Word poetry with Western experimentalism and contemporary composition. Put out on May 1st, 2k26 the four pieces and 37 minutes spanning album sees the duo comprised of Gelareh Pour and Brian O'Dwyer explore a hovering, ethereal vocal performance floating atop minimalist and spatial backing structures based on sparse rhythmic elements and subdued atmospherics with the opening piece that is "Termites" followed by the, seemingly multiple, meandering and tentative paths of what seem to be live processed flute-like tonalities, emerging string pluckings and skeletal percussion sequences of "Desert Motreb" which build up towards an unexpectedly tense and thundering climax over time. Furthermore "Woe To The Ear" brings on more captivating vocal timelessness, this time backed by nervous, brooding and certainly danger-heralding movements and electronic processings whereas "She Sleeps With Genies" provides closure and inward-looking desert melancholia paired with quasi-mediterranean echoes of Classical x Contemporary Music for mystical and x or spiritual storytelling under a scorching summer sun only to once again end up with an almost ritualistic, fever'ish percussive outburst - and a well surprising bonus bit. File under: Global Avantgarde Fusion.

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Matthias Muche Bonecrusher - Densities (12 Trombones & Percussion) [Hat Hut Records / Ezz-Thetics]

Released in collaboration between Hat Hut Records and Ezz-Thetics is "Densities (12 Trombones & Percussion)", another fresh album conceptually led by German trombone player Matthias Muche who pairs a total of twelve trombonists with the sound of a prepared snare drum executed by Etienne Nillesen over the course of four compositions and roughly 45 minutes with this release. Opening with "Butter - BC" we see the ensemble tackling a sonic construct built from slowly morphing and emerging glacial dronings on the verge of both Dark Ambient and Deep Listening Music evolving into a tense eerie quasi-crescendo of sorts which sees the previously aligned instruments falling out of line in a rather uncanny and off-kilter fashion whereas "Quater - BC" as a follow up provides an ebb and flow of raw, dark and danger heralding movements mostly within the instruments lower registers, creating a brooding and claustrophic listening experience at times garnished by Free and Jazz-informed solo excursions before later fading out in a surprisingly calm and peaceful manner. Furthermore the Matthias Müller composed "Up & Down" provides precisely executed dynamic movements of the exact nature the pieces title describes whilst Johannes Bauer's "Brass Breath Brisk (For Ensemble)" opens up with a rather intense and somewhat nerve-wrecking outburst and further progresses in an exploration of slightly off-kilter or openly disharmonic layerings, siren'esque swirls alongside other unsettling and otherworldly movements only occasionally interrupted by brief moments of ease - or near silence even - before taking a short detour toward Free Jazz / Improv and finally coming full circle in terms of raw unfiltered intensity. One for an Avantgarde-informed audience, this.

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Bassism Trio - Dreams Must Explain Themselves [Aut Records 158]

Released via Aut Records in a most beautiful retro-futurist sci-fi leaning cover artwork on July 8th, 2k26 is "Dreams Must Explain Themselves", the latest album by the Italian Bassism Trio which is comprised of Enrico De Britiis, Alberto Popolla and Ferdinando Farao alongside Naima Farao who joins the group for a guest vocal appearance on the opening title track. The six tracks and 32 minutes spanning longplay outing starts with "Dreams Must Explain Themselves" which is a fiery take on hot seductive Future Dancefloor Jazz with a highly energetic AfroBeat x AfroFunk twist meant to tear up informed dancefloors in venues like Hamburg's Mojo Club or probably fit into the selection of DJs like Gilles Peterson and other forward thinking eclectists despite getting lost in trippy and well psychedelic sequences at times followed by "Kesh Valley Part 1" which turns out to be a free floating, peaceful and certainly Ambient-infused affair before "Hampstead Heath" explores complex, yet stripped down rhythm signatures and raw sax motifs rolled out over highly seductive Jazz grooves for advanced late night lovers unafraid of improvisational outbursts. With "Foggy", stretched out over eight minutes as the albums most extended piece, the group weighs in what probably could be considered to be the most classic and traditional take on long and winding Deep Jazz on here, "Kesh Valley Part 2" continues on the path laid out by part one, yet adds an impactful layer of Spoken Word and the short "Shales" weighs in more muscular uptempo Jazz heat for a closing that comes full circle in terms of power and energy levels. Good stuff.

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Death-Static - Red Fire In The Open [Sound In Silence 130]

Put on the circuit on May 18th, 2k26 via the Athens-based staple that is Sound In Silence is "Red Fire In The Open", the latest musical outing by Gareth S. Brown's Death-Static project on which the long standing producer rolls out a total of three track over the course of roughly 52 minutes. With the opening "Blackhorse Infirmary" we see Brown embarking on a journey into deep, comforting yet ultraminimalist Ambient x Deep Listening music comprised of tender low end waves and glistening glacial dronings sabotaged by an emerging set of uneasy and somewhat noisy whirlings and spirallings which appear somewhat around the ten minutes mark, further presenting an innocent, chiming and absolutely timeless piano etitude with "The Last Days Of Light" whilst the extended, more than 30 minutes spanning title cut and main piece "Red Fire In The Open" starts out like a motor on stand by blown over from afar paired with stripped down Field Recordings, decontextualized female vocal bits buried deep within the mix, sustained panoramic pads layered atop a distinct spatiality, evoking a feel of deeply entrenched melancholia and inner reclusion, yet providing a silver lining of hope at the horizon represented by peacefully chattering birds and soothing harmonics which, over time, become densely layered and more intense, shifting from a rather comforting angle towards a progressively stranger stance, causing not only an emotional but also a rather physical shift and tensioning through becoming a meandering wall of slowly morphing midrange frequencies before fading away into gaseous nothingness. This is quite a trip and probably one of the most intense albums released on Sound In Silence lately. Recommended.

