A deliberate sonic and emotional architecture that doubles down on intensity to shatter and rebuild the listener in one unrelenting wave.
Third album from System Olympia, following acclaimed releases like New Erotica Collection LP (2023) and Delta Of Venus LP (2020), solidifying her as a bold, self-produced voice in electronic and italo-disco-inspired music.
Releases on Okay Nature Records (her own independent label), with digital out now (March 6, 2026) via Bandcamp/Spotify and limited-edition black vinyl 12″ LP shipping from April 6, 2026-fully written, recorded, produced, and mastered by System Olympia herself.
Extended tour in the months ahead, kicking off with confirmed live events including a Double Climax Listening Party, plus performances at The Cause (60 Dock Road, Outside) in London on April 3, 2026, and Burgess Park in London on August 2, 2026-expect further dates to build momentum through spring/summer 2026.
A1 BABE
A2 I Try
A3 Fame
A4 One More Night
A5 Peace Of My Eyes
B1 Run In My Arms
B2 P Town Cakes
B3 Moon
B4 And It Was Night Again
2LP | 2 × 12 Inch ‘Black’ Vinyl, 33.3 rpm, Tip-on Cover, Special Varnish
NOTON is pleased to announce12 Conversations, a collaborative album by Ryuichi Sakamoto and Alva Noto to be released on 18 September 2026.
The partnership between the legendary musician and composer Ryuichi Sakamoto and the German artist Carsten Nicolai (aka Alva Noto) has produced some of the most distinctive and enduring works in contemporary electroacoustic music. Beginning with Vrioon in 2002, the artists spent more than two decades fusing and expanding their disciplines, with Sakamoto’s evocative, sustain-drenched piano compositions finding their counterpart in Nicolai’s skilful and sensitive electronic detailing.
Each successive project further deepened their artistic dialogue: from the five studio albums of the V.I.R.U.S. series (Vrioon, Insen, Revep, Utp_ with Ensemble Modern, and Summvs), to their score for Alejandro G. Iñárritu’s The Revenant; Glass (2017), a wholly improvised performance inside Philip Johnson’s iconic Connecticut landmark, in which the pair fixed contact microphones to the glass walls, playing the architecture itself as an instrument; and Two (2019), a document of their live performance at the Sydney Opera House.
Across these works, their distinct approaches achieved a rare synthesis, a brilliantly sustained dialogue between piano and electronics, Sakamoto’s warmth and melodic finesse meeting Nicolai’s abstract electronic formalism to invoke a mesmeric quietude as deeply satisfying in its melodic resolutions as in the merger of its filmic romanticism and meditative subtlety.
12 Conversations brings together musical exchanges recorded in November and December 2022. Rooted in the same creative period that gave rise to Sakamoto’s final solo album 12, these recordings were not originally intended as a standalone release. It was only after the completion of 12 that Sakamoto and Nicolai decided to present these exchanges as a work in their own right.
The album reflects the vitality and curiosity that defined more than two decades of shared inspiration: fluid, exploratory, and forward-looking. Created with openness and trust, it captures a creative process in constant transformation – sounds expanding, altering, and evolving through attentive listening.
Conceived as the continuation of an artistic dialogue extending beyond the physical, 12 Conversations honours Sakamoto’s wish that these encounters should exist beyond the archive, offering an enduring testament to one of contemporary music’s most revered collaborations.
Carsten Nicolai writes:
« A heavy breath can be heard in the recordings. Yet this work is not about remembrance but continuation, vitality, curiosity, and the spirit of experimentation that shaped an artistic relationship over decades.
The twelve pieces we exchanged in November and December 2022 possess extraordinary density: sounds expanded, altered, recontextualized. Initially, every intervention felt almost inappropriate. Yet this was part of our openness and trust: adding, shifting and radically yet softly transforming.
Even in these final exchanges, plans for future projects continued to take shape, mindful of finite yet firmly believing in the power of new ideas. We chose the name Conversations, which has become a space of memory and vision, where past, present and future intertwine.
For a long time, releasing this music seemed impossible. The loss felt too sudden, and the emotional connection too profound. As time passed, it became clear that these twelve musical encounters should have life outside the archive. To honor Ryuichi’s wish, these pieces are now being released as the continuation of a dialogue that extends beyond the physical. »
The first single, Conversation 3, will be released on Tuesday, July 14, 2026. The second single, Conversation 6, will be be released on Wednesday, August 26, 2026.
12 Conversations will be available worldwide on vinyl, CD and digitally. A Japanese edition will be available on Ryuichi Sakamoto’s commons.
