Djrum is a perennially acclaimed underground artist, since his first release in 2010 who’s quietly built a list of fans that reads like a who’s who of contemporary dance music. As an artist, Djrum has formed a reputation for his unique fusion of a range of genres ranging from jazz, hip hop and dubstep to ambient and techno. His music swells with oceanic bass laded beats, cavernous atmospherics and deeply emotive melodies. An accomplished DJ his compositional approach feels like a natural collage of his influences which has seen him release for the likes of the Zenker Brothers Ilian Tape imprint as well as the influential 2nd Drop label, plus remixes for Ninja Tune and Domino. Felix now steps up to the plate at R&S with one of his most visionary releases to date. Deeply meditative melodies twist and turn through stuttering rhythms and pulsing low bass, hypnotic pads and woozy atmospherics. Manuel’s music somehow manages to retains the urgency and dynamic pressure of the dance floor with the intimacy and elegant detailing of the best headphone music. A natural fit for R&S, there is a full length Djrum album in the pipeline in 2018 - looks like it’s going to be an exciting year ahead.

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As 'Portrait With Firewood' is Felix's most personal body of work to date, the product of an emotionally turbulent 2017, capturing the range of feelings and emotions he went through in vivid sonic beauty. By putting aside his previous sampladelic approach he returned to his childhood instrument of the piano as a core starting point. "It's a confessional record… I realise that's a word mostly used to describe singer/songwriter rather than (largely) instrumental music, but I think it's apt. There's a sort of emotional candour." Felix is classically trained in the jazz tradition and influenced by the likes of Keith Jarrett and Alice Coltrane. Previously he was shy at the prospect of fans hearing his piano playing, but determined to overcome this fear he has brought forward a new honesty to his work. "Finding the confidence to work with my own piano improvisations was a big part of that. Once I had figured out how I was going to make the music, it actually fell in to place rather quickly." Felix's goal was to create something "overwhelmingly beautiful", but also to capture the "inherent melancholy in beauty in all it's impermanance and fragility". He took inspiration and solace from performance artist Marina Abramovic. "She has an incredibly deep understanding of the human condition, and expresses it in such a poetic way. Many of the themes of her work had particular resonance for me over the course of 2017 as I worked on the album. I was moved to tears on several occasions watching her videos or reading about her work." Felix collaborated with cellist Zosia Jagodzinska and vocalist Lola Empire. Jagodzinska recorded several takes of improvisations over the track 'Creature' which Felix would chop, pitch and layer into new melodic lines and seed throughout the album. Felix's new approach expanded to experimentation with field recording, contact micing his beloved piano and purchasing his first hardware synth, all in service of enriching the personal, humane quality of the record. "Music helps me to communicate the sorts of things that I find almost impossible to put in to words. I think the process for this album has helped me create a more rich and emotionally complex body of work than I have managed before."

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Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity. It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving. Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties. The tone set, the EP moves through ultra-rarefied glass-like p

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2023 Repress

Tracklisting:
A1 Djrum - Plantain
B1 Djrum - What I Was Doing When I Was Doing What I Was Doing

Sales Note:
2023 Repress of the Djrum 12" for Samurai Red Seal on a special Colour in Colour pressing