Stranger Still - We Might Not Tell Everybody This [All-Set! Editions]

Released via Canada's All-Set! Editions label on May 22nd, 2k26 is "We Might Not Tell Everybody This", the debut album for the Pete Johnston-led band project Stranger Still which caters a take on what is described as '...the Folk music of Eastern Canada...' over the course of 11 songs and 48 minutes with its music based on the poetry of Nova Scotia-born writer Alden Nowlan. This being said the quartet presents a rather classic, yet surprisingly dense approach to the genre with close vocal duo harmonies for the most part accompanied by slightly meandering guitar and string bass for a rhythmic foundation, guest appearances on violin, harp and harmonium which overall provide a rather innocent and enchanted, in times slightly rural 70s hippie-infused feel with charming summery songs like "Day's End", the rather minimalist and inward-looking "Dry Spell" with "A Pinch Or Two Of Dust" following in its footsteps in terms of minimalism, despite serving richer and more captivating vocals, the ethereal vocal magic of "It's Good To Be Here" whilst "Walking To The Bus Station" feels like a summer afternoon, atmospherically speaking, just to name a few. The age of aquarius has come. And it is rather peaceful and friendly.

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Mogil - Nordlandinus [Mogil Music 003]

Released via their very own Mogil Music label on June 2nd, 2k26 is "Nordlandinus", the new album outing by the Icelandic five piece band outfit Mogil which has been active on the album circuit since 2008, continuously further evolving their unique blend of influences which, according to the accompanying press sheet, include elements of Folk, Jazz, Classical and even PostRock amongst others. With their new longplay outing the group presents a set of 18 pieces drawing inspiration from the works of Icelands Sölvi Helgason - painter, wanderer and philosopher who passed away aged 75 back in 1895. This being said we see Mogil embarking on their journey with rather ethereal, floating, rural and ancient Folk vibes of yore to be found in "Hugleidingar" before "Alls Stadar Er Flottamadurinn Einmana" introduces a playful and tentative Jazz aspect to the groups deep and slow musical movements and beautifully sustained vocals of "Alls Stadar Er Flottmadurinn Einmana" with the deep instrumental cut "Eg Er Gudleg Vera" fully entering beautifully arranged, yet stripped down and rather laid back Jazz territories, "Reisupassin" introducing an amalgamation of Chanson and theatrical stage performance with a 1920s Berlin feel over atmospheric late night Jazz harmonics whilst "Saklausan" dives deep into grainy, crackling vintage Jazz experimentalism just to name a few. For the lack of a better term this is Jazz-infused Nordic Leftfield Folk with an unscathed naturalistic twist at its best. Most beautiful. And certainly one album that's a candidate for heavy rotation at our very premises.

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Jozef Van Wissem - This Is My Blood [Incunabulum Records 043]

Released via Incunabulum Records on May 1st, 2k26 is "This Is My Blood", the latest album conceived and written by Brooklyn-based, yet Dutch born composer and lute-player Jozef Van Wissem which functions as a quasi-soundtrack for Joaquim Pujol's experimental film 'Maquina' covering a psychedelic trip in the desert of Colorado. Over the course of seven tracks and a total runtime of 40 minutes Jozef Van Wissem lays out a dark'ish, solemn and inward looking sonic landscape starting with the minimalist melancholia and beautifully touching Leftfield Folk epos that is "What The Eternal Beginning Is" followed by the harsher, twangy and more metallic instrumental Leftfield Folk approach of "Praise Shall Sound From Shore To Shore, Until The Sun Shall Rise And Set No More" which, despite being fully instrumental, conveys the imagined intensity of an imaginary sermon whereas "Concerning Our Saviors Silence" brings forth a timeless and rather dreamy take on Post-PostRock x PopAmbient minimalism hovering beyond space and time. Furthermore we see "How You Must Enter Into Suffering" following the path laid out, entering a slightly more psychedelic and dubbed out Desert Blues feel for horseback rides across wide open planes under a scorching sun with the subsequent "Remission", the only vocal piece on this album, weighing in an epic, somewhat medieval feel with its dramatic harmonies, large scale string arrangements and subdued chorales whilst "All You Do All You Bare" functions as a direct harmonic and atmospheric continuation of its predecessor before "What The Eternal End Is" brings closure in a warm and well caressing manner, presenting Contemporary Folk for hot Sunday afternoons in basically unscathed rural nature. Highly recommended.

