Label Description: no one remembers when the first false wind stirred, nor a time before their song began. as the still of night soothes our slumbering valley, the first crackle of embers sways in the shadow of elm and willow. atop a bed of deadened bark comes the hiss of a breeze that disturbs not the canopy above, nor does it wick the salt from one’s skin. here does coloured dust swirl against the darkness, and the first hollow, melancholy chime ring out
i close my eyes and recall the flavour of scorched ash and a hint of her favourite mango bubblegum sweetening the filter of the cigarette we passed between us. laid upon the roof of our car, staring ever upwards awaiting the lanterns of the past’s nightporters to decorate the sky. always caught mid-laugh by the sounding of the lambent bells off in the distance, though hardly ever in any hurry to make ourselves their audience. not while we had a fool’s infinity to spare
sunken notes whistle through the abandoned woods. the lights of every promised yesterday glows upon my lidded eyes. i feel a dim, charred flake at my lip. i wish for it to taste of mango. this desire is enough to alert me once more to my sense of the present, and my eyes would draw open to a flurry of cinders as a bellow strikes deeply into the air. i step into the cloud of dim flickers, and listen to its cry wavering into the ink-black eternity as it fizzles away
within my chest, a sigh begs. yet i remain silent, lest my pained breath mask the warm tone of her voice. each night unmoored between the blooms may i remain, until i find her among the glittering chorus of the gone
Label Description: The latest by Rimini riddler Lorenzo Camera aka Mondoriviera refracts his burnt vapor mutant sound design into a melted palette of hypnagogic guitar, funhouse keys, wormhole FX, and narcotic crooning: La Laguna Dei Bei Sogni (“The Lagoon of Beautiful Dreams”). Inspired by an episode of a 70’s Italian cartoon about a fugitive ex-army officer delirious with yellow fever on a paradisal South American island surrounded by stolen money and perplexed indigenous villagers, the songs stir an appropriately manic and hallucinatory mood.
Layers of guitars and voice sway and surf in a smog of memory and melody, punched up with curveball rompler samples (metallic percussion, monster growls, UFO sirens), then processed through a cheap Zoom FX pedal to tie it all together. The result is a hazy alien odyssey of fever dream pop, flashback glam, and lo-fi teleportation, rippled by sunset breezes across the Adriatic.
Mastered by Jared Carrigan. Design by Britt Brown.
Label Description: When I wrote the original ‘Embody’ EP, it had a function. My desire was to tap into the painful vulnerability we all feel when it comes to being who we truly are. The fears that arise, the masks we wear, the things we project to protect what we inherently are to keep ourselves safe, because who wants to show their true selves and then be rejected? I wanted this record to make the listener reflect on what they need to embody in themselves to be their full potential in motion. So when the remix EP manifested itself, I wanted artists whom I see as true to their calling, who can connect with that part of themselves that isn’t afraid to expose their inner darkness and balance it with their blinding light in the form of sound. And boy, did they do exactly that on this record.
“Embody” was the final remix to be assigned. I had originally asked Bill Nace to do it, but he ended up having a conflicting tour schedule and was unable to. So I knew instantly who to ask next and it was Mandragoro, but I wasn’t sure he’d be up for it. He is quite the enigma. He has been a techno producer for over 2 decades but has done so very quietly, staying under the radar as a producer. I knew his potential to crush this remix, but would he see it? I asked him and he did not hesitate and said yes. I was stoked because Mandragoro is not only skilled at his craft, but his technique is detail-oriented, precise, and thoroughly constructed without losing its heart and soul. He can take the most beautiful noise and refine it into crisp, industrial-blissed techno. His version of “Embody” retains the urgency of the original but develops a resolve that my version only hinted at.