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2nd Drop Records release 'Seven Lies', the debut album by Felix Manuel aka Djrum (pronounced "Drum"). Its sounds are inspired by the rawness of urban London, influences of Portishead, DJ Shadow and The Cinematic Orchestra, jungle, minimal techno, classic house, broken beat - all seamlessly segued with a nod to jazz vinyl and film music.
Fans will recognise Djrum's iconic tropes on 'Seven Lies': widescreen atmospheres, dub chords, dusty and melancholic strings, obscure film samples. But this time its spread over a bigger, more luxurious canvas that dips like an undulating terrain of sound; techno troughs, bumpy hip hop breaks, euphoric drum and bass, all filtered through the Djrum node.
Felix would admit himself he is a not a prolific producer. Preferring to craft and hone, often allowing music to mutate and diverge down different paths, his tracks often top the 8-9 min marks in length. However, each track is never at risk of becoming staid or boring, quite the opposite as ideas mutate and evolve, subtle differences and nuances are evoked and explored.
Inspired by the sounds of Ninja Tune's Solid Steel radio show, Oxford born/London based Felix became involved with the free party scene and helped set up the seminal Yardcore nights in 2005. A night of wild extremes, it swept from acts as diverse as Hellfish, Andy Stott, Breakage and Various Production in one night. An aesthetic he still faithfully adheres to in his all-vinyl DJ sets, a seamless blend of techno, garage, dancehall, hip hop, old-school hardcore and jungle.
Just as the dominant dubstep scene was in a painful, if fertile, transitionary period in 2010, Felix made his production debut as Djrum with 12" singles on the On the Edge and Smokin Sessions labels. This would ultimately provide him with the perfect platform for his own hybrid sound. A sound that instead of reflecting the brash energy of his DJ style, turned inwards, almost ingesting and metabolising those sounds to create an introspective and more sensitive and tactile crossbreed.
The 2nd Drop label were lucky enough to pick up on his latent talent, drafting him to remix the wonderful lament 'Explode' by LV and Message To Bears ft Zaki Ibrahim, to widespread acclaim. In 2011 the 'Mountains EP' followed. A four track suite of music that captured the imagination of many: Francois K, Gilles Peterson, Craig Richards, Berlin's highly respected T++, and featured in end of year charts across the board. The 3rd part of the 'Mountains EP' came the following year - as 'Watermark' b/w 'The Darkest Hour is Just Before Dawn (Undercoat Pt2)' - completing an epic body of music and setting up the realization of 'Seven Lies', this highly accomplished debut long player.
The wonderful, celestial artwork is by an artist friend of Djrum's called Jaya Mansberger.
Seven Lies tracklist (available as triple pack vinyl):
1. Obsession
2. Como Los Cerdos
3. Dam
4. Arcana (Do I Need You)
5. Lies (ft Shadowbox)
6. Honey
7. Arcana (Coda)
8. Anchors (ft Shadowbox)
9. Thankyou



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Mastery, London’s pioneering sound studio, has spent its first two years creating live experiences and installations exploring sound as a gateway to altered states. Now, with co-founders LWE, Mastery enters recorded music with Quantum Sound, a first-of-its-kind project combining sound meditation, breathwork, neuroscience and ambient electronic composition. Announced in December in collaboration with Houndstooth, the album builds on Mastery’s ongoing exploration of sound as both meditation and live electronic music, first introduced through immersive performances by Cherub Sanson, Tim Wheater and Daniel Avery. Released on 12th February, Quantum Sound positions sound as a psychedelic catalyst, designed for eyes-closed listening. The multi-artist album spans ambient and transcendental spaces, featuring Jon Hopkins, Hannah Holland, Wata Igarashi, Manami, Jennifer Loveless, Silent Shadow and Alessandro Cortini. It also includes a continuous 60-minute mix by Hannah Holland, alongside a 15-minute sound meditation by Cherub Sanson and Tim Wheater with electronic composer Rommek. Following Djrum’s Come Find Me, Ruthlss'’ Dark Angel is out today. Ruthlss is a live electronic artist, composer and producer building a singular musical universe where club culture, classical virtuosity and emotional storytelling collide. At the centre of the project is a fully authored live show - written, produced and performed entirely by Ruth - that treats electronic music with the emotional and structural depth of film scores and symphonic works, while retaining the physical impact and communal release of the dancefloor.