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Giovanni Nardiello - Perspectives [Aut Records 155]

Released on the Italian Aut Records imprint on June 12th, 2k26 is "Perspectives", the latest full length album conceived by drummer x composer Giovanni Nardello who is joined by Joseph Nowell on piano, Stefano Zambo on double bass as well as Noemi Fiorucci for a set of guest appearances on vocal duty to bring this album to life and Nardiello's musical vision to full fruition. Opening with "Through" as an opening cut for a nine tracks and 51 minutes spanning journey the trio serves a deep, complex, warm and certainly nocturnal take on touching and well captivating Future Jazz with a rather majestic, yet subdued twist followed by the dramatic intro and intertwined uptempo groove arrangements of "Didn't See It Coming" with its haunted piano lines and the beautifully arranged harmonic ebb-and-flow of "Retrospect" which presents a rather calming vibe, evoking memories of unscathed nature and camera movements following the waters of a small river downstream from the source, documenting both rural naturalism and urban landscapes along the way. With "Praise The Sun", the first vocal cut on this album, we're taken into an ever evolving dream world characterized by ethereal non-vocalisms and influences of early Minimal Music - think: Steve Reich - whilst "Haluskein" harks back to dense piano harmonies, elegic strings and Jazz-informed song abstractions followed by a "Deadly Dispute", a display of dense crimescene grooves sprinkled by epic piano breakdowns of an almost Rave / Trance / Detroit-informed nature even though the groups approach doesn't touch on electronic music at any point in this piece, yet it would probably resonate with fans of Carl Craig and the likes of for a reason or two. Landing at the "Shore Of The Unborn" the small ensemble discovers what seems to be the most classic x dreamy x traditional Piano Jazz approach on this album whilst the 11+ minutes spanning extended "A.O.E." follows up on a similarly oriented path whilst putting Nardiello's precise and ever evolving drums and percussions on a primary display before the concluding "Crimson" finds closure in a tender, inward-looking piano excercise and, once again, beautiful vocals laid out by Noemi Fiorucci. Lovely.

Amrita - Amrita [self-released album]

Put out on the Canadian music circuit as a self-titled and self- a.k.a. fully indepently released nine track CD album on May 15th, 2k26 is the full-length longplay debut by Amrita, the core duo comprised of Anita Katakkar and Kayla Milmine who are fusing their instruments of choice, tabla and soprano sax, with selected guest appearances to create a roughly 53 minutes journey beyond the known world of Improv and World Fusion. Aiming for an amalgamation of Jazz / Improv and Hindustani music in particular Amrita open up with "Take Flight" and its combination of Jazz-informed, yet somewhat oriental and in the opening sequence ever spiralling, later somewhat Bop-oriented sax lines paired with a sparse, yet rolling rhythmic foundation which gives way to the sweet and seductive late night groove of "Clinton Street 7", a tune which comes with a rather unexpected vocal introduction, whereas the "English Breakfast" starts from a point of deeply spiritual late night Jazz-adjacent music only to see the tabla speed up significantly, introducing rhythmic fire and spiritualism over the course of the tunes playtime. With these three pieces laying out the foundation for things to come the shortest cut "Heavy Bird" turns out to be rather agile and elegant instead of heavy whereas the double feature of "Elephant Promenade I / II" weighs in a festive, solemn, yet joyful and reverent quasi-traditionalism before "Metamorphosis" provides another thrilling vocal intro sequence followed by deeply hypnotic tribal rhythms and somewhat enchanted, probably folkloristic sonic storytelling for a closing just to name a few. A deep, deeply spiritual and extremely pleasant listening experience exploring a sonic territory which seems, in its specific combination of heritage and tradition, still relatively uncharted at this point in time. We're already ready for a follow up though.

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Ensemble Infini - Volume ∞ [Cellar Music]

Coming straight out of Montreal / Canada is "Volume ∞", the first full length album release by Ensemble Infini, a multi-layered and multi-generational group effort built and arranged around Free Jazz / Improv pionieer Guy "Yug" Thouin who, rather spontaneously, was put at the center of this new venture back in 2k22 - a point at which he had just turned 82 years old and still was active as ever as a musician. With a double vinyl edition to be released on August 7th, 2k26 and the CD version being available since early May via Cellar Music Ensemble Infini serves a fourteen track menu over the course of 72 minutes, starting from a rather classic vantage point in Jazz but already drifting off into uneasy, intense, at times thundering and dissonant territories with the heavy 8+ minutes cut that is "Jhaptala / Milford Spirit" whereas "Tabla Plus" introduces a somehow TexMex- x Americana- x Post-Mariachi-infused take on slow moving experimental Jazz melancholia for scorching hot summer nights, "Rock Memory" starts with deeply haunting piano tones whilst "Industrial Jazz" weighs in another take on highly intense and nerve-wrecking FreeJazz x Improv for a musically well-versed audience. Furthermore we see "Cartoon" going down a rather harmonic route for less than three minutes, following an ever repeating, yet slightly varied and somehow tragic, almost score'esque main motif performed by a layered array of intermingling, overlapping instruments backed by what seem to be fluttering modular electronics, "Halloween A Quebec" seems to be a rather tempered, yet tentative and playful exploration of late night FreeJazz working its way up to a raw and thundering climax whilst the second to last "Dream Story" rounds things off in a rather lively and ever accelerating big band mode, relatively soon entering breakneck speed and organized chaos just to name a few. One for the rather advanced and musically versed Jazz x FreeJazz aficionado, this is.

