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The latest long-player of devotional noir by Humboldt County romantic Brian Pyle aka Ensemble Economique was originally titled Music Saves Lives, in response to the misguided backlash directed at underground artists in the wake of the tragic Ghost Ship fire in Oakland. Since Pyle’s career threads through a decade and a half of Northern California’s independent experimental music community, the blow struck a uniquely deep and personal chord. As a way to process, he began recording at his coastal home studio in Manila, California, channeling inner states of mind, seeking something “more personal and intimate, the idea of love, and shining through.” Radiate Through You delivers on its title, exuding a nuanced catharsis, alternately tempestuous and transcendent, forlorn but undefeated. Vaulted heavens of interwoven electronics ebb into hushed dirges of skeletal percussion and candlelit guitar. Roiling noise seethes, swells, and subsides as an ashen string arrangement rises in the mix, keening a somber, circular elegy, as if overtaken by memory on a long walk alone. Two key guest appearances lend the album even more dynamism and drama: the first by Barcelona synthesist Alexander Molero on the questing, celestial opener, “Music Is Life,” the second by New Zealand psychic sisters Purple Pilgrims on the devastating finale, “Blue Hour.” Both showcase impressive shades of Pyle’s finesse as producer and muse, sparking his collaborators to new heights. Whether taken as expressionist memorial, therapeutic song cycle, or something more ambiguous, Radiate Through You stands as a pensive, passionate statement by an enduring light of the West Coast canon, drawn from “a deep, special place of giant emotions, feelings.”

"WHRRu" combines the warm electronics and dynamic sound of Nadia's previous works with a new film-composing orientated cinematic sound and approach. The result is a ten tracks album with electronic listening music for quiet nights and long journeys. Nadia says: '"WHHRu" is written with emotions and memories from my childhood. The use of acoustic instruments and synthesizers gave me the opportunity to settle a past/ future concept for all the chapters. Going back to those moments helped me to close a book and to find a safe place within myself. My own story has just started.'

Nanook of the North are Stefan Wesołowski and Piotr Kaliński (also known as Hatti Vatti) - two acclaimed Polish musicians whose simpatico merging of compositional roles are blended as seamlessly as their use of acoustic and electronic sounds. Recording sessions broadly found Stefan playing violin and piano parts with additional synth touches and Piotr taking care of electronics, more synths and the final mix. Upon being invited by the Sopot Film Festival next to their hometown of Gdansk to perform an improvised score to a film screening, the duo chose Robert J. Flaherty’s classic 1922 silent movie of the same name - ‘Nanook of the North’. Keen to maintain and nurture the initial ambient essence of the film, the duo travelled to Iceland where they recorded the album in Reykjavík and later mixed it in Greenland.

Wælder are moving between ambient, industrial and pop. Their rhythms and soundscapes of voices, obscure samples and distorted field-recordings build spaces of barren material and soft ground, which teem and crawl - strange and harmonious. To present their music live, Wælder are mixing analogue and digital effects with guitar, synthesizers, vocals and loops. Rhythms and atmospheres blur, dissolve and re-assemble. Their live shows are often framed by visuals, generated in collaboration with various visual artists.