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Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity. It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, Felix’s whole life is in here. Ethnomusicology studies, untold hours of DJing everywhere from the gnarliest squat raves to the most rarefied deep house clubs, explorations of his own neurological and emotional makeup, and the technical finesse of someone who is never not creating music or art, all roll into an experience that’s dazzling, delightful and keeps on giving. Just the opening track ‘Codex’ alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties. The tone set, the EP moves through ultra-rarefied glass-like p

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‘Isthmus’ is Ross Tones’s 5th album for Houndstooth in 10 years. It only seems fitting for it to return to the eclecticism of 2014’s ‘Mosaic’. An isthmus is a narrow strip of land that connects two larger bodies. The two islands contrast in time, topography, chaos and character. One sears. The other, buried by blizzards. A land bridge fights the tide; offering harbour. Connecting the estranged. Giving battle to the noise. It is uncertain who won.

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Following her strong debut EP on Warp Records sister imprint Arcola, Copenhagen’s Anastasia Kristensen, renowned for her energetic sets, presents M A X I M A, a four-track EP of animated techno and elaborate sonic geometries. Kaleidoscopic patterns and angular drums launch straight through the spacetime continuum. Fusing elements both hyper
modern and old school, Anastasia crafts an expansive package for the most discerning psychonauts. Released on Magenta colour vinyl

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Off the back of his killer album release, LOMA, Throwing Snow returns to Houndstooth for a fiery, politically charged EP; The Death of Pragmatism. As tension continues to rise in the UK around the Brexit debate, Throwing Snow channels the aggression into a 4-track release - showcasing some of his most intense work to date. To be released on the 1st November, the day after Brexit is executed, the EP opens with a percussive-driven record ‘Nought To Gain’. The idea is built around Ross Tones (AKA Throwing Snow) looking into the dramatic system modifications at play that change landscapes as a whole and when ’the supposed benefits of that modification no longer apply as there is now a different structure in place - there is nought to gain and all to lose’. The second track, ‘The Righteous Mind’, is named after Jonathan Haidt’s book subtitled ‘Why Good People are separated by Politics and Religion’. ‘His approach explains the current schisms and could act as a mediator for angry voices’, Ross says, giving a better understanding of the single as it allows for a moment of reflection before leading into ‘Ideolog’ - an ominous soundscape circling back to Throwing Snow’s half time DnB influences. ‘When staring into the abyss, a great orator speaks of utopias and rose-tinted cocoons. Ideologues are intrinsically reductionist, degrading the complexity of every single issue. Meshed interrelations are ignored, in favour of quasi-religious furore. Basically, it’s a shit idea to follow them’. Rounding off with ‘The Death of Pragmatism’, a climatic syncopated record focused on glass-shattering beats and piercing synths, Ross cites the world of Gödel and unyielding ideologies which suffer from their complex consequences. ‘Assessing the foreseeable aftermath within a broader context is a map through the madness. Otherwise it’s the death of Pragmatism’.


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ere From Where We Are’, Pariah’s first release in six years, marks a natural progression in his sound across nine interconnected pieces.
After just six months messing around making his own stuff on Logic, Pitchfork coverage piqued the interest of the legendary R&S, and over the next two years he released three EPs with the Belgian label. Since then, Arthur Pariah has continued to DJ around the world and play live with Blawan as Karenn.
‘Here From Where We Are’ is inspired by a series of very personal reflections, responses and reactions. Pariah is keen for people to process it in their own way, free from interference.
Opening with the transcendental ‘Log Jam’ which spills into the huge, empty and plaintive ‘Pith’, the artist distils his experiences into an album of nine moving, multi-layered tracks, where peculiar textures combine with rich harmonies and absorbing melodies into a heady mix of abstracted environments, formally structured songs and sound collages.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018. Ahead of this, Hawkes will release a new single featuring acclaimed UK soul singer Jamie Lidell on the 20th July. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single from June, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album in an extended version. The album will be the producer’s second LP for us, following his critically acclaimed debut ‘Social Housing’ for the label, which was released in 2016. Entitled ‘The Marquis of Hawkes’, the new album adheres to a specific sound palette whilst still displaying eclecticism across its eight tracks. Opening with the beat-less droning ambience of ‘Beton Theme’, the album takes in a variety of themes from across the house music spectrum, from the deep and dubby meditation of ‘Instrument Of Thought’ to the body jerking rhythms and retro bass stabs of ‘Tough Love’, the introspective mood of ‘The Matrix’, to the soulful New Jersey styled House grooves with a contemporary twist of ‘Sunset’, building through the optimistic joyousness of ‘Hope In Our Hearts’ before closing with Lidell’s heartfelt and passionate emotional overload on ‘We Should Be Free’.