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Matthias Muche - Trombone Alone [Col Legno]

Released via the Austrian Col Legno label on April 24th, 2k26 is "Trombone Alone", the latest album outing by Cologne-based trombonist Matthias Muche who presents a set of five compositions over the course of roughly 49 minutes, focusing on the trombone as a solo instrument enhanced and extended by both acoustic - a.k.a. physical - and electro-acoustic means and alterations. With "Solo BELLER" Muche takes the listener into a fully electro-acoustic realm in which arrays of quasi rhythmic clicks and cuts are accompanied by the brittle and slightly decaying Spoken Word performance of Anthony Moore which reminds us of a sound aesthetic once introduced to the world by long distance landline phone calls or tapped telephone lines until a rather extreme and intensely disturbing ultra high frequency signal erupts out of nowhere whereas "Solo GLEITER" introduces a series of spiralling up and down swirls alongside most beautiful, rural, solemn and melancholic passages evoking memories of majestic alpine mountain ranges whilst a kind of dubbed out dialogue between the instrument and itself unfolds before "Solo QUATER" weighs in a rather minimalist sequence of both raw and heavily processed trombone signals, an alternation between longing desire and its dark, twisted and obfocuscated, digitally mutated mirror image further evolving into a rather inward looking solo meditation. Furthermore we see "Solo BUTTER" catering a series of maritime and well sustained klaxon'esque trombone transmissions seperated by extended periods of silence whereas the subsequent final piece that is "Solo GLOCKEN" sees the instrument drowning in a Field Recording of church bells ringing heavily, presumably recorded at the occasion of some kind of ceremony or service, with the trombone slowly emerging from the very back of the mix in a (Dark)Jazz informed and certainly nocturnal manner. A rather interesting approach to an instrument not necessarily associated with musical experimentalism. Go check.

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Nolan Hildebrand - Noise Trip Explosion [Redshift Records]

Another fresh album release on the ever active Canadian Redshift Records label is Nolan Hildebrand's "Noise Trip Explosion", a five compositions and roughly 55 minutes spanning exploration of what the accompanying press info describes as '...electroacoustic chamber pieces that harness the physicality of live instruments while revelling in the brazen coarseness afforded by various digital and analogue electronics.'. This being said for an overall abstraction of the five pieces cooked up by the Toronto-based producer between 2k22 and 2k25 we see the opening tune "Generative Graphic Score #1" combining saxophones and mixer feedback to create a screaming, yet highly detailed and surprisingly rhythmic, yet violent and eardrum piercing stream of abrasive digital sounds in which the instrument invlvd only remains an echo of a memory with the subsequently following piece "Knurl Cracked Green" introducing violin, electric guitar and piano to Nolan's live electronics - an amalgamation which brings forth distorted, yet vaguely recognizable riffing, disfigured solos and brutalist feedbacks alongside metallic eruptions and astoundingly playful and alien sounding retrofuturist plinkerings in the tunes rather minimalist sequences. Furthermore "Raw Data Speed Demons" fuses violin and live electronics to an intense, yet always tentative and playful, almost tongue-in-cheek effect, "Portals II (Everywhere And Everything Right Now)" combines mixer feedback, sax, electric guitar and drums which results in a dense conglomerate of high frequency sweeps, a maelstrom of digital Noize, dark atmospheric minimalisms and unintelligible voices buried deep within the, admittedly, oftentimes quite nerve wrecking mix whereas the final "Dada Bender" focuses on a set of percussion instruments which, digitally processed, fall together in an intense and highly dramatic fashion, providing not only the most complex composition on "Noise Trip Explosion" but also one that would make a well interesting and probably excellent addition to the score of a totally independent experimental underground movie project of sorts and therefore might be our personal favorite on this one. The world needs more albums like this. Highly recommended.

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Mark Cain - Threads [Parentheses Records 023 / Tone List 044]

Released as a collaborational affair between the Belgian label Parentheses Records and Tone List is "Threads", the latest album outing conceived by Australian composer, performer, musician and sonic experimentalist Mark Cain. Put out on the circuit on May 1st, 2k26 the album caters a total of 15 solo improvisations for soprano saxophone rolled out over the course of roughly 37 minutes, exploring the sonic and tonal abilities of the instrument at the fringes of its range with pieces like the fluttering, nervous, ever spiralling and somewhat spiritually primordial "Threads 1" paving the way for things to come like the enchanted and giddy "Threads 2" or the sustained, longing and in parts almost droning "Threads 4" whereas pieces like "Threads 6" are on a rather playful and tentative tip whilst "Tongues" uses and abuses the soprano sax in a rather surprising and percussice manner, weighing in a bit of cliche Asia feel for fans of old kung-fu flicks, and "Threads 10" brings forth another great take on longing Jazz melancholia working its way up to an ecstatic climax just to provide a rough outline of what to expect from this rather fascinating album. This is Jazz Improv beyond Jazz. Go check.