Tracklist
1. Conversation 1
2. Conversation 2
3. Conversation 3
4. Conversation 4
5.Conversation 5
6. Conversation 6
7. Conversation 7
8. Conversation 8
9. Conversation 9 Part I
10. Conversation 9 Part II
11. Conversation 9 Part III
12. Conversation 9 Part IV
13. Conversation 9 Part V
14. Conversation 10
15. Conversation 11
16. Conversation 12
A1. Love or Nobody
A2. Hands in the Air
A3. Pobuvai na dni
A4. Tiki dam dam
A5. Sycomore (Interlude)
A6. Femme Peinture
A7. Signal
B1. Mushroom (Interlude)
B2. Tobacco and Patchouli
B3. Battles
B4. Motorik Highway
B5. Revelation (Interlude)
B6. Ketchup Purée
B7. Best Friend
Four years after Les Mystères de Lorient, Il Est Vilaine returns with Best Service, a rich and cosmopolitan album that broadens horizons in a bleak era.
Twelve tracks and interludes crafted with the aesthetic the duo has been refining since its inception: a blend of analog electronics, techno, vintage rock, and synth-pop.
Tailor-made atmospheres, oscillating between raw energy, groove, and dark romanticism, provide perfect spaces for unexpected guests.
The second full-length album from Simon Herody – French born, Berlin based multi-instrumentalist and composer. Featuring the visual universe of Paul Waak.
2. GENRE/S: Ambient, Experimental, New Age, Leftfield Jazz
3. TRACKLISTS:
1 – So quiet here
2 – Just U & I
3 – Watakama
4 – Spectral Odysee
5 – Exode
6 – Elements
7 – Discovery Zone
8 – Twin Spirits
9 – Splash Down
10 – Perseverance
4. SHORT INFO:
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.
1. Olo
2. Cant Be Wrong
3. Return To Dust
4. Shadow Twin
5. Rainman
6. Hila
7. Manifest
8. Best Of Times
9. TV Star
10. Return To Dust
PRESS HIGHLIGHTS
Her sound remains vast and yearning, with gut-punch drums pushing through explosions of colored powder; her voice is a chrome-plated sigh, and her agile melodies soar effortlessly. – Pitchfork *BEST NEW MUSIC*
she achieves some serious cinematic grandeur. – Stereogum
Simply too sublimely crafted to ignore. – Consequence of Sound
A catchy ethereal piece of pop – Brooklyn Vegan
Rose’s layered, reverb-laden vocals hit like waves of sunlight, warming her lines almost to the point of wordlessness. – Paste Magazine
« Hila. A record about loss. What persists beyond the range of ordinary perception? The place mourning keeps returning to – not quite transcendence, not quite doubt. The edge of what we can see. »
Frankie Rose has spent fifteen years building one of the most quietly distinctive bodies of work in American independent music. Bursting out of the shackles of her legacy on 2024’s Love As Projection, 2026’s Hila builds on the muscular, dance-ready songwriting and transcendent melodies to result on Rose’s most exploratory and affecting record of her career. Imbued with yearning melodies and brooding post-punk dynamics, Hila is Frankie Rose at her most impressionistic and expansive.
Self-produced at her home studio featuring collaborations with drummer Justin Welch (Elastica/Lush), Hila was recorded following extensive touring with The Jesus & Mary Chain and Swervedriver. The result is the most confident, searching music Rose has produced; muscular in its production yet emotionally vulnerable in its diffracted neon glow. A record informed by loss and the way grief mutates our senses, it’s fitting that Rose channels the nuanced darkness of later Coil, at times the pounding EBM-production of Skinny Puppy and the near-spiritual alien-ness of Cocteau Twins. On Hila, the doors of perception are constantly melting, revealing the porous nature of the seen and unseen. The result is a synesthesia that flips the senses.
If Love As Projection was an outward-looking record looking to embrace the world, Hila brings the dark cosmos into inner space. Rose’s love for 80s production and soaring melodies remain, they’re cornerstones to her craft after all, but there’s something more assured and gothic underneath the massive waves of sound. Opener Olo shimmers into a pulsating, cinematic brooder, Rose’s vocal transcending and swan diving between registers in the chorus breakdowns. First single Cant Be Wrong serves as a transition from the optimistic pop of Rose’s previous album, introducing a thumping 80s funk rhythm track under the soaring vocal performance. The ebullient Shadow Twin is that song’s sibling, recalling major label-era Strawberry Switchblade melancholy mixed with Robin Guthrie’s twinkling guitar work.
Hila blossoms darkly from here on in, blowing out into a glacial wide-screen sonic dynamic. On Rainman and the title track the listener is transported to a rain-soaked, nocturnal cityscape ridden with desire, moonlight cutting through blinds, intoxicating chasms without bounds. Rose’s use of saxophone and digital synthesis recalls the nightmusic of Hats-era Blue Nile or the more ambient end of Emeralds’ catalog. Indeed, in the towering synthetic cello sounds that climb into the mind on Hila, there’s a distinct flavour of the instrumentals on Bowie’s Low. This is musick to play in the dark, to light the way a little, just enough to trick the senses.
