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Paper Tiger’s All Over the Place is a moody record, but also muscular—with strong kick patterns, spare but catchy vocal sampling, and short songs that make their mark then make an exit. Paper manages a nostalgia without sentimentalism, a 90s-style urgency and earnestness. The lead single, “A Different Trish,” features some drum and bass patterns that could score a new Run Lola Run sprint scene; it’s a dark, tightly-wound, electronic universe built and dismantled in 3 minutes and 21 seconds. Paper Tiger has a long list of credits as a hip hop producer, but working solo allows his style room to maneuver; All Over the Place explores everything from slow, drumless ambient compositions to hard, dark dance music. There’s a unifying sensibility, though: the chord progressions lean melancholy, textured timbres feel a little like grainy film, and distinct song sections reveal his pop fluency. For this record Paper set aside some of his digital rig to work with hardware instruments, in part because of what they can’t do. “Creative limitations can generate new ideas quickly for me—also you can’t get email or breaking news on a synthesizer.” The product of Paper’s efforts is a 12-track album with a distinct cinematic quality; All Over the Place is one of those records that turns your life into a movie as soon as you hit play. The tides of synth in your headphones swallow up the din of traffic and strangers’ chatter and the frame rate slows on your walk home. And everything feels infused with some new, deliberate significance: the guy on the corner stuck to his phone becomes a sympathetic everyman, the cityscape is suddenly vivified by all the human stories unspooling in it—you in your headphones among them.

Paper Tiger’s All Over the Place is a moody record, but also muscular—with strong kick patterns, spare but catchy vocal sampling, and short songs that make their mark then make an exit. Paper manages a nostalgia without sentimentalism, a 90s-style urgency and earnestness. The lead single, “A Different Trish,” features some drum and bass patterns that could score a new Run Lola Run sprint scene; it’s a dark, tightly-wound, electronic universe built and dismantled in 3 minutes and 21 seconds. Paper Tiger has a long list of credits as a hip hop producer, but working solo allows his style room to maneuver; All Over the Place explores everything from slow, drumless ambient compositions to hard, dark dance music. There’s a unifying sensibility, though: the chord progressions lean melancholy, textured timbres feel a little like grainy film, and distinct song sections reveal his pop fluency. For this record Paper set aside some of his digital rig to work with hardware instruments, in part because of what they can’t do. “Creative limitations can generate new ideas quickly for me—also you can’t get email or breaking news on a synthesizer.” The product of Paper’s efforts is a 12-track album with a distinct cinematic quality; All Over the Place is one of those records that turns your life into a movie as soon as you hit play. The tides of synth in your headphones swallow up the din of traffic and strangers’ chatter and the frame rate slows on your walk home. And everything feels infused with some new, deliberate significance: the guy on the corner stuck to his phone becomes a sympathetic everyman, the cityscape is suddenly vivified by all the human stories unspooling in it—you in your headphones among them.

Nuno Loureiro disfigures sound into an array of urban memories. His music evokes an ambient sensitivity crafted from subtly ascending melodies, often eschewing the rhythmic beat. Sonic landscapes soaring in the stratosphere yet maintaining a grounded, soulful essence. Lua Onus sees Nuno Loureiro stepping into the light for the first time, shedding the anonymity of a moniker.

The album, released on Superpang, takes pride in its minimalism, which proves effective in conjuring dreamlike experiences, even transcending them, serving as a gentle liftoff, seemingly attempting to break free from the overwhelming everyday experiences that both entice and repel us.

Prior to Lua Onus, Nuno had been producing music under various aliases, including mada treku and lorr no, among others, mostly released under the umbrella of the local Porto collective Favela Discos. His journey has led him to collaborate with Richie Culver, with whom he co-produced and mixed Culver’s records, such as Post Traumatic Fantasy, I Was Born By The Sea and Scream If You Don’t Exist (featuring Moor Mother, Rainy Miller and billy woods).

Icelandic musician and visual artist Sunna Margrét is set to release her debut full-length album, Finger on Tongue, via No Salad Records. Citing influences from krautrock legends CAN and Neu!, outsider synth pop artist The Space Lady and electronic music pioneers Suzanne Ciani and Eliane Radigue, Finger on Tongue is a masterclass in experimental pop, capturing an authentic Icelandic essence through its electronic and spellbinding sounds. Some tracks offer softness and peace while others invite you to dance, and the album homogeneity is precisely ensured by the rigorous approach to writing.

»Strange Times« is a virtuosic realization of contemporary electroacoustic soundscapes composed and performed by Stephen Ruppenthal and Gary R. Weisberg. With masterful employment of electro-acoustic techniques and tools, including the original 70's Buchla Music Easel Ruppenthal used in the Electric Weasel Ensemble, these two artist create an essential, psychedelic, electro-acoustic experience. »Strange Times« explores the ability of sound to alter consciousness, creating sonic environments, mental and physical states where one can allow the experience of listening to become transformative.