Justina Repeckaite - Tapestries [Music Information Centre Lithuania 127]

Released via the ever active Lithuanian cultural hub and institution that is the Music Information Centre Lithiuania on May 18th, 2k26 is "Tapestries", an eight compositions and roughly 70 minutes spanning werkschau and a major showcase of the rather outstanding career of composer Justina Repeckaite throughout the twelve years period from 2012 to 2024. Arranged as an album and not in chronological order the 2012 opening piece "Chartres" for string orchestra draws the listener into a sonic landscape of intense siren'esque dronings slowly moving through the instruments mid register continuously re-layering and re-arranging into a rather unsettling foundation for the hard bowing movements to come before the subsequent "Incantare", a composition for flute and tape, weighs in a feel of rather glacial electro-acoustic minimalism paired with sustained, and seemingly slowed down, flute tones which makes the instrument sound like a flugelhorn or mistreated saxophone in parts, especially before it erupts into a series of playful and tentative movements. Following up is "Tapisserie" which employs an entire ensemble in a rather stripped down and reduced fashion, creating an intricate dialogue between shimmering piano, irregularly circling strings and dramatic stab repetitions, "Sturnus Vulgaris Cohibitus" for pianist and transducers once again showcases Repeckaite's feel for timeless, yet futuristic piano minimalism whereas "La Cite Des Dames" fully focuses on the vocal performance of a total of six soprano voices which create an absolutely spine-tingling and outerworldly realm of ever morphing and meandering harmonies accompanied by intense vocal outbursts. Furthermore we see "Velium" on a dark and well unsettling large scale sci-fi score tip as a full on orchestra piece, "Datura" locks in on the sound of a solo trombone, introducing a slightly more humourous, comedic and tongue in cheek approach in its conversation between instrument and human voice before "La Mue", the most recent and in terms of instrumentation most complex work on here - written for: serpent, children's choir, and electronics - brings forth an epic and highly fascinating mixture of experimental electronic x electro-acoustic music and ethereal vocalisms for those who know. Quite a journey, this album is. Go check.

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Andreas Davids & Sven Phalanx - Heroes [Infacted Recordings Promo]

Released via Infacted Recordings on June 26th, 2k26 is "Heroes", the latest full length digital album outing cooked up as a collaborational studio effort by Andreas Davids and Sven Phalanx. Rolled out over 12 tracks and a total playtime of approx. 43 minutes the production duo weighs in an interesting take on sci-fi driven Electro Industrial with cuts like "Coming Of (Space) Age" with its heavy Phonk beats, Berlin School-informed pads and atmospheres, innocent melodies and midrange synth movements which would be suitable for any late night Chemical Beats set whilst "Gefahr Aus Dem All" provides raw, tense and spine-tingling Electro x Electroclash fusion vibes also suitable for The Hague underground focused DJs and likeminded folks, "Vger" pays homage to a certain Star Trek episode in a galloping, yet dark and atmospheric Industrial Techno fashion for tool-oriented peak time club sets of now whereas "König Der Monster" provides catchy, uptempo and well melodic dancefloor fodder for Goth and Electroclash raves alike with its simple, repetetive, yet well seductive lo-fi synth lead and "V.I.N.CENT. L.F.396 (Noise-Anthem)" references Disney's first and probably only venture into the realms of dark sci-fi, turning one of the most recognizable quotes from the movie 'Das Schwarze Loch' into an abrasive and brutalist Industrial / TechNoise affair just to name a few. Defo a lovely addition to the collection of dedicated sci-fi nerds and ElectroTechno x EBM fans even though the combination of recognizable film x audio play samples and certain musical elements is a rather limited sonic playing field when it comes to a long-tail perspective

Jordan White - Music For Imaginary Spaces [Aut Records 152]

Released via the Italian Aut Records label on May 16th, 2k26 is "Music For Imaginary Spaces", the new and rather conceptual album affair conceived, composed and in parts programmed by Jordan White and brought to life with the help of a small ensemble of musicians. Informed by White's long lasting study of unusual and intense reverb environments, music written for specific architectural spaces and analysis of ancient vocal cuts from both Byzantine as well as Armenia the eleven pieces on this album follow these ideas and insights over the course of approx. 51 minutes, yet transfer them into a level of imagination and non-existence, opening with the reverberating airflows and sustained, in parts klaxon'esque trombone x horn combinations of "Left Arm Orthodox" which tell sonic tales of loss and great tragedy accompanied by intricately layered guitar arrangements with an almost balearic vibe whereas the subsequent "Stuck In A Giant Tape Machine" explores twangy, slightly dubbed out and ever corresponding lines fusing PopAmbient and Post-PostRock with deeply emotional Jazz outings and "Filters 6: Kaleidoscopic" fully enters the world of eerie, outerworldly UnAmbient scrapings and resonances which are - once again - saved and contrasted by White's restrained, yet masterfully executed guitar tones. With these three tracks paving the way for things to come we see the extended "I've Been In Similar Places" provide panoramic glacial Ambient brass dronings painting pictures of innate longing and melancholia stretched out over more than 12 minutes and therefore is our personal favorite on this longplay outing whilst the short skit that is "Brass Tube Reactions" weighs in a more gnarly, raw and fanfare'esque energy which would probably sit right in an underground sci-fi movie score of sorts whereas "Schattenlibelle" indulges in tender guitar minimalisms of rural quality and the "Soft Thumb Guitar Chorale" rounds things off in a playful, romantic and almost classic, and probably slightly kitschy..., vintage Jazz manner just to name a few. Good stuff Recommended for a reason,.