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Special Request joins forces with Nina Kraviz and Anastasia Kristensen, shattering the doors of perception over a four-track EP. ‘Through The Looking Glass’ drops July 20th on Houndstooth. On the A side, Nina Kraviz provides two interpretations of ‘Curtain Twitcher’. ‘Alice Was Here Remix’ takes the intensity of the original and boils it into a 4/4 spin of frenzied basslines and distorted acoustics, punctuated by her languid reading of the Mad Hatter. For the ‘Samba Version’, syncopated polyrhythms take charge of a fragmented melody. Opening the AA side, ‘Looking Glass’ lures you down the rabbit hole with mysterious bleeps, only to reveal a whirlwind of stormy breaks and junglist percussion. Closing off the trip, Anastasia Kristensen’s remix of ‘Tiresias’ marches its way through a field of swollen bass and glitchy percussion.

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Berlin based electronic mainstay Marquis Hawkes has announced details of his second LP ‘The Marquis of Hawkes’, due out 24th August 2018 on fabric’s in-house label Houndstooth (home to Call Super, Aïsha Devi, Special Request and more). Ahead of this, Hawkes will also release a new single featuring acclaimed UK soul singer Jamie Lidell. The single, entitled ‘We Should Be Free’, features, alongside the low slung but melancholic original version, three reinterpretations of the song, remixed by Hawkes himself. Both this, and the essential previous single, “Don’t U”, which featured the vocal talents of Ursula Rucker, will appear on the forthcoming album.

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Marquis Hawkes is an alter ego adopted by long time electronic music producer Mark Hawkins, founded for his house music focussed activities. Hawkins decided it was time for a reboot after being head-hunted by old friends Dan Monox and Kenny Wasp, who had just founded Dixon Avenue Basement Jams in 2012, particularly as the material differed from what he’d previously released. Hawkins solidified his sound during this period, taking influence from house music’s Chicago, Detroit and New York home bases alongside the UK’s deep house sound. Fusing these styles with contemporary production values, he developed a style synonymous with his Marquis Hawkes alias.


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Special Request returns via Gerd Janson & Shan's studio, as they completely re-build both Brainstorm and Make It Real across four frenzy-inducing incendiary versions custom made for sending the rave over the edge...

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No Such Location (Marcel Dettmann Positive Remix)
No Such Location (Marcel Dettmann Negative Remix)
Moesha Moved To Margate (Radioactive Man Remix)
Ajunlei 8 (The Exaltics Remix)

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Hyperdub + Warp Records artists Babyfather and GAIKA rework two 18+ tracks from their second album ‘Collect’. Hyperdub’s Dean Blunt, a category-rejecting artist and an art-pop provocateur tackles ‘Drama’ under his Babyfather guise, looping a low slung swagger beat under the vocals of DJ Escrow and Samia Mirza. Warp Records multi-disciplined South London artist GAIKA rips apart Glow into a discordant sub-low bassline drone, pitching Samia’s vocal as slow as can go, harsh high pitch tones and field recordings. “One of the strongest things we’ve heard from the divisive producer.” - boomkat. Strictly limited to just 200 dinked white labels - One for the collectors.

