Various
The World I Want Would Be Celestial, Wet

Lost icebergs off the arctic, hollowed out memory, an acerbic embrace.Third Space presents his first long-player via .jpeg artefacts. Venturing from previous, punchier, swinging percussion found on previous releases, the LP delivers careful introspection, experimentation, and rich conceptual development.The beatless iterations and encompassing walls of sound that stuck their heads out on earlier EPs are embraced in full here; it’s claustrophobic but space is found in the right areas. Tension and release to the nth degree, but without becoming a trope. Percussion remains, but slowed to a crawl.The release calls on memories of Ambarchi’s Oystered (as well as, notably, Grapes from the Estate) and the clicks and hums of Pan Sonic, but it’s the development past this that allows Scissor Kick to shine. The areas where intimacy is pushed through field recordings, live scattered percussion (from R.Rebeiro, as well as TS), and those subtle reminders that Third Space still has an iron-firm grasp on percussive rhythm, is where this record stands on its own solid ground. What was foggy red-roomed speaker stacks has given way to arctic tundra, vast expanse, acid rain.Layer up.~~

Often spotted about town, it’s no secret that JCow is diligently, quietly (and not so quietly) crafting big tunes. This release is the sound of that inevitable 2020’s shut-in inspiration. Written during those periods, they are finally seeing the light of day.With focused time in the studio, some serious imagined musical landscapes are the result. Tracks designed for dance-floor breakouts and closed-eye catharsis. We’ve heard these tracks come a long way from inception. Cerebral and kinetic, each track has a unique character, functional yet bound to stand out in any set.Tracks like ‘a complex range of human emojis’ pay-no-mind in referencing the past with a sly smirk and an updated twist, while the title track ‘in my elem3nt7’ conjures up a certain mystical environment - The tracks bold narrative shift midway is a notable payoff. Swerving boldly into new territory, the percussive motifs fade and return from new angles, sounds cutting and slicing through the speaker like angelic machine gun fire. The drum programming is truly used like a weapon on this one, with those majestic horn samples like calls from the ether.Exaels ‘swampbuggy’ reworking of title track on the B2 provides the perfect alternate universe, working its way from a sparse ambience into an inspired IDM-leaning breakbeat epilogue.

"Every 4,044 years comet Calanhi enters the inner solar system, returning from its cold and silent voyage through the Oort cloud. As it approaches perihelion, billions on Earth gaze into the night sky, transfixed by the celestial spectacle of their lifetime. While solar winds tear at the comet’s surface, deep inside the glowing ball of ice, ancient machinery springs to life."

Likulli Fadāin Eqāéh لكلّ فضاءٍ إيقاعه [to each space its own rhythm] 2019–23a landscape of ever amusing contradictions on unstretched canvas: – of predictable rhythms (day and night, high tide and low tide, routine and intuition, rent and bureaucracy) and unpredictable rhythms (good fortune, bad poetry, chance, mistakes and chaos).Berlin-based Syrian musician Khaled Kurbeh makes his Research Records debut with Likulli Fadāin Eqāéh, a tapestry of soundscapes written, performed and recorded across four years as part of his practice muhawalāt [attempts, variations] and hawāmesh [margins]: an outlet of gestures, sonic footnotes and observations from the everyday.Kurbeh’s first release in seven years departs from his largely acoustic debut, Aphorisms, a collaboration with oud player Raman Khalaf and ensemble with elements of maqām and jazz.Likulli Fadāin Eqāéh offers a collection of 10 electroacoustic compositions – they’re brooding and experimental with hints of musique concrète. The tracklist implies a mapping or an itinerary. Field recordings of swallows and the snapping and un-shelling of sunflower seeds on interlude Nuzha I [Excursion I] are countered by sparse composition of low-end synth, harmonium, upright piano and prepared fender rhodes played with mallets on Darb I–II [Path I–II]. Patterns of cymbals and agitated bells appear on Jauqét Ajrās [Choir of Bells], while currents of bowed strings shiver and stutter on al-Ajrāf [The Cliffs]. The release captures four years of overlapping sonic wanders, finely balancing tensions of harmony and dissonance, stillness and resonance, texture and rhythm – recorded inside and outside.The gatefold vinyl features artworks by Ida Lawrence and includes a booklet of 10 painted variations of the one scene. On the outer cover, paths stretch under a dramatically accented and vivid sky; while inside, the same landscape appears over and over in another light.Likulli Fadāin Eqāéh لكلّ فضاءٍ إيقاعه [to each space its own rhythm], is set for release on July 18th 2025 via Research Records, Naarm/Melbourne. A follow up solo piano album by Kurbeh, recorded in his studio in Kreuzberg, Berlin, will be released later this year. creditsreleased July 18, 2025Mastered by Bo Kondren at Calyx Mastering, Berlin.Artwork by Ida Lawrence.Graphic Design by Rik Watkinson.Composed, recorded and mixed by Khaled Kurbeh.Released by Research Records and muhawalāt © 2025.license

Modern Methods For Ancient Rituals is an experiment in acoustic and synthetic symbiosis which is deeply influenced by the atmosphere and acoustics of the rural location of Cats Abbey resulting in a set of recordings which can aid to the transformation of consciousness. Deploying a range of ancient and modern instruments and effects including Buchla Music Easel, harmonium, shruti box, bass guitar, hurdy gurdy, Electro Harmonix 45000, Strymon Blue Sky and Roland RE 101 Space Echo among others, Child and Bean conjure an audio experience which encapsulates elements of drone, trance, pulse, rhythm and melody subtly shifting all into a psychologically penetrating experience beyond the aesthetic and into the comforting unknown.

Seance Centre: ...Music of the Five Elements is not only the “acoustic massage” that McClellan set out to make, but is a fully realized and peerless piece of music. Taking cues from Minimalism (Tony Conrad / La Monte Young), American Primitive guitar (Fahey & Basho) and even psychedelia, the album is a continuous sound voyage for voice, synthesizer, guitar, bowed bass, piano, effects and ciao (Chinese flute) all played by McClellan himself. Although divided into sections, the journey is best undertaken as a whole, without distraction. As McClellan himself wrote in the original liner notes:“The optimum effect of Music of the Five Elements will be achieved if each side of this recording is played through, from beginning to end without interruption. Music of the Five Elements, when used as a meditational or body work tool, rather than entertainment, will increase in effect over time. Overplaying or improper use, however, may eventually diminish its designed effect”The prescription for this album: play it loud and heal yourself. Remixed and remastered from the original reels and cut using DMM for the purest dose possible.