Back catalogue: Modern Classical

Review: Hardanger is a collaboration between Mariska Baars, Niki Jansen and Rutger Zuydervelt. Named after Jansen's Hardanger fiddle, the album expands on Baars and Zuydervelt's established chemistry after beginning as Jansen's improvisations with Baars adding vocals and guitar, all later shaped by Zuydervelt into two long-form tracks-one an electro-acoustic collage, the other more meditative. Baars blends ambient and folk and is known for collaborating with artists like Peter Broderick, while Jansen is a folk violinist and Zuydervel's prolific output as Machinefabriek is well worth checking as are his film scores and collabs as Piiptsjilling and Fean with Baars.

Review: Definitely not to be confused with the 2005 Neo-noir US movie of the same name, Kiss Kiss Bang Bang was a 1966 Eurospy comedy directed by Duccio Tessari. The plot, which contains several genre tropes, revolves around a retired espionage agent who receives a death sentence after being caught trying to steal L1 million dollars. At the last minute, he's offered a reprieve, if he can steal a secret formula before terrorist Mr X does. We won't divulge what happens next, but as spy movies tend to, there are plenty of curveballs and red herrings thrown at us. Bruno Nicolai, a powerhouse of Italian cinema during this time, whose tracks have found their way into Quentin Tarantino's Kill Bill: Volume 2 and Once Upon A Time In Hollywood, delivers an archetypal score for this cinematic canon, packed with tension building percussive movements, swooning and sweeping string and woodwind pop, and even the odd gentle slow dance.

Review: While the world instantly remembers Ennio Morricone's heroic contribution to the world of movie scores at the height of the Spaghetti Western trend - Italian produced cowboy flicks set on the frontier of an early United States - less people will jump to the name Bruno Nicolai. And yet, here we are, faced with one of the greatest soundtracks ever written for any film in the canon. Archetypal of the genre, Nicolai conducted many of his close friend Morricone's scores, and this betrays what to expect from this masterpiece. The soundscapes are grand and pompous, open and mysterious, edgy and tense. Varied, but always the aural equivalent of panning across almost-unchartered plains and seeing a solitary rider appear on the horizon. If that sounds remotely entertaining, this is an essential.

Review: Richard Norris is still best known for his 1980s output - whether that's as one half of The Grid with former-Soft Cell man David Ball, or as producer and engineer for the likes of Joe Strummer, Bryan Ferry and the Pet Shop Boys, to name but a quick handful of the who's who in his portfolio. However, in psychedelic, ambient and more experimental circles, his name invokes a huge body of contemporary work that includes studio productions and regular DJ sets at events like Glastonbury and Green Man Festival. Among the most treasured of his contributions to this more adventurous and - dare it be said - niche end of his oeuvre, the Music For Healing records are a trove of excellent sounds and tones, movements and arrangements. Here for the first time on vinyl, the Colours collection, which form just one part of the wider series, is both a perfect entry point into this universe and a wonderful standalone for fans of ambient, drone and mood tunes.

Review: An ambitious, thought-provoking collaboration that merges radical improvisation with meticulous songcraft. Inspired by Francisco Goya's Los Caprichos painting, the album interrogates modern anxieties through a fusion of classical composition and lyrical introspection. Mark Springer, known for his spontaneous, real-time piano compositions, crafts haunting pieces performed by the Sacconi Quartet, while Pet Shop Boys singer Neil Tennant 's unmistakable vocals lend a poetic depth to the work. Recorded across multiple locations in 2023istrings in Surrey and Tetbury, piano in Brussels and vocals in Londonithe album benefits from its layered, almost collage-like construction. This fragmentation mirrors the project's thematic preoccupations: the disjointed state of contemporary society, the corruption of truth and the divisiveness of social media. Tennant's lyrics, shaped by Goya's grotesque and satirical visions, meditate on deception, power and the erosion of collective trust. The interplay between Springer's expressive piano and the Sacconi Quartet's controlled precision is key to the album's success. Tracks move fluidly between moments of stark beauty and eerie unease. Tennant's vocal performances are restrained yet evocative, delivering lines that echo both personal reflection and broader cultural critique. The arrangements are elegant yet unsettling, reinforcing the album's central tension between order and chaos. Sleep of Reason is not an easy listen, nor does it aim to be. It is an intellectual and emotional work, one that rewards deep engagement. In blending classical refinement with pop craftsmanship, Springer and Tennant have created an album that is an eloquent response to a world teetering between enlightenment and darkness.