Back catalogue: Modern Classical

Review: 'Feral Vapours of the Silver Ether' is the second album by Chris & Cosey as Carter Tutti, following 2004's 'Cabal'. A haunting, gothic 11-tracker that revels more in cinematic beauty than abrasive sonic gristle, its standout pieces such as 'Woven Clouds' recalling the heartfelt studio masterpieces of This Mortal Coil or the mysterious blackgaze dissociations of Black Tape For A Blue Girl. Cosey's voice appears in crystal clarity, against utmostly gut-wrenching string movements and synthetic choirs of angels.

Review: An intriguing project here from perennial Euro disco legend Cerrone, who joins forces with the Symphony Orchestra of Cannes to reimagine 21 of his best-loved and highly influential dance classics. It would be difficult to overstate the Frenchman's contribution to contemporary dance music, having released and produced scores of timeless records in the halcyon days of continental disco. Tracks like 'Supernature', 'Love in C Minor' and 'Give Me Love' are beyond iconic and still appear regularly in the sets and mixes of today's dance heavyweights. They're all here, presented live in all their magnificent glory by the orchestra of 50-plus musicians, directed by the legendary Randy Kerber. As expected, all of the music sounds glorious, with lavish strings, pristine horn sections, and limber percussion bringing every piece to life magnificently.

Review: Active now for some 40 years, Hiull's Andrew Chalk explores the quiet, intimate spaces between melody and texture, highlighting fleeting moments with a painter's touch heer across 15 tracks. While his previous release, Songs of the Sea, unfolded in long, in depth waves, Dioramas embraces succinct pieces in each composition showing a look into a world rich with hushed tones and slow-moving beauty. There's a gentle warmth that permeates much of the album, as if the music is unfolding in soft light. 'The Carrach' introduces a folksy lilt, its melody turning over itself like a jewel slowly spinning on a dial. 'The Changes' evokes a meditative solemnity with its rich, organ-led hymn, while 'Lonely House' closes the album with stretched, whispering strings that shimmer like reflections on water. These small but striking details never disrupt the album's stillness but instead highlight Chalk's ability to subtly shift focus, revealing new layers of depth in each listen. A master of texture and restraint, Chalk continues to refine his singular approach to ambient and drone, weaving together fragile yet deep soundscapes. On Dioramas, the British Andrew Chalk returns to the art of miniaturism, crafting delicate, self-contained sonic vignettes that feel like carefully composed dioramas in sound.

Review: Immersive but not ambient, the sleeve notes claim. It's not hard to see where the copywriter was coming from, either. SloMo A/V is testament to the months and years DJ and procure Chloe Thevenin has spent building soundscapes in her studio, honing the kind of skills necessary to create this level of lush and depth of, err, depth. Teaming up with Dune Lunel, a Paris-based art director who has been working within and around culture for two decades, and Adrien Godin, of ECV Digital, what's here is actually just one part of a greater whole. If you've been lucky enough to catch a SloMo A/V performance, you'll already know where this is going. Listening to the audio alone is captivating, sounds grow and develop from the faintest quiet to something that's, well, not loud, but certainly powerful and hypnotic enough to bore directly into the mind's eye. The experience forces you to slow down, reflect, consider, and ponder, sounds that inspire the imagination and speak to our third eye. Now, just imagine if this was accompanied by the visuals Chloe's project is based on when experienced live.

Review: Chocolate Hills is a duo made up of Paul Conboy and Alex Paterson, Orb founder and Orbscure Records boss. Their excellent Yarns From The Chocolate Triangle is one of those albums that is tailored made for listening to on good quality headphones, a lush and world class ambient soundscape with vivid designs and bright colours all in high definition. It draws on library music, exotica, kitsch, Balearic, downtempo, folk, spaced out pop and even d&b, all loosely based on an imagined nautical journey to the Bermuda triangle and back. All is calm at sea as you bob and drift on these roomy and magnificently realised sounds, mixing organic and electronic sources and taking a more gorgeosuly idiosyncratic route than the latest Orb album.

Review: It's certainly true that Ma Fleur represented a pivotal moment for The Cinematics. The outfit came to fruition, or at least hit the common conscience, in the haze of late-1990s post-trip-hop comedowns, a time when we were all still going harder, faster and stronger in clubs but wanted something cosy and velveteen on the after party hifi at 10AM rather than ketamine techno. Far more innocent times to say the least.

This 2007 record broke from the well established mould of the troupe, though, landing five years after its predecessor (Every Day) and opting for a more direct approach to loveliness. A kind of grab you by the throat and make you feel nice type remit that leaves the subtleties of the past behind in favour of more traditional big room, show stopping song craft.

