On this day in 1936, the first performance took place of Prokofiev’s much-loved Peter and the Wolf. This piece was commissioned by the Central Children’s Theatre in Moscow, and given its first performance on May 2 in the Large Hall of the Moscow Conservatory. Prokofiev dedicated the work to his children.
You can enjoy the witty and touching setting below, in an arrangement for chamber ensemble at the Royal College of Music, narrated by Lucy Hollins and conducted by Sam Scheer:
Juha Mäki-Patola’s third solo album is his first release for FatCat Records’ post-classical imprint 130701.
It consists of twelve carefully composed and intricately layered pieces, “built around upright piano and Prophet 10 loops processed through tape echo and reverb”. The linked pieces were recorded during the dark winter of 2024–2025, where Mäki-Patola sought light and solace through memory and imagination. The pieces look to blend memories with the present for times of healing.
The album was recorded live in Juha’s Helsinki studio, using tape-based processing techniques, and with guests including his daughter Frida, Jessica Hébert, Tapani Rinne and Julia Gjertsen – with the addition of vocals, violin and bass clarinet.
What’s the music like?
Deeply calming. Rather than suggest a dark winter, this is music that captures the rarefied light Helsinki often experiences. The twelve movements have a simple musical language, but that is their strength – musical gestures that are easy to listen to, but which set an atmosphere all of their own.
Often the music hangs in the air like a suspended cloud, free of hassle but progressing onwards in a fluid and attractive way. Many of the moments are free of obvious melody, free to wallow in the bright textures that Mäki-Patola has formed. Moment 2 is one of those, while Moment 3 steps back for thoughtful introspection before introducing a lovely, thick duvet of sound to dive into.
Moment 6 is led by softly voiced keyboards with mottled textures around, before Moment 7 drops the frequency effectively for a slow, mellow stream of consciousness. Yet this turns out to be a prelude to the blissful Moment 8, where languid guitar hovers over a reassuringly dense drone. Moment 10 is similarly calming with its lazy loops, while Moment 12 ends with waves of calm.
Does it all work?
It works, through being a natural evolution of musical thinking. Mäki-Patola doesn’t try too hard at any point, being comfortable to let the music forge its own path – which it does effortlessly.
Is it recommended?
Momentary Movements of Landscapes is a deeply restful time out for the listener, at the same time offering pinpricks of light in the darkness. It is a cleansing experience, slowing the heartbeat and softening the soul.
For fans of… William Basinski, Tim Hecker, Stars Of The Lid, Machinefabriek
This week we learned the sad news of the passing of pianist and conductor Jean-Bernard Pommier, at the age of 81. As well as being a highly regarded solo pianist, Pommier held a post with the Northern Sinfonia – as you can read from this tribute on the Cultured North East website
Pommier made several highly regarded recordings, including cycles of the Mozart and Beethoven piano sonatas – and the Tidal playlist Arcana have compiled recognises this, as well as recordings of the Brahms Violin Sonatas, in partnership with Jaime Laredo, and the Mozart piano concertos with Sinfonia Varsovia. You can access the playlist here
Analog Fingerprints was the alias adopted by Marco Passarani in the early 2000s, and Numbers have done us a favour by collecting the Rome producer’s releases for the Plasmek and Pigna labels.
Passarani was keenly aware of developments in techno music at that time, and his music takes influences from Chicago and Detroit artists while being something wholly original; so much so that Autechre stepped up to remix him in 2001. This was the year that Analog Fingerprints released its first music, and this anthology covers the releases up until 2003, including a remix of Raiders Of The Lost ARP’s Highway.
In the label’s words, “Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.”
What’s the music like?
The extensive commentary on the Numbers Bandcamp site hits the nail on the head when describing Passarani’s music as “machine funk with restless experimentation”.
This selection of tracks shows his talent for taking minimal material and maximising it, always with both eyes on the dancefloor. The sound is sharp at the edges and though fragmented at times there are always shards of melody to grab onto.
Tribute is top notch, brilliantly constructed and executed, while Meta Tool ensures the collection gets out of the blocks quickly. Blue Screen does a neat line in crossrhythms, breaking into sped-up funk in its second half, while Matro’s beats and bleeps match up well in a track of busy activity.
Does it all work?
Yes. This is no nonsense music, cleverly put together, and Passarani clearly had a lot of fun making it!
Is it recommended?
It is – an essential gap-filler for fans, and more broadly a fine selection that shows just how strong techno was in Europe as well as America at the turn of the century.
For fans of… Kenny Larkin, Luke Slater, Dave Angel, Oliver Lieb
Montreal artist Tiga is back after a long absence – and in reality, the electronic music world have missed him. A distinctive and often humourous presence, he was a welcome part of the sometimes divisive Electroclash movement in the 2000s, his contribution being club-ready tracks that were often sultry and frequently showed off his wit and ability to craft a catchy hook.
HOTLIFE is only his fourth long player, for Tiga has been a prolific artist when it comes to releasing tracks – but he has gone big here, with a substantial record of 12 tracks lasting well over an hour.
Tiga’s absence from the music frontline can be partly attributed to illness, for he had a mystery neurological condition that he nicknamed ‘vibe fog’, and then found his creativity slowed – but not stopped – during lockdown. The roots of HOTLIFE trace back to then.
What’s the music like?
Given the album’s larger dimensions, it is to Tiga’s enormous credit that this is record not just sustaining interest the whole way through but reaching the sort of highs that made him such a good listen in the first place.
Right from the start it is evident that he is on form, with the cheeky Hot Wife, a collaboration with Boys Noize, ticking all the right boxes while sounding as though it was written yesterday.
As the album unfolds the biggest impression is made by the production sound, for there are some classy beats to unpack here, some fine riffing, and the sort of vocal couplets we were hoping for. “I got a new hobby, I put silk on my body”, he proclaims on Silk Scarf, channelling the spirit of Prince – with Fcukers vocalist Shanny Wise responding “Call me”, in sultry tones.
Lollipop and Cherry are brilliantly executed tracks with cheeky pop at their centre, while the more obvious dancefloor cuts – High Rollers and IAmWhatIAm – have all manner of thrills and spills when turned up loud.
The big surprise is a cover of the InXS hit Need You Tonight, repurposing the lyrics for the middle of a dancefloor. “Your moves are so raw!” takes on a whole different angle when repeated and given the deadpan treatment.
Does it all work?
It does. Tiga’s inspiration was clear for this album, and you really could dance the whole way through it – while singing at the same time.
Is it recommended?
Yes, with great enthusiasm. As underground electronic albums go, this is a great place to be in 2026. Fun and dancefloor satisfaction are guaranteed in equal measure.
For fans of… The Juan Maclean, Jamie Lidell, Cristian Vogel, Green Velvet
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