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Akkord return with their first original music since October 2015’s ‘Obelisk.’ Over the years Akkord have become known for their bloodied and brutalist, steely precision, focussing on sculpted, visceral sound design. Presented on 140gm vinyl. Cut & mastered by Matt Colton at Alchemy. Artwork by plusyes.com

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New Life Tones is the second 12” of 2016 for Call Super and heralds another subtle shift in his work. Puppet Scenes chisels a twitchy, snake-like path between dub and house whilst rejecting the standard templates for the usual melding of those two forms. New Life Repercussions is a transmission from the undergrowth. A sleek roller that surrenders to something broken and melancholic it represents another achievement in Call Super's increasingly idiosyncratic melodic portfolio.



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Caterina Barbieri & Bendik Giske's At Source resounds music as wellspring, that which is essential and unknowable, and yet utterly primary. It finds two acclaimed composer-musicians building a world together in self-contained collaboration between analogue synthesis and an extended approach to the saxophone that conjures its own universe of sound.

Listen: https://listen.k7.com/1c1166cc-68f0-4afc-a273-479eb8ac10b1

Tracklist:
A1 Intuition, Nimbus
A2 Alignment, Orbits
B1 Impatience, Magma
B2 Persistence, Buds

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One of the most innovative and ambitious albums ever made, Genioh Yamashirogumi’s Ecophony Rinne is a sonic masterpiece featuring over 200 musicians that expanded the limits of what music and sound could do.

Before Akira there was Ecophony Rinne. Originally released in 1986, Ecophony Rinne is a four-part symphony of “ecological music” by Geinoh Yamashirogumi that married ancient tradition with technological innovation, and changed the way we listen to music in the process.

Half-speed mastered at Abbey Road by Miles Showell, Time Capsule’s high-tech analogue reissue is the first to reproduce composer Ohashi’s ground-breaking “Hypersonic Effect” theory on vinyl, cutting frequencies beyond the realm of human hearing into wax to capture the full spectrum emotional impact of this extraordinary work.

Founded by genius polymath Tsutomu Ohashi aka Shoji Yamashiro, Geinoh Yamashirogumi is a shapeshifting collective of over a hundred members from across disciplines. Rejecting professional musicianship, Ohashi cultivated an ethos where neuroscientists, psychologists, doctors, journalists, engineers and students could critique society through artistic expression and pursue their research in ethnomusicological performances that spanned global traditions, Eastern spirituality and Western classical form.

Ecophony Rinne represents the pinnacle of this vision - an expansive orchestral suite made with over 200 musicians that channeled Ohashi’s thinking about mankind’s relationship with nature, and fundamental questions of life, death and rebirth.

Here pipe organ synths made from sampled Tibetan horns sit alongside field recordings from Central African forests, Buddhist mantras circle dummy head microphones, Javanese Jegog percussion ensembles pulse like verdant ecosystems, and the acoustics of temples, caves and landscapes are conveyed in the mix. Weaving together culture, nature and technology, it is a record that vibrates with the polyphony of life on Earth.

But Ecophony Rinne was not only musically innovative. Noticing the difference between vinyl and CD versions of the album where digital reproduction limited the sound, Ohashi developed a theory of “Hypersonic Effect”, determining that ultra-high frequencies above 20khz can impact human perception even if they are inaudible. At once a physical and a psychological experience, to listen to Ecophony Rinne is to feel music differently.

The rest is history. After its release, Ohashi was approached by director Katsuhiro Otomo to produce the soundtrack for Akira, the work for which Geinoh Yamashirogumi is best known. Emerging from the shadows at last, Ecophony Rinne was its transcendental blueprint, reissued in its most complete hypersonic form on vinyl for the first time.

Rather than describe nature, Ecophony Rinne embodied it. Rather than reflect culture, Ecophony Rinne defined it. Rather than explore technology, Ecophony Rinne changed it. As a work of art, it is more relevant than ever. You won’t have heard anything like it.