Jean Derome & Somebody Special - Le Sourire [Ambiances Magnetiques]

Another fresh album released via the Ambiances Magnetiques label on April 17th, 2k26 is "Le Sourire", the new longplay outing by flute player, composer and saxophone player Jean Derome who, once again, performs with and writes for the band x ensemble outfit named Somebody Special on this one. Over the course of eleven pieces and a total runtime of approx. 63 minutes and a set of eleven songs the group pays homage to 1934-born composer and soprano sax player Steve Lacy who passed away in 2004 at age 70, laying down seductive and well fascinating Jazz grooves with pieces like "The Smile", presenting opulent emotional Chansons with a deep twist with tunes like "The Cuckoo" / "Sands" and "Stand" whilst "Jump" and its innate fire absolutely heat up every peak time Jazz dancefloor, the spine-tingling "Love And Politics" and its story-telling weigh in a bit of a theatrical / stage production element peaking in dramatically rushed piano movements whereas especially the intro sequence of "Morning Joy" and its hard mechanical piano tones might probably justify to think about the term Industrial Jazz as a potential genre drawer even though the expressive vocals and hot uptempo grooves rather gravitate toward Dancefloor Jazz-adjacent vibes for a reason. Defo a fascinating ride and a highly recommended album, this.

Album artwork on Instagram!

Allison Cameron & Scott Thomson - Platanus [Ambiances Magnetiques]

Another relatively recent release on the Ambiances Magnetiques label is "Platanus", the new collaborational three track album affair conceived by composer and performer Allison Cameron and trombone player Scott Thomson which has been released on April 17th, 2k26. Over the course of approx. 58 minutes total playtime Cameron employs an array of a so-called crackle synthesizer, keyboards and tapes on all three compositions, with the opening piece "Taproot" introducing playful, tentative and certainly friendly and curious electronic bleepings and plinkerings of what could be described as electroacoustic-adjacent nature later leading into twangy off-kilter melancholia all backed by a trombone performance that is almost vocal, yet tongue-in-cheek, somewhat sad and, on a personal note, reminiscent of experimental stop-motion movies we watched in the late 90s subsequently followed by "Bark", an extended and, again, deeply melancholia driven take on Avantgarde Jazz improvisation with a deep listening twist which evolves towards a rather unexpected, heavenly, yet vibrating and slightly disharmonic end section whereas the concluding - and longest... - piece named "Limbing" pairs detailed micromovents, spatiality and isolationism, rasping, chafing surface noises fused with a deep metallic minimalism which evokes faint memories of records like Aube's "Deglaze" for long-standing fans of experiemntal electro-acoustic sound research paired with more playful and cheeky trombone vocalisms which turns this final cut into our personal favorite on this well recommended longplayer. Go check.

Album artwork on Instagram!

Q_e_M - Quality Electronic Music: A Late June 2k26 Discogs Round Up

Well, it's been a while since our last Q_e_M - Quality Electronic Music on Discogs round up and additions have taken longer than expected due to unforeseen things that had to be taken care of - and a move, obviously... - but still nitestylez.de head honcho baze.djunkiii has continuously been on duty, thoroughly listening to, scanning and evaluating items from the pile of pre-loved electronic music CD albums and promotional sound carriers we had been taking in a while ago - a pile that will be done with in a rather foreseeable future which leaves us with the remaining chunk of 90s Library x Production Music CD albums which were rescued from the archives of a long time defunct advertisement firm more than a decade ago as the next big addition to the project. And there's more to come in terms of vinyl but that's for another day.

Saleswise it seems like the predicted comeback of the CD format is starting to affect Discogs buyers as well with pre-loved CD's by electronic club music-focused labels like Rekids leaving our shelves - and yes: it was the Nina Kraviz debut album... obviously - as well as Indietronica from labels like Ghostly International, long forgotten and still unplayed Drum'n'Bass CD compilations released on the former Hamburg-based Don Q Records imprint more than two decades ago which is criminally overlooked in the oral history of the German Drum'n'Bass scene and even a Classical Deutsche Grammophon release which landed with us as part of the collection of a friends deceased parents found a new home in France of all places. Which, to us, seems to be very telling as for over a decade CD albums seemed to almost never move on Discogs at all. So we won't declare the death of vinyl but still it is nice to see that our initial thought of taking preloved CD formats in to preserve them from ending up in a landfill finally bears some fruit. We're doing this for the culture, even though storage space is tight.