Leading into the strobe-filled haze, single Manifest pounds forward with a massive Industrial 4/4 beat and post-punk/goth musicality, an exercise in unlit ecstasy. For Best Of Times, the liberal saxophone passages feel like a suppressed, 80s Michael Mann soundtrack with Frankie Rose’s effortless, melodic vocal performance probing, searching for connection. Navigating through the dry, iced landscape into a rising sun, closer Velvet Refrain flips the melancholy of the preceding passages. With a massive sound dripping with harmony, the clanging guitar and vocal duet feels they’re sound-tracking an unexpected happy ending after bouts of darkness. »
The tracks on the upcoming Boysonic release are a snapshot of a period largely absent from the discussion around Romanian electronic dance music: the first half of the 1990s.
Boysonic’s music was made in the face of considerable adversity, in a Romania still reeling from the aftermath of the 1989 revolution, spiralling inflation of over 200%, and the violence of the early-1990s Mineriads. In the gatefold photos, one of the band’s members can be seen performing live wearing a miner’s safety helmet, a piece of stagewear, but also a charged symbol of the period.
The original music on Madhouse was made in Bra?ov during 1993–1994. Situated away from Bucharest’s political and cultural centre, Bra?ov gave the project its own slightly detached rhythm. Classically trained in piano and active in local radio, Mihai Barb developed Boysonic as a largely one-man act, often joined live by a changing cast of dancers and vocalists. In the absence of a developed club circuit, early performances took place in pre-1989 concert halls, seaside resorts and local entertainment circuits organised around regional radio stations.
Agnostic in genre and unusually fluid in approach, Madhouse moves through downtempo pop burners, KLF-type UK house, boomy breakbeat, new beat and acid-leaning experiments. The material reflects a short-lived moment before the Romanian mainstream/underground divide had fully taken shape, when electronic music lacked infrastructure but not imagination.
Sampling was used generously, with drum loops, vocal fragments and preset banks repurposed through software such as ProTracker and further processed outboard.
The release comes as a 2xLP gatefold.
Remixes are from Benedikt Frey, Boysonic, Cosmin TRG, Flore of Khidja, Romansoff, and Tankwart.
Packaging: 1 X Black Vinyl, 3mm spine sleeve, printed inner sleeve, marketing sticker.
INFOS
– After the collector 2024 Record Store Day 35th Anniversary edition & Special CD boxset of the seminal 1989 album, the album will be available again to everyone from July 31st , 2026 as 1CD & 1 LP Black new permanent editions.
– Produced by Stephen Street (The Smiths, Blur, The Cranberries, New Order).
– Vinyl mastered by Peter Beckmann at Technology Works
– July 31st also marks the long-awaited return of legendary Manchester outfit The Durutti Column, with « Renascent » their first new studio album in over fifteen years which already get a very strong response & support from key traditional media – with major features confirmed for Pitchfork, The Guardian, MOJO, Monocle and Record Collector to name a few.
– Many new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis).
TRACKLISTING VINYL:
Side 1
A1. Love No More
A2. Pol in G
A3. Act I Opera
A4. People’s Pleasure Park
A5. Finding the Sea
Side 2
B1. Otis
B2. They Work Every Day
B3. Act II Opera
B4. Homage to Catalonea
B5. My Country
Packaging: 1 X Coke Bottle Green Vinyl, gatefold sleeve printed on uncoated stock with 2 additional pantons, 12 page booklet glued on inside wallet,marketing sticker.
SHORT BIOG & PRODUCTS INFOS
‘Renascent’ marks the long-awaited return of legendary Manchester outfit The Durutti Column, their first new studio album in over fifteen years, produced by Keir Stewart.
Around the guitar work of Vini Reilly, the album plays between sonic atmospherics and structure: warm ambient washes, piano, beats and guest vocal turns by a new generation (Caoilfhionn Rose on » Agonistes » and Lucas Elliot on CD bonus track « All they See is Fire ).
Both contemporary and otherworldly, and with a swathe of new champions citing the band as an influence (Blood Orange, Harry Styles, The Avalanches, Mark William Lewis), ‘Renascent’ is a timely and vital rebirth for The Durutti Column.
Artwork by long-time collaborators 8vo (who have worked with the band on many of their releases) and have joined forces again for this project
– 1LP Coke Bottle Green – deluxe edition : exclusive alternative artwork, gatefold sleeve & large format 12 page booklet, printed inner sleeve.
TRACKLISTING VINYL:
Side One
1. Echoes In The Memory
2. Your Shadow At Morning
3. Time Present And Time Past
4. Agonistes
5. Liars
Side Two
1. Vapour In A Matchbox
2. Your Shadow At Evening
3. Sargasso Sea
4. Scammer
5. For Friends Everywhere
SHORT INFO:
Following the events of Pussy Disco (SCCD 021) …
The nights in Hong Kong did not remain a secret for long. Word spread silently through the feline world, and the gatherings grew until the music no longer belonged to a single hidden basement. The cats had found something of their own.
Their new destination became Macau. Long after midnight, when the casino floors fall silent and the roulette wheels come to rest, they emerge from hidden passages and forgotten service corridors to throw their own secret parties. The gaming tables become dance floors.
The remixes played during these nights were all commissioned by the legendary feline Primadonna Disco Queen Beast (PDQB), reimagining tracks from the original Pussy Disco album. The most celebrated DJ cats perform with nothing but their claws, tracing the grooves like perfectly balanced styli. Their oversized ears become living loudspeakers, carrying every microscopic detail through the vast halls.
Before dawn, the music fades. The cats disappear without a sound, leaving the roulette tables exactly as they found them. When the first employees arrive, there is no sign that anything happened during the night.
Over the years, PDQB commissioned countless remixes of tracks from Pussy Disco. The eleven collected on this double vinyl were all played during the legendary Sunrise Sessions – the final hours before daybreak, when the parties reached their absolute peak. These are the remixes the cats returned to again and again, making them the undisputed classics of Macau’s underground feline nightlife.
VITAL SALES POINTS:
» cover artwork by Martin Eder
» Orbital Radiance vinyl
» mastered by the infamous Mike Grinser
» double remix album
Des dérapages sur une pelouse impeccablement tondue, le parking d’un centre commercial abritant des grandes surfaces, le drive d’un fast-food… C’est un fantasme hyper-réaliste à l’américaine qui sert de cadre à Caroline Rose (elle/iel) dans *Gentling the Horse at the Walt Whitman Mall*. Cet album marque également les débuts de SUCK records, le label fondé par l’artiste basée à Los Angeles – une évolution tout à fait appropriée pour une musicienne énigmatique dont l’œuvre refuse de se cantonner à un seul registre.
*Gentling the Horse at the Walt Whitman Mall* transforme l’ordinaire en surnaturel. L’album associe des textes autobiographiques d’une grande finesse d’observation à des textures de guitare grandioses qui restituent le quotidien avec une clarté brutale et une ampleur mythique. Sous ses mélodies envoûtantes et ses refrains accrocheurs caractéristiques coule un courant de violence et l’effritement du rêve américain.
C’est Ennio Morricone armé d’un AR-15 : guitares surf, westerns spaghetti et angoisse de banlieue s’entrechoquent jusqu’à former un langage propre, tranchant. La réalité est instable, alors on continuera à raconter des histoires — et pour Rose, le côté sinistre et lisse du quotidien prend une nouvelle dimension.
En collaboration avec le producteur John Congleton, Rose a construit cet album en misant sur l’humour, les superpositions et l’instinct plutôt que sur le lissage. Des morceaux comme « Conversations with Shiv », « Goddamn Train » et « Everything in its Right Place » ont été enregistrés en studio pour la première fois, lors de sessions qui privilégiaient les premières impulsions à la perfection. Le résultat est panoramique mais jamais précieux : des morceaux qui semblent méticuleusement construits tout en menaçant constamment de muter.
Au cours des six dernières années, la musique de Rose a évolué parallèlement à son engagement en faveur d’une meilleure protection du travail et des droits de négociation collective pour les musiciens et les équipes techniques. La pratique créative et l’engagement politique ne font plus qu’un à mesure que la carrière de Rose prend une forme hyper-indépendante. Ces préoccupations résonnent tout au long de *Gentling the Horse*. Ses paysages sont peuplés de systèmes hérités qui semblent absurdes mais inéluctables, où l’humour devient une tactique de survie et où la satire révèle la violence silencieuse ancrée dans la vie quotidienne américaine.
Des dérapages sur une pelouse impeccablement tondue, le parking d’un centre commercial abritant des grandes surfaces, le drive d’un fast-food… C’est un fantasme hyper-réaliste à l’américaine qui sert de cadre à Caroline Rose (elle/iel) dans *Gentling the Horse at the Walt Whitman Mall*. Cet album marque également les débuts de SUCK records, le label fondé par l’artiste basée à Los Angeles – une évolution tout à fait appropriée pour une musicienne énigmatique dont l’œuvre refuse de se cantonner à un seul registre.
*Gentling the Horse at the Walt Whitman Mall* transforme l’ordinaire en surnaturel. L’album associe des textes autobiographiques d’une grande finesse d’observation à des textures de guitare grandioses qui restituent le quotidien avec une clarté brutale et une ampleur mythique. Sous ses mélodies envoûtantes et ses refrains accrocheurs caractéristiques coule un courant de violence et l’effritement du rêve américain.
C’est Ennio Morricone armé d