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The CJP Band return to Supa Jams with two more tracks for your listening and dancing pleasure. First up 'We Must Believe' channels disco (not) disco vibrations on a strings for days sea of spiritual spaceways. Soaring skyward on Boogie driven basslines and roaring sax solos. This fresh cut nods to the psychedelic soul vocals of Rotary Connection, Idris Muhammad and The 5th Dimension, Carrying a powerful spiritual message of unity and transformation. On the flip, Charles Earland 1976 jazz funk classic 'Let The Music Play' gets the CJP cover treatment. A raw, Driving dancefloor burner, Powered by heavyweight drums, Deep Fender precision basslines, Flamboyant Brazilian percussion and crazy guitar and sax solos. Featuring Hannah Williams on guest vocals.

Hand Stamped Sleeve- Limited Pressing

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Basic Channel Dub House project

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Chain Reaction core-œuvre carefully revisited & luxuriously represented (w/ download code)

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CD!

Music From Memory presents 'Spacious Heart', the debut solo album from Los Angeles-based musician Anthony Calonico. Known for his work as part of the trio Total Blue, Calonico steps forward here with a collection of songs and instrumentals that invite the listener into his lush, expansive yet intimate world.

Written and recorded gradually between 2020 and 2024, 'Spacious Heart' emerged through a slow and open process, allowing the music to develop without rigid expectations. The album’s sonic landscape sits in a somewhat similar zone to Total Blue, with warm keys, synthesizers and rich production creating spacious environments where melodies and textures unfold naturally. Drawing together influences that move fluidly between spiritual jazz, synthesizer-driven explorations and ambient textures, the record balances harmonic richness with a gentle sense of openness. Where it diverges from Total Blue is through the presence of Calonico’s voice, the emotional anchor of the record. Smooth, luminous and quietly expressive, his singing carries a sense of earnestness and vulnerability while remaining delicately restrained.

‘Spacious Heart’ unfolds as a gentle conversation between song and atmosphere, where vocal pieces drift in and out of focus, intimate and reflective. The surrounding instrumentals open up space for these emotions to breathe, settle and expand, creating a quiet, reflective world where feeling, texture and restraint move softly together.

Sleeve art and design by Michael Willis.

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Repress!

As 'Portrait With Firewood' is Felix's most personal body of work to date, the product of an emotionally turbulent 2017, capturing the range of feelings and emotions he went through in vivid sonic beauty. By putting aside his previous sampladelic approach he returned to his childhood instrument of the piano as a core starting point. "It's a confessional record… I realise that's a word mostly used to describe singer/songwriter rather than (largely) instrumental music, but I think it's apt. There's a sort of emotional candour." Felix is classically trained in the jazz tradition and influenced by the likes of Keith Jarrett and Alice Coltrane. Previously he was shy at the prospect of fans hearing his piano playing, but determined to overcome this fear he has brought forward a new honesty to his work. "Finding the confidence to work with my own piano improvisations was a big part of that. Once I had figured out how I was going to make the music, it actually fell in to place rather quickly." Felix's goal was to create something "overwhelmingly beautiful", but also to capture the "inherent melancholy in beauty in all it's impermanance and fragility". He took inspiration and solace from performance artist Marina Abramovic. "She has an incredibly deep understanding of the human condition, and expresses it in such a poetic way. Many of the themes of her work had particular resonance for me over the course of 2017 as I worked on the album. I was moved to tears on several occasions watching her videos or reading about her work." Felix collaborated with cellist Zosia Jagodzinska and vocalist Lola Empire. Jagodzinska recorded several takes of improvisations over the track 'Creature' which Felix would chop, pitch and layer into new melodic lines and seed throughout the album. Felix's new approach expanded to experimentation with field recording, contact micing his beloved piano and purchasing his first hardware synth, all in service of enriching the personal, humane quality of the record. "Music helps me to communicate the sorts of things that I find almost impossible to put in to words. I think the process for this album has helped me create a more rich and emotionally complex body of work than I have managed before."