Review: Ivan Pavlov aka CoH's new experimental electronic opus Radiant Faults makes a point of its creation deriving from the use of a rare new synthesizer, the Silhouette Eins. Developed by the artist Pit Przygodda, the Eins is the centrepiece of this album for good reason: it is a unique bit of gear, in that it uses real-time video signal as its carrier for sound synthesis. This direct interfacing of visual and auditory realms inspired a haunting praxis in Pavlov, who began the album as a means to commune with ELpH, one of the "celestial beings" first communicated with and summoned by the supergroup Coil. Pavlov continues what Coil devilishly started here, fleshing ELpH out evermore into whispery echoes and sinewy traces.

Review: Nothing by Louis Cole, a collaboration with the Metropole Orkest conducted by Jules Buckley, blends classical orchestration with dance music, pop, and jazz, showcasing Cole's unique and ultra-flexible production style. The album features 17 tracks, 15 of which are brand new, avoiding orchestral renditions of his hits and instead presenting fresh compositions. The lead single, 'Things Will Fall Apart,' highlights Cole's feather-light vocals over an exciting orchestration of funk percussion, strings, horns and barbershop backup vocals. Recorded during live performances, Nothing captures the energy and emotion of Cole's multi-date sold-out European tour with the Metropole Orkest. The project emphasises Cole's desire to create music with deep emotional impact while remaining straightforward and accessible. Cole meticulously mixed the album himself, ensuring his pure vision was realised.

Review: Coral Morphologic's brilliant debut album guided us through space but with their sophomore LP, if feels much more like we're arriving at a final destinationia vibrant, water-filled world brimming with life. The rhythms are lithe and heavily atmospheric with distant pads, sci-fi motifs and sense of the unknown ever-present. It's brilliantly evocative and cinematic from front to back. To sweeten the deal even further, the album comes with a foldout poster with the fantastically dreamy and otherworldly album art by Robert Beatty

Review: Miami duo Coral Morphologic has linked up with Nick Leon for a debut collaboration here, Projections of a Coral City, which lands on the cultured Barcelona-based label Balmat. It's a lush listen that very much soothes mind, body and soul with its widescreen ambient synth scopes, suspensory pads and painterly strikes of sound. The mood is carefree and dreamy, occasionally rueful and introspective and always realised in a beautiful fashion. Here's hoping this might be the first of many collabs if this is the sort of work these artists can cook up together.

Review: The Cosmic Tones Research Trio's All Is Sound is a profound blend of healing music rooted in gospel, blues, and spiritual jazz. Led by alto saxophonist Roman Norfleet, alongside cellist Harlan Silverman and pianist Kennedy Verrett, the trio creates an immersive soundscape perfect for meditation and mindfulness. Each track unfolds with a peaceful, meditative quality, gently building layers of sound through the interplay of sax, cello, piano, flutes and even didgeridoo. The album's melodies are delicate yet rich, reminiscent of the spiritual jazz of Sun Ra, Alice Coltrane, and Pharoah Sanders. Tracks like 'Creation' and 'Black Rest' invite deep introspection, while 'Peace Prayer' and 'Nada Brahma' echo with a restorative, almost mystical atmosphere. With its slow-building compositions and organic instrumentation, All Is Sound offers a unique, serene listening experience a d a powerful healing force. The trio's commitment to creating purposeful, mindful music shines through, making this a great example of work in the contemporary spiritual jazz genre.

Review: Oxide Manifesto serves as an audio sketchbook, exploring a unique approach to music creation by blending obsolete machines with experimental composition. The album embraces the imperfections of magnetic tape, such as wow, flutter, wonky pitch, and tape hiss and so, explains the artist, makes the recording equipment as central to the process as the music itself. The method involved quickly composing ideas, deconstructing them onto tape loops, and performing with reel-to-reel machines and effects. The whole thing was recorded in a tiny, temperature-fluctuating studio on Hornsey Road and the final album reflects a collection of sound-art experiments that are structured and fragmented and capture the raw creativity of what was a hugely hands-on process.

Review: Following 2022's Orange, Naarm (Melbourne) based pair CS + Kreme return with a brand new third album The Butterfly Drinks The Tears Of The Tortoise. This time out, the pair decide to head into a world of more dramatic sounds and global soundscapes that fuse organic elements like medieval arrangements, seafaring guitar strums and Sundanese tarawangsa strings with their own signature rhythms and industrial-edged drums. The standout track 'Uki' exemplifies this contrast as it evolves from abstract vocal loops and whispers into an avant-garde acid techno workout with claps and sharp melodies. The album therefore ably showcases the CS + Kreme's ability to merge delicate harmonies with unpredictable sonic structures.