Added new and unplayed highlights:

1. Mycrotom - Ratoratiyo [Mongkong Music 001]
A full length exploration of misty, blurred Electronica structures infused with ChillOut, EthnoTribal and deep Ambient vibes, echoes of PostDubstep x Post-Bass Music and the occasional trip to advanced late night dancefloors packed with IDM-informed connaisseurs. Limited edition of 200 copies on clear vinyl backed by extensive liner notes written by baze.djunkiii. Hand-numbered edition. Copy 029/200 on sale.

2. Yvat - Oar [Minor]
Unearthed from the original label archives. Limited Mini-CD / 3"CD edition of 100 copies in special foam folder packaging with obi-adjacent paper strip for fans of 90s Electronica, Glitch and especially early Funkstörung.

3. Various Artists - Patronage V [Hauch Records 046]
A widely varied compilation from the Düsseldorf underground covering a musical range from IndieElectro to IDM and beyond, including a deep Cologne-style Schaffel remix affair crafted by baze.djunkiii and Sascha Müller for TG Mauss alongside more goodness. Limited to 200 numbered copies worldwide. Copy 003/200 on sale with this one.

Pre-loved, rare and collectible:

1. Smoked Sausage - Smoked Sausage [self-released demo / 2003]
A little beyond our circle of competence, yet one of those DIY releases not many people do know about at all. Six tracks of Berlin-based Post-Hardcore and Post-Grunge sprinkled with influences of Alternative Rock and things beyond. One of the band members used to be a neighbour of a long lost friend of ours more than 20 years ago. Double copy from our personal archives.

2. BBC Radiophonic Workshop - Time And Space [Cavendish Music 058]
A Library Music x Production Music CD album release from back in 1994 featuring 52 short stings, atmospheres and sound FX produced by Radiophonic Workshop members like Elizabeth Parker, Malcolm Clarke, Peter Howell and Roger Limb. Sought after collectors item and currently the cheapest one available on Discogs. Go grab it.

Find Q_e_M - Quality Electronic Music on Discogs!

Toni Wobble - Out In The Street [45 Seven 027]

Released in October of 2025 via Leipzig's long-standing 45 Seven label is Toni Wobble's "Out In The Street" backed with "Irie Cruise" on the flip. Whilst the A-side is presenting a heavily dubbed out peak time take on one of the most famous and popular vocal samples of the 2000s Toni Wobble wreaks havoc amongst Dubcore x DarkJungle and even Breakcore-leaning audiences alike, bringing forth a rapid barrage fire of bass drums and intermingling echoes whilst the flip ventures into deeper, elastic and feathering late night Dub x JungleDub territories with bit of a tongue-in-cheek twist when it comes to the cute little midrange synth bass motif buried deep within the mix. Recommended.

7" vinyl artwork on Instagram!

John McGuire - Double String Trios [Unseen Worlds 063]

Put out on the circuit via the almost two decades strong NYC-based Unseen Worlds label is John McGuire's "Double String Trios", a pretty much self-explanatory album effort of roughly 62 minutes total playtime which features three extended pieces, each composed for - guess what - two string trios. With all three pieces exceeding or coming close to the 20 minutes mark we see the opening composition "Jump Cuts" bring forward a dramatic, most beautiful flow of serial movements with the trios following each other almost in unison through extended repetitions and unexpected turns, providing quite a touching take on Contemporary Modern Classical composition with an almost scenic twist subsequently followed by "Double Bars", a lush and in parts at least Baroque-informed affair, whereas the final "Playground" provides rather playful and complex interactions, repeating motifs, dramatic build ups and sustained longing also well suitable for future scores and vast cinematic landscape shots covering snow covered mountain ranges - or endless cliffs and savannahs. Even if you're not well versed in Contemporary x Modern Classical music this could provide an entry point for an ongoing journey... or a singular source of joy coming from an unexpected angle. Go check.

Album artwork on Instagram!

Mikolaj Trzaska / John Edwards / Mark Sanders - Not So Late / Because It Happens [Gusstaff Records]

A live album on Gusstaff Records. Released on the ever active and ever growing Polish label very recently on June 12th, 2k26 is "Not So Late / Because It Happens", a full on improvisational longplay affair recorded at London's Cafe OTO on August 5th, 2k25. With Mikolaj Trzaska on alto sax and clarinet, John Edwards on double bass and Mark Sanders on drums the trio follows a practice deliberately described as live composition rather than improvisation over the course of nine pieces and a total runtime of roughly 62 minutes, opening with the screaming foreground sax rides and unstoppable maelstrom of hyperdense thundering drum rolls of "Running Lose" which are setting the pace for things to come like the rolling complex drumstorm and certainly funky bass lines of "Written By" which lay the foundation for raw Jazz improvisation continued also in the subsequent "Torn Flag" with its tense atmospheres, the comparatively restrained and nocturnal depth of the "Lowercase Conversation" as well as the rather imminent romantic late night vibe of "Because It Happened" which even persists throughout a short crescendo leading into a more active and playful Jazz variation in the tunes second part just to lay out an outline of what to expect on this longplayer which is defo a recommended affair for collectors of all things Contemporary Avantgarde Jazz and beyond.