I specifically wanted Valerie Martino (Unicorn Hard-on) to interpret “Paradox”. I could envision her taking this song and making it her own. My version of “Paradox” was a transmission from a primordial muse. So I thought who else could tap into that ancient, raw, hypnotic energy I was trying to translate? I knew instantly that this was Val’s track. What she was able to harness from the Aether is an exquisite, mature, polished, collected, and deliberate track. Valerie and I came of age together during the early 2000s, so I have had the luxury of seeing her musical and spiritual journey over the last 23 years, and this track incarnates all those lessons and years of creating music into a glorious capture of her growth, not only as an artist, but as a woman.
For the Penitence remix, Angel had agreed to be part of the project and specifically asked if she could do this track. I immediately wrote her after it was decided and said, “This song is very meaningful to me, as its what I would say if I could say one last thing to my friend who passed away last year.” She immediately wrote back, “I will make sure the remix gets some empathetic energy.” Angel and I are just getting to know each other, but when she wrote this, I believed her. I knew I could trust her with this exposed nerve I was handing off to her. And I was right to trust her. She took my straight forward, soul bearing lyrics and she didn’t just remix this song. She literally took my words and translated them into the language of the dimension in which my friend now resides, so that he could understand my message. This was a profound full circle moment for me, as writing and singing Penitence healed me to some, but now I’m healed even more, because I am confident the message was finally heard and received. This wouldn’t have been possible without her translation.
The remix of “Litmus” was done by datewithdeath (Travis Johnson / Frolic Press).Travis had been thinking of asking me to collaborate and then I posted “Embody” on YouTube and he reached out to me interested in releasing it via Frolic Press. I was so stoked! When we were talking I didn’t know what kind of collab he was thinking, so I had suggested that maybe he’d be interested in doing a remix of me. He agreed and then suggested we make a whole remix EP. I was so stoked; this had been something I had been wanting to do, and when he said it, I enthusiastically agreed because oddly enough, he suggested one of the artists I had already dreamed about remixing me. I realized Travis is the person who is going to make this happen, and I just have full trust in him to see it through. At this point I start to kind of see Travis as this loving Shepherd, herding his vulnerable and precious flock and bringing us all together. My version of “Litmus” is incredibly stark and very ambient. Travis’s mix is anything but that. It is as feral and surreal as it is stunning. He is the Shepherd who is also a master of chaos, manipulating it and making it perfectly coherent.
I had never met Safie Flato, but Travis suggested him to me as a possible artist to remix a track, and after checking him out I agreed we should ask him. Safie heard the EP and asked if he could do “Recursive” because the lyrical concept of recursive energy struck a chord with him. He told me when he was remixing it, the song resurfaced a deep trauma, but it sparked a breakthrough that completely changed how he viewed the experience and he was able to “reconfigure what it meant” to him. I found this meaningful, and knew then he was the perfect fit for this particular track. Safie did something no one else did. He left my vocals and lyrics untouched, and remixed only the music. By doing that, he kept my vulnerability while transmitting his own through his arrangement.
It was an honor and a privilege to get to know everybody better through this deep level of sonic communion. Many thanks to Valerie, Angel, Nick, Safie, and Travis for their masterful renditions of my songs. Thank you also to Arvo Zylo for connecting Travis and I and your part in the ‘Embody’ releases coming to be. Thank you Angel for the pristine mastering.
Label Description: In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.
Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.
The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.
At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.
Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own.”
Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.
Abul Mogard: synthesizers, treatments Rafael Anton Irisarri: electric guitars, Leslie speaker, treatments Martina Bertoni: cello on “A Blue Descent” and “In a Quiet Radiance” Andrea Burelli: violin and vocals on “In a Quiet Radiance”
Composed and produced by Abul Mogard and Rafael Anton Irisarri.
“A Blue Descent” composed by Abul Mogard, Rafael Anton Irisarri, and Martina Bertoni.
“In a Quiet Radiance” composed by Abul Mogard, Rafael Anton Irisarri, Andrea Burelli, and Martina Bertoni.
Recorded by Rabih Beaini and Lucas Brell during a residency at Morphine Raum, Berlin, 18–20 March 2025. Transformations and overdubs completed in Rome, New York, and Berlin, Summer 2025. “Of Blessed Ages” recorded by Abul Mogard in Rome. Additional recordings by Andrea Burelli and Martina Bertoni in Berlin.