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Quiet Village collaborate with Vanessa Daou on 'Naked Hunger’ Legendary New York artist and The Daou front-woman Vanessa Daou lends vocals to Matt 'Radio Slave' Edwards and Joel Martin's second release on the ‘The Quiet Village’ imprint. Matt ‘Radio Slave' Edwards and Joel Martin's critically acclaimed Quiet Village project follow-up, 2024's 'Reunion' with the Vanessa Daou collaboration, 'Naked Hunger' on September 5th, '25. 'Naked Hunger', which comes in 'Vocal Mix' and 'Spoken Word Mix' versions, sees Quiet Village employ their hypnotic sensibilities to one of house music's most tantalising vocal talents in Daou, resulting in a mid-tempo house cut that completely envelops. While the vocal mix of 'Naked Hunger' leans into the interplay between Vanessa Daou's cosseting song voice and spoken vocals, with the rest of the track embracing a subtly dubby ethereal musicality, Quiet Village ramp up the instrumentation on the' Spoken Vocal' version with bass guitar and piano flourishes accompanying her sultry poetic delivery. 'Naked Hunger', Daou's first collaboration with Quiet Village, marks her first release since 2019's 'Little Black Dress'. Throughout her illustrious career, the acclaimed three-time #1 Billboard Dance Chart topper has collaborated with Danny Tenaglia, David Morales, Mood II Swing, Ralphi Rosario, Terry Farley (Farley & Heller), Charles Webster, Horse Meat Disco's Severino Panzetta, Hifi Sean, and Eli Escobar. Friends since meeting at Goldie's legendary MetalHeadz sessions at London's Blue Note in the '90s, Quiet Village, aka Matt Edwards and Joel Martin, began releasing their brand of dubbed-out, balearic-and-beyond tracks in 2005 via NYC's Whatever We Want Records. The duo's 2008 'Silent Movie' LP was a critical smash hit that resulted in remix commissions for the likes of Bryan Ferry, The Gorillas, Leftfi eld, Francois K, Massive Attack and many more. After a few years in the wilderness, unable to use their nom de plume due to contractual restrictions, the pair launched The Quiet Village label in 2024 with 'Reunion', a stunning 6/8-time urban jazz odyssey, a favourite of the likes of Luke Una, Gilles Peterson and Ryan Elliott.

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WAS - Word and Sound Medien GmbH
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Swedish producer Robert Leiner’s landmark 1994 album ‘Visions Of The Past’ finally gets a vinyl LP reissue on Apollo, the ‘ambient division’ of R&S Records. Long regarded as one of the pivotal ambient/electronic long players, the album has stood the test of time and serves as a reminder on how potent the early ambient techno releases were.

Leiner was a central figure in the early European techno and ambient landscape, carving out a distinctive sound that bridged atmospheric depth and rhythmic intensity. Known for his releases as The Source Experience and contributions to the R&S/Apollo catalogue, as a producer and engineer, Leiner’s work resonated across the underground, earning him a reputation for visionary, emotionally charged productions that stood apart from his contemporaries.

'Visions Of The Past’ captures this duality perfectly with expansive ambient passages that drift into hypnotic techno, while layers of intricate sound design and pulsating low end create a timeless and immersive listening experience. Tracks unfold with patience and precision, like the 12-minute-long marine epic ‘Aqua Viva’, balancing introspection with kinetic dance energy, and the new age ambience of ‘Dream Or Reality’ and ‘Northern Dark’ embodying the forward-thinking ethos that defined Apollo’s golden era.

Three decades on, this long out of print album finally returns on vinyl format, freshly remastered and restored, reaffirming its status as an essential document of electronic music’s evolution and Robert Leiner’s enduring influence.

‘Visions Of The Past’ by Robert Leiner is available on Apollo Records from 7th November 2025.

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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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