This album marks a new chapter for the much-loved Castles in Space label, marking the launch of their Lunar Module CD imprint. Label devotees will note that Gordon Chapman-Fox is the man behind Warrington-Runcorn New Town Development Plan, and here we get to see his immersive, ambient side. The intention is for the listener to turn up the volume and dive headlong into the wide-open sound world.
What’s the music like?
There is an appealing subtlety to Chapman-Fox’s ambient work, though as he says it is most definitely not background music. It is instead music where you can enjoy the evolution process, either through close study or by stepping back to take in the whole. Working with orchestral sound libraries, Chapman-Fox creates an analogue sound, keen to keep the human elements of a wordless choir or of a bow scraping across a stringed instrument.
Components begins what is effectively a four-movement suite like the onward approach of a cloud, with broad textures and widely spaced drones, but also a front that has more defined musical features. Fringe acquires a brooding edge, with delicacy at its core but a structure that moves slowly but surely. Emphasis brings forward this vulnerability, the wordless choir a soothing constant as a soft, keyboard instrument traces lines against the sky. Finally Singular, which is less defined initially, but whose scratchy sound gains a treble element that glints against the dense backdrop rather beautifully.
Does it all work?
It does – and by moving slowly yet incrementally, Chapman-Fox achieves his objective to make people listen, either by stealth or by direct attention.
Is it recommended?
It is. Play this music very loudly and it will be an all-encompassing experience, while at the very least it will bring intense moments of calm to your world.
For fans of… Tim Hecker, Fennesz, Max Richter, A Winged Victory For The Sullen
M / Robin Scott has announced details of a new album, the FAQs of life, the first to be released using Scott’s ‘M’ moniker alongside his own name, and the first new album of music under the former guise in over 40 years, he explains, “I just thought, why don’t we amalgamate the two? A marriage of me and my alter ego.”
the FAQs of life, set for release on 11 July 2025 on BMG, launches with AI’, a gentle yet hypnotic, melodically sweet, piece of art-pop that finds Scott pondering the implications of new reality including Artificial Intelligence.
There are few artists who have had a career as diverse as Robin Scott. As ‘M’ he crafted the iconic multi-million selling song Pop Muzik (which was recently rediscovered, and devoured by a new generation of fans after becoming a viral TikTok sensation complete with its own dance craze. “It’s probably bigger now than it was the first time around!” he exclaims), played folk clubs with Ralph McTell and John Martyn, shared time with David Bowie, produced and collaborated with Ryuichi Sakamoto, released records by the likes of Adam Ant, recorded The Slits with Julien Temple and worked extensively making music in Africa, collaborating with celebrated trio ‘Jive Shikisha’.
Scott’s fondness for biodiversity and eclecticism is apparent all over his new album; a record of meticulously crafted songs that glide across multiple genres from pop to rock via new wave, disco and even a touch of country. “Music for me has always been a voyage of discovery,” Scott explains. “I’m constantly looking for something which surprises me and for this record I wanted to be outside of my comfort zone – to discover something different, something new.”
While the record features longstanding collaborators Ali Gavan and Phil Gould, it is a true solo album in many senses. The initial sketches emerged during lockdown with Scott having to create a new studio set-up from scratch, giving him the opportunity to approach things from a fresh perspective. For many of us, it was a period of intense reflection; for Scott it was intensified as he contemplated losses in his own life. “It’s an homage to people I’ve loved and lost – a dedication to all those I trust and believe in. It’s also about the foreverness of the things we do, the impressions we make and the things we leave behind. The legacies we create on this planet.”
As the playful title suggests, the FAQs of life is a probing album exploring the state of things, both internally and externally. “We all have questions,” says Scott. “And there are a certain amount of answers readily available, but do they cover everything? Who knows? I’m playing with words to some extent but it’s a term or an expression which sums up the way we’re all floating in this vast sea of information, trying to figure things out. There’s just no manual for this!”
The end result of this journey is a record that is a landmark moment for Scott. It represents him coming to terms with his past, integrating it into his future, and the resulting album contains some of the most crystallised visions and ideas he’s ever had. “I want this to be a showcase of where I’m at,” he says. “Because I’m truer to myself in these recordings than I’ve ever been. It’s the spectrum of my personal experience, from both ends of the telescope!”
Back in 2003, James Hillard, Severino Panzetta, Jim Stanton and Luke Howard began a weekly residency in Eagle London – the birth of Horse Meat Disco, which has gone on to become a much loved feature of the capital city’s nightlife. In the same year, Howard made his first visit to Brazil – which is where the roots of this compilation can be found.
He learned to dance samba, parading at the Rio carnival three times, and gathered a great deal of disco and boogie music – the fundamentals of this compilation. In the making for nine years, Mr Bongo’s collection finally sees the light of day after multiple licensing delays, giving us a chance to enjoy the fruits of Howard’s labours.
What’s the music like?
Horse Meat Disco Brazil was worth the wait! There are some beauties here, make no mistake, and the icing on the cake is the continuous mix provided with the digital package.