Mixed by Abul Mogard in Rome, September–October 2025. Mastered by Stephan Mathieu at Schwebung, Bonn. Lacquer cut at Schallplatten Schneid Technik (DE). Pressed on BioVinyl at Optimal (DE).
Artwork by Marja de Sanctis Photography advisor: Alessio Pizzicannella Design and layout by Daniel Castrejón
Made in Germany
Many thanks to: Alessio, Daniel, Karen, Iulia, Marja, Matze and everyone at Morr Distribution, Stephan, all our friends and family.
Label Description: L’auteure-compositrice-interprète de pop expérimentale montréalaise N NAO, alias Naomie de Lorimier fait appel à une pléthore d’artistes – Lou-Adriane Cassidy, Helena Deland, Das Beat, Ben Shemie (Suuns), Regularfantasy, Sea Oleena, Bénédicte, ainsi que son fidèle collaborateur Charles Marsolais-Ricard alias Charlin – sur Nouveaux Langages (17 juillet 2026 via Mothland), un nouvel album-double comprenant des collaborations, des remixes, ainsi que des démos inédits de son album nommé sur la longue liste du Prix de Musique Polaris 2025, Nouveau Langage. Ce dernier alliait avec brio chanson en français minimale et ambiante, transe aux boucles vocales et accroches mélodiques répétées, le tout paré de textes relationnels, de récits éco-féministes et de réflexions métaphysiques; l’artiste mettant en musique la « puissance de la douceur » sous le signe du feu.
À l’instar de son prédécesseur, Nouveaux Langages puise à même les timbres enregistrés sur bandes magnétiques, les arrangements mêlés d’instruments électroniques (synthétiseurs, boîtes à rythme, modules d’effets) et acoustiques à cordes (harpe, guitares, piano) où nichent aussi cloches, échantillonnage, soundscaping et field recordings, arborant lui aussi des sonorités oniriques et éthérées. Pour le Volume I de ce nouvel ouvrage, N NAO revisite avec qui elle collabore des souvenirs façonnés à deux, s’inspirant de ces genèses impromptues pour guider le processus créatif. Le Volume II, lui, fait vœu de la dévoiler dans toute sa vulnérabilité, se déclinant en une série de pièces-phares enregistrées sur un 4-pistes lors d’une résidence au Couvent des Petites Franciscaines de Marie à Baie-Saint-Paul au printemps 2023.
Montréal experimental pop singer-songwriter N NAO a.k.a. Naomie de Lorimier calls upon a plethora of artists—Lou-Adriane Cassidy, Helena Deland, Das Beat, Ben Shemie (Suuns), Regularfantasy, Sea Oleena, Bénédicte, as well as her longtime collaborator Charles Marsolais-Ricard a.k.a. Charlin—on Nouveaux Langages (July 17th, 2026 via Mothland), a new double-album featuring collaborations, remixes, as well as unreleased demos from her Polaris Music Prize long-listed album, Nouveau Langage. Her 2025 release skillfully combined minimal and ambient French-language song with a trance of vocal loops and repeated melodic hooks, all adorned with relational lyrics, eco-feminist narratives, and metaphysical reflections; the artist setting to music the “power of gentleness” under the sign of fire.
Like its predecessor, Nouveaux Langages draws from dreamlike and ethereal sounds recorded onto reel-to-reel tape via arrangements mixing electronic instruments (synthesizers, drum machines, effects modules) and acoustic string instruments (harp, guitars, piano), which also house bells, sampling, soundscaping, and field recordings. For Volume I of this new work, N NAO revisits memories shaped together with her collaborators, drawing inspiration from these impromptu beginnings to guide the creative process. Volume II, on the other hand, vows to unveil her in all her vulnerability, taking the form of a series of unreleased origin pieces recorded on a 4-track during a residency at Couvent des Petites Franciscaines de Marie in Baie-Saint-Paul in the Spring of 2023.
