Back catalogue: Modern Classical

Review: This is a second new and standalone 7" that is taken from Incense Music for Bed Room, a new compilation series from Incense Music that was curated by Toru Hashimoto and legendary Japanese downtempo and Balearic master Calm. On the A-side, we delve into Haruka Nakamura's beautiful tribute to Bill Evans' timeless piece 'Soiree'. On the flip, 'Valsa de Euridice' is a rendition of Vinicius de Moraes' classic from Etepalma, the inaugural 2006 album by Nobuyuki Nakajima. Renowned as a composer and pianist, Nakajima presents a captivating interpretation that captures the essence of the original piece. Together, these tracks offer a harmonious blend of homage and reinterpretation.

Review: Iceland's Olafur Arnalds (Kiasmos) and German multi-instrumentalist Nils Frahm team up again for some breathtaking excursions in classical/ambient crossover bliss. Frahm's sombre piano passages gently dance over Arnalds' serene soundscapes and eerie field recordings on this bittersweet and emotive journey. What was meant to be a one hour video recording of the duo in action turned out to be an eight hour long improvisation session and these are some of the segments of the wonderful marathon recording. We particularly enjoyed the gorgeously haunting electronic soul captured on "23:52" where those analogue synth strings just rise and rise to an epic climax.

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: Norwegian pianist and composer Eyolf Dale's The Space Between Two Notes is his seventh album on Edition Records. This album reimagines selections from his trio albums Being and The Wayfarers with some rich orchestral arrangements by the Norwegian Radio Orchestra, all conducted by Miho Hazama. Blending jazz and classical music in unique ways, Dale focuses on the nuanced spaces between notes and so creates a horizontal, interval-based musical exploration. His trio, including Audun Kleive on drums and Per Zanussi on bass, achieves a delicate balance while integrating with the orchestra to deliver a seamless, expressive sound that makes for a genre-blurring musical vision.

Review: "In 1987, a Japan-only Laserdisc was published by intermission. It showcased one our of works created by renowned German environmental artist NILS-UDO with specially commissioned music by Japanese Kankyo-Ongaku group Interior... Soon after, the world vanished." As a label, WRWTFWW Records have done a stellar job at setting the scene and establishing the perfect atmosphere for Sculpture of Time: Apocalypse. Released on vinyl for the very first time since it was made, almost 40 years ago, it's a lush, tranquil, and reflective slice of earthly ambient that sounds as though someone has just walked out of the jungle and picked up a synthesiser. You can almost reach out and touch the blue and green spaces the soundtrack evokes. Transportive in the truest sense.

Review: Ben Kaczor and Niculin Barandun's debut album, Pointed Frequencies come on the tasteful German outlet Dial Records and explores the healing potential of sound through six immersive tracks. Their collaboration began in 2022 for an audiovisual show at Digital Art Festival Zurich and has developed masterfully since and as Kaczor studied sound therapy, Barandun became intrigued by its possibilities, and it is that which has inspired the album's direction. It incorporates therapeutic elements like binaural beats and solfeggio frequencies into a seamless blend of ambient and experimental music. Through free improvisation, the pair have cooked up some brilliantly contemplative pieces here.

Review: Haruka Nakamura's Light Years: The North Face Sphere Spring & Autumn is a soundtrack that the Japanese composer created in response to a request from outdoor clothing brand The North Face to create an album for each of the four seasons. Two of his works feature here with changing acoustics, different melodies and gentle grooves conveying the evolving weather. The sounds have been made with various materials and instruments such as acoustic guitar, bass, sampling and chorus. It's a widescreen and immersive album where harmony and nostalgia happily coexist.

Review: Before he passed away in 1975 aged just 43, jazz musician and composer Oliver Nelson created a swathe of scores for film and TV, most notably Ironside and The Six Million Dollar man. This limited-edition release, the 19th in the 'Universal Pictures Film Music Classics Collection' brings two of Nelson's big-screen scores to CD for the first time. Tracks one to 18 form an expanded soundtrack to Western flick Death of a Gunfighter, a score in which Nelson focused on elegiac strings, melancholic motifs, suspenseful interludes and sweeping orchestration. The remainder of the CD presents the soundtrack to Skullduggery, a largely forgotten 'jungle adventure'. Nelson's music for this is more dashing, daring, upbeat and expansive, with extensive use of densely layered, tribal style percussion.

Review: For many people of a certain generation. Shawshank Redemption was the first grown-up film they ever saw which is why it is atop so many best-ever lists. No matter when you see it though, it remains a classic with an engaging story, great characters and an immersive soundtrack. To mark the 30th anniversary of the great movie, that soundtrack has now been pressed up on limited, numbered 180-gram audiophile black & white marbled vinyl with an insert. Plenty of the film's musical motifs and most memorable scenes feature and make for a great stand-alone listen.

Review: "A stunning use of Poe's work as the Cliffs Notes to his own majestic, intricate brand of storytelling, Flanagan's The Fall of the House of Usher showcases what the One Percent is willing to sacrifice to remain in high places." So says Vanity Fair of the Netflix Original Series, The Fall of the House Of Usher, a decade-spanning narrative that nods to several of the master horror author's most famous nightmares while telling tales of the wealthy and wealthier. It's typically polished-looking stuff from the country that can't stop making polished-looking dramas for video-on-demand services. But how about the score? Written by the Newton Brothers, regular collaborators of Gothic Horror creator Mike Flanagan (The Haunting of Hill House), the music could loosely be described as contemporary classical, and certainly does well in setting a scene and creating a brooding atmosphere, even if you're not actually watching the show.

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: Nocturnal Emissions are an exploratory three piece led by Nigel Ayers. Given where they're coming from, near Stonehenge, their work is fittingly concerned with the relationship between humans and industrial materials and processes, stretching right back to Neolithic construction techniques, and the shroud of mystery that surrounds this barely-understood past. Simply put, everything here feels shrouded in ancient myth, but resolutely contemporary. On record, that sounds like a combination of serenity and bliss with drones, sirens, tension and steam. There's darkness here in deep, almost bottomless pits, but it's still anyone's guess as to whether they could exist - or would feel so vast - without the lighter elements at play, too. Weird, wonderful, and thoroughly ahead of its time when it first landed on more adventurous sound systems back in 1991.

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: Joseph Shabason, Matthew Sage, and Nicholas Krgovich form a harmonious triangle, both musically and geographically. Hailing from Toronto, Colorado, and Vancouver respectively, they converged at Sage's barn studio nestled at the foot of the Rockies to explore their shared talent for finding beauty in life's mundane moments. Shabason, known for blending late 80s adult-contemporary and smooth jazz aesthetics into ethereal soundscapes, joins forces with Sage, who combines instrumental prowess with synthesis and field recordings to evoke the natural world's whimsy and profundity. Completing the trio is Krgovich, whose observational poetics add a relatable touch to their calm expressionism. Their collaborative album, warmly Shabason, Krgovich, Sage extends the wry and melancholic micro-miracles established in their previous works.

Review: John Williams and Yo-Yo Ma have been creative and personal friends and collaborators for many decades now. Their fruitful partnership is revived here for a new recording for Sony Classical alongside the rightly venerated New York Philharmonic. The record features two concert works that the composer penned for the cellist with some extra inclusions taken from his famous film scores for movies such as Schindler's List, Lincoln, and Munich. There are also some guest appearances including Spanish guitarist Pablo Sainz-Villegas and harpist Jessica Zhou. A superb sounding and magnificently executed album for fans of classical music.