»Therapy« is a new experimental electronic music album by Alexandre Bazin that explores musical reasearch on the edge of ambient music, with a reminder of classical music. His instrumental music revolves around sonic textures, saturations, feedback, allowing new fragments to emerge to create melodies, timbres and tone colors. The saturated sounds recall the presence of the electric guitar, encompassing orchestral materials and acoustic instruments which are the basis of this album, with the exception of the first two tracks, which are solo synthesizer pieces, the first one that opens the album is a solo by Synthi A, and the second by Buchla Music easel.

After many highly acclaimed EP's Pancratio decides now is the time to drop his first long player, in his own words: With "A Run of Streams" I wanted to dig deeper into my experiences with the state of flux, which for me is essentially the highest expression of my emotional intelligence - nothing more than following your instinct exists outside that moment. The music is voluntarily not overproduced or overthought because I wanted it to be the most direct, essential and real possible. The idea of these streams that flow outside of the body like a river really represent in my mind the "state of flux" - and a "dam" (overthinking, anxiety, insecurities as other emotional blocks etc) the cause that stops that flow...

From P60 is an alias of Zoltan Nagy who this year marks the significant milestone of a quarter of a century in the music game. He celebrates that by launching his new label Midnight Fashion Chill with his own first EP for it. Over the years, Nagy has done it all from deep house to Balearic to lounge and downtempo and here brings that touch of class to six superbly soothing sounds that fuse all that and more. The opener is pure horizontal bliss, 'The Times We Spent Together' is a slow-motion daydream, 'Fallin' (with Jaidene Veda) is pure soul-soothing magic and 'When' is a gently lilting ambient soundscape crafted to perfection.

Jlin’s detailed and meticulous exploration of rhythm’s inner and outer reaches has made her one of the most distinctive and recognisable voices within both the electronic and classical music worlds. Her compositions are consistently appealing and have an accessibility to them, yet often defy expectations. She exists within her own locus solus - no matter the collaborator, no matter where sounds ultimately lead her. Whatever the situation – from composing the Pulitzer Prize shortlisted ‘Perspective’ for Third Coast Percussion, to ‘Godmother’ her AI-powered collaboration with Holly Herndon, Jlin always expresses her outlook to the fullest. Her new album ‘Akoma’ sets a new benchmark in her personal road map, not only since the album features guest appearances from Björk, Philip Glass and Kronos Quartet but for her continued sonic persistence and resistance. Jlin does what Jlin does and it’s beloved across genres, across scenes and across generations. ‘Akoma’ is a new entry point into her sound and a new approach for both those who have been following diligently and those who are just now entering her world.So how did she get here? Here’s a rundown for those looking for the facts. She was both a math nerd and a steel factory worker. She got inspired by Footwork and started making tracks with mentorship assistance from RP Boo and DJ Rashad, but her music was far from typical for footwork from the get-go. In 2011, she released her first track ‘Erotic Heat’ on the Planet Mu anthology ‘Bangs & Works Vol.2.’ Fashion designer Rick Owens heard it and invited her to soundtrack his Paris Fashion Week show. Already before an EP or an album Jlin was in new cutting-edge territory. And it hasn’t stopped since. Everyday Jlin wakes up early and clocks into her home studio working hard on new music. Her discipline and craft-like approach means that those who would try to copy her sound simply can’t get to the level she is at. Since ‘Erotic Heat’ she has released two bold albums, 2015’s ‘Dark Energy’ and 2017’s ‘Black Origami.’ She has also released her soundtrack to Company Wayne McGregor’s dance piece ‘Autobiography’ (2018) and most recently (2023) the mini-album ‘Perspective.’ She’s remixed µ-Ziq, Factory Floor, Ben Frost, Max Richter, Björk, Martin Gore and others. She’s collaborated with Holly Herndon and the late Sophie. She’s worked with visual artists Kevin Beasley and Nick Cave. She composed a string quartet for Kronos Quartet and performed with them live in a tribute to Philip Glass. She also recently completed a tribute to Sun Ra with Kronos. ‘Perspective’, her very well received percussion work for Third Coast Percussion has further opened doors for her in classical music. She’s even thinking of one day writing an opera. She had a residency at MassMoca Museum earlier this year (2023). She’s performed live at Pitchfork Festival, Unsound Festival and too many others to mention. She’s also worked with Indian dancers, Company Wayne McGregor and renowned choreographer/MacArthur Fellow Kyle Abraham. There’s more but you get the picture - she’s working in contexts and in ways that few of her peers are able to. ‘Akoma’ is the next step - all these paths have led to this. We encourage you to tune in.