Volume I
Déjà (feat. Sea Oleena)
Paroles et musique: Naomie de Lorimier Réalisation: Naomie de Lorimier Voix, guitare acoustique et échantillonneur: Naomie de Lorimier Voix et synthétiseurs modulaires: Charlotte Loseth Harpe: Coralie Gauthier Guitare acoustique: Charles Marsolais-Ricard Prise de son: Jean-Bruno Pinard, Naomie de Lorimier et Charlotte Loseth Mixage: Naomie de Lorimier Matriçage: Francis Ledoux
Nouveau Langage (Charlin Remix)
Paroles et musique: Naomie de Lorimier Réalisation: Charles Marsolais-Ricard Voix, piano, orgue, synthétiseur et échantillonneur: Naomie de Lorimier Guitare acoustique, échantillonneur, batterie et programmation: Charles Marsolais-Ricard Batterie et programmation: Samuel Gougoux Prise de son: Jean-Bruno Pinard et Naomie de Lorimier Mixage: Charles Marsolais-Ricard Matriçage: Francis Ledoux
Fleuron (feat. Helena Deland)
Paroles et musique: Naomie de Lorimier Réalisation: Helena Deland Paroles additionnelles: Helena Deland Voix: Naomie de Lorimier Guitare électrique et voix: Helena Deland Guitare acoustique, basse et batterie: Patrick Holland Prise de son: Jean-Bruno Pinard et Patrick Holland Mixage: Patrick Holland Matriçage: Francis Ledoux
Echo (Ben Shemie Remix)
Paroles et musique: Naomie de Lorimier Réalisation: Ben Shemie Voix, échantillonneur et cloches: Naomie de Lorimier Synthétiseur, échantillonneur, voix, batterie et programmation: Ben Shemie Guitare synthétiseur: Charles Marsolais-Ricard Batterie et programmation: Samuel Gougoux Programmation: Simone Provencher Prise de son: Jean-Bruno Pinard Mixage: Ben Shemie Matriçage: Francis Ledoux
Corps (feat. Lou-Adriane Cassidy)
Paroles et musique: Naomie de Lorimier Réalisation: Naomie de Lorimier Voix, synthétiseur, échantillonneur, batterie et programmation: Naomie de Lorimier Voix, batterie et programmation: Lou-Adriane Cassidy Basse: Alexandre Martel Synthétiseur et échantillonneur: Charles Marsolais-Ricard Batterie et programmation: Samuel Gougoux Prise de son: Jean-Bruno Pinard, Lou-Adriane Cassidy, Naomie de Lorimier et Alexandre Martel Mixage: Naomie de Lorimier Matriçage: Francis Ledoux
Pleine Lune (Das Beat Remix)
Paroles et musique: Naomie de Lorimier Réalisation: Das Beat Paroles additionnelles: Paulina Mertl Voix: Naomie de Lorimier et Paulina Mertl Synthétiseur et programmation: Alexander Cowan Guitare électrique, synthétiseur et échantillonneur: Charles Marsolais-Ricard Batterie et programmation: Samuel Gougoux Programmation: Simone Provencher et Jean-Bruno Pinard Prise de son: Jean-Bruno Pinard Mixage: Alexander Cowan Matriçage: Francis Ledoux
Destin (RegularFantasy Remix)
Paroles et musique: Naomie de Lorimier Réalisation: Olivia Meek Voix, synthétiseur, batterie et programmation: Naomie de Lorimier Synthétiseur, batterie et programmation: Olivia Meek Harpe: Rosalie Gauthier Guitare acoustique: Charles Marsolais-Ricard Batterie et programmation: Samuel Gougoux Prise de son: Jean-Bruno Pinard Mixage: Olivia Meek Matriçage: Francis Ledoux
Château d’eau (Bénédicte Remix)
Paroles et musique: Naomie de Lorimier Réalisation: Maxime Gordon Voix et synthétiseur: Naomie de Lorimier Synthétiseur et programmation: Maxime Gordon Harpe: Rosalie Gauthier Synthétiseur: Jon Nellen Synthétiseur: Charles Marsolais-Ricard Batterie et percussion: Samuel Gougoux Prise de son: Jean-Bruno Pinard Mixage: Maxime Gordon Matriçage: Francis Ledoux
Label Description: The second full-length album from Simon Herody — French born, Berlin based multi-instrumentalist and composer. Featuring the visual universe of Paul Waak.