There are many highlights. To name just a few, Jorge Ben’s effervescent Rio Babilônia, Coisa Quente’s Edmundo (In The Mood), an absolute beauty doffing its hat in the direction of Glenn Miller, or the stylish funk of Os Carbonos’ Pássaro Selvagem. Luiza Maura’s Sorriso Vemelho is a joyful open air number, while Suspira, by Robson Jorge & Lincoln Olivetti, has an easy and very danceable groove, a kind of Earth, Wind & Fire cousin. Closing out the collection are the breezy singalong Queima Como Fogo, by Waldirene, and Carlos Bivar’s Elo, a kind of Portuguese yacht rock.
Does it all work?
It certainly does, especially when the sun is shining! What a shame that licensing negotiations and delays so often affect the release of these compilations, but we are grateful to have the enjoyment Luke Howard brings us here. The fact it is volume one is also a good sign.
Is it recommended?
Enthusiastically. A summer companion to bring a great deal of sunshine and musical happiness.
Nonesuch Records releases pianist and composer Brad Mehldau’s Ride into the Sun – a songbook record of music by the late singer, songwriter, and guitarist Elliott Smith – on 29 August.
Featured musicians include singer/guitarist Daniel Rossen (Grizzly Bear); singer/mandolinist Chris Thile (Punch Brothers, Nickel Creek); bassists Felix Moseholm (Brad Mehldau Trio, Samara Joy) and John Davis (who also engineered and mixed the album); drummer Matt Chamberlain (Fiona Apple, Tori Amos, Randy Newman); and a chamber orchestra led by Dan Coleman, who also conducted on Mehldau’s 2010 album Highway Rider.
Two album tracks, Tomorrow Tomorrow and Better Be Quiet Now, are available and can be watched below, together with an in-the-studio video of the musicians recording, directed by Matthew Edginton:
London-based, Australian-born producer, songwriter and DJ, HAAi (aka Teneil Throssell) has announced details of her highly-anticipated new studio album – HUMANiSE – out on 10 October 2025 via Mute on limited edition clear double gatefold vinyl and limited edition CD in eco card packaging.
You can watch the video for Satellite featuring Jon Hopkins, lead vocals by Obi Franky, plus ILĀ and TRANS VOICES, a crescendo of celestial glitch-pop that references early Kompakt records, 90s rave and 2-step, below. The accompanying visualiser is by Dobermann Ltd, who Teneil has been working closely with on the artwork.
Teneil goes on to say, “Satellite encapsulates everything HUMANiSE stands for: the importance of your people and the unique humaneness we offer one another in a rapidly changing world. I feel so lucky to have shared this track with Jon and Obi, ILĀ and TRANS VOICES.
This album is for my trans and queer family and our allies, to say thank you for lighting up every space you’re in. I will always be in your army.”
Talking about the track, Obi Franky explains, “Inspired by my father’s passing, I decided to write a message that I believe we share for each other. And this can apply to various situations for so many people including those that live far away from each other. Sometimes being reminded someone’s energy is there is enough to keep you going. We are all satellites and have the power to create a sense of unity, the power to receive and give what ultimately a human wants – love.’
HUMANiSE stands as an immense evolution from the debut, Baby, We’re Ascending, and arrives at a prolific time for the artist. Her BBC Radio 6 Music A-listed track, ‘Can’t Stand To Lose’ was reworked by HAAi and Tom VR and soundtracked a groundbreaking visual which premiered on the Outernet’s digital exhibition space for Women’s History Month. That was followed soon after by a collaboration with KAM-BU, Shapeshift, and recent (and forthcoming) DJ appearances that include Coachella, Movement, Glastonbury and helming her community-focussed night in London, UNiSON.
In all of her work, Teneil has always sought to conquer new frontiers in electronic music, and on the new album, she’s drilling deeper into the grid. HUMANiSE reckons with what it is to be human in an increasingly digital world, as AI threatens to eclipse everything and our screens separate us from each other. The result is an ambitious and thrilling epic: embodying a sonic step up, exploring the sweet spot between machine-led dystopia and emotion-filled utopia.
“Throughout the album, I kept thinking about a machine with a human heart,” she says. Where previously she’s been hidden by a laptop, or obscured behind the decks, more recently she was, “inspired to return to my songwriting roots and use my voice more in my own music.” “Throughout the album, I kept thinking about a machine with a human heart,” she says. Vocals are front and centre, stunningly delicate and giving a newfound dimension to her kinetic productions. “It took a long time to get there, it’s such a vulnerable thing to do,” she continues, “but for this album, it was important for me to allow this ‘human heart’ to be front and centre.”
The human heart has another focus on the album: unity and community. HAAi explains, “Even though HUMANiSE is about how the world is starting to change beyond our control, it’s important to keep a sense of togetherness and hope.” These ideas of community and a sense of belonging is of utmost importance, and she has returned to work with friends including Jon Hopkins, Alexis Taylor from Hot Chip, singer Obi Franky and rapper KAM-BU, artist Kaiden Ford, as well as poet James Massiah, who guests on All That Falls Apart, and two choirs: TRANS VOICES with choir leader ILĀ and a gospel choir led by Wendi Rose. But this is no clique, the community she surrounds herself with is inclusive, with ample space for the listener on a journey where you are suspended in dreamlike euphoria, drawing the most human part of you to the surface – the part where nothing matters more than family, friends, and togetherness.
HUMANiSE is out on 10 October 2025 via Mute on limited edition clear double gatefold vinyl and limited edition CD in eco card packaging. You can pre-order here
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