Album artwork on Instagram!

Andreas Davids & Sven Phalanx - 802701 [Infacted Recordings Promo]

Released on the digital circuit via Infacted Recordings on June 12th, 2k26 is "802701", the latest digital single cooked up by Andreas Davids & Sven Phalanx - a duo which has been hitting the studio on a regular over the course of the past six or more years. The original version of "802701" serves a sweet, kinda lo-fi infused, yet uplifting synth motif backed with obvious German speaking sci-fi samples as well as rather obvious ElectroTech vibes with MissSuicide on remix duties subsequently delivering a more driving Future Pop x Rave crossover approach whilst the "802701 *ELEVEN-FX Remix" even enters hard-hitting CyberIndustrial meets HyperTrance territories and the final cut that is the "802701 *Eloi-Version" takes us deep into beatless and beautifully stripped down, yet therefore emotional and spine-tingling classic AmbientTrance realms and probably might be our favorite remix interpretation on here.

Various Artists - Second Drop [Bassmaessage 002]

Going back to November of 2k23 with this review of "Second Drop", the obviously second vinyl outing released by the Leipzig-based Bassmaessage label almost eight years after its initial launch in 2k15. Opening the so-called B-Bass Side with Nuphlo & Bukka's "Drip" the duo weighs in proper tense urban crime scene vibes for all Juke x Footwork enthusiasts appreciating a Halftime twist as well as what seems to be heavily processed vocal microsnippets before DJ Badshape's "Drift" takes his 160 approach to tender, playful, atmospheric, trancey and uplifting extremes, backing his frolicking and floating uplifting harmonies with cut up amen and PostJungle goodness whereas "Rise Up" by Sun People presents heavy junglistic Breakbeats and earth x dancefloor shaking sinewave basslines for a bit of a retro vibe for those who lived through the transformative period of 1995/1996. On the flip we see Dub Across Borders and their "Bass Tree Dream" presenting a dreamy and well atmospheric Ambient Halftime Dub affair with gnarly bass lines hidden deep within the mix, bringing on subaquatic low end vibes for positively tripped out ChillOut floors followed by Paranoid One's "Glimp" and its almost classic take on Deep Dubstep evoking faint memories of Scuba ca. 2006 before "Minerva" by B-Hed takes the dedicated listener directly to sparse and expertly arranged Ambient Dub heavens for a closing. Timeless bass for those who know. Recommended.

Album artwork on Instagram!

Dub Across Borders - Come Rain [45 Seven 026]

Another lovely little 7" vinyl gem released via the ever active Leipzig-based 45 Seven label is Dub Across Borders' "Come Rain" backed with "Ye Sih Dub" on the flip. Hand-stamped and pressed on beautifully luscious marbled vinyl and put out on the circuit in September of 2k25 the title track offers a floating excursion into fast lane DubHouse x Steppers x StepperDub and serves a rather interesting stop-and-go effect in its mid-tune breakdown before progressing into a more dancefloor-focused and driving second part whereas "Ye Sih Dub" chooses intense militant mid-tempo (Neo)Dub violence from the get and evokes fond memories of 90s UK (Neo)Dub projects for us - think: Kitachi and like-minded contemporaries at the time. Lovely.

Coloured vinyl on Instagram!

Magda Mayas - Chant [Unsounds Records 092]

Released on May 15th, 2k26 via the Dutch Unsounds Records imprint is "Chant", the latest album outing by long time active piano player x explorer Magda Mayas who brings forward three extended pieces on this 59 minutes spanning longplayer. Opening with "Embodied", a live recording of Mayas' performance at SoundOut Festival in Canberra, Australia, we're drawn into a world of prepared piano and undefined objects which is as tender and comforting as a mothers womb, radiating calm and timelessness with its minimalist, widely spread out piano repetitions accompanied by mostly metallic quasi rhythms and percussions which add an additional layer of ritualistic, at times even trance-inducing nature even at times in which their tonalities seem to counteract the slow flow of the piano which, at least for a while, seemingly gives way to the process of falling apart and being overwhelmed by the ever increasing intensity of non-piano movements. "Halcyon" sees Mayas installing a guitar amplifier inside her prepared piano accompanied by an additional guitar pickup on the instruments strings, resulting in an interesting build up of corresponding feedbacks which evoke the illusion of a stripped down, yet expertly executed and well Psychedelia-infused guitar performance with an exceedingly screaming twist rather than reflect the actual sound of the piano before the title piece "Chant" combines the sound of two different chords performed on a total of 16 - !!! - upright pianos into one rather majestic composition living off of the different states of maintenance and, in parts intended, degradation the individual instruments located at Piano Mill are in which gives each and every chord expression a slightly different and varying aural texture and therefore creates the impression of something larger, deeper and more atmospheric than the single chords combined on a single instrument would allow for. Defo an album for multiple listening sessions throughout dark and long winter nights.

Album artwork on Instagram!