Water from Mars retraces the imaginary odyssey of a near-future conquest of space — a sonic journey conceived as a soundtrack for the imagination. Blending acoustic and electronic instruments, Herody navigates between sci-fi jazz, left-field ambient dub, space lounge, and 4th world music, crafting a world where melancholy and forward-thinking curiosity coexist in weightless suspension.
Indulgent, textured, and uncompromising — for fans of glitchy synthesizer textures, cinematic atmospheres, and music that refuses easy categorization.
Produced and performed by Simon Herody. Mixed by Tim Tabellion. Mastered by Wouter Brandenburg. Painting & design by Paul Waak. Drums on track 6 by Simon Grillères. Drums on track 7 by Boris van der Hoff. Thanks to friends and family for all the support All songs written and produced by Simon Herody in Berlin.
Label Description: Disiniblud, the thrilling new collaborative album project from the composers/producers/multi-instrumentalists Rachika Nayar and Nina Keith.
Rachika and Nina meet on complementary but seemingly disparate musical grounds. On her 2022 breakout LP Heaven Come Crashing, Rachika departed from her usual ambient guitar in favor of maximalist synths, sub-bass, and flickers of Amen breaks. Her distinct fusion of post-rock and electronica earned her accolades as Pitchfork’s Best New Music, on several best of the year lists (The New York Times, Stereogum, Fader, GQ, Bandcamp, etc), and as the opening act on tour with M83. Nina, meanwhile, is best known for her self-trained approach to composition, as evident on her 2019 debut MARANASATI 19111 and its delicate medley of cello, piano, clarinet, and flute, used to explore a personal history marked by community tragedy and paranormal incidents.
On Disiniblud, the two’s self-described “wordless conversation,” orbits such themes as mortality, reinvention through destruction, and sublimating fractured histories into music—all resulting in a work that suggests sweeping transformation can come from embracing old wounds with childlike wonder. Nina envisions this as she and Rachika’s younger selves packing a satchel, holding hands, and daring one another to run away into a place of “wounds and wonder,” only to discover an unforeseeable magic in an amalgam of post-rock, glitchy indie electronica, ambient, and pop genres in this co-created realm.
Disiniblud features guest appearances from Julianna Barwick, Tujiko Noriko, Cassandra Croft, ASPIDISTRAFLY, Katie Dey, June McDoom and Ponytail’s Willy Siegel.
Label Description: LOCKSTEP is a Nashville based band pulling elements from shoegaze, doom and heavy rock. They’ve built a sound rooted in atmosphere and weight, moving between quiet, uneasy moments and crushing walls of noise. With each release, the band has tightened their approach—cutting excess and focusing on impact.
Their debut full-length, I Know What I Saw, out July 24th through Profound Lore Records stands as the band’s most focused and complete statement to date. Following the release of several singles (their last being the ‘Drag Along’ single from 2025), their Arrival EP from 2023, and already having a decent number of shows and tours under their belt (notable past tours include runs with Prize horse and Gumm), I Know What I Saw leans into massive, slow-burning riffs and dense, layered guitars that stay engaging without letting up, locking into sections that feel both hypnotic and suffocating. Songs stretch and build with purpose, pulling listeners deeper into the band’s world while keeping a constant sense of tension and release. It’s the clearest and most realized version of LOCKSTEP yet.
Recorded by Zac Montez at Welcome to 1979 in Nashville, TN. Mixed by Matt Schumacher. Mastered by Nick Townsend.
Music For The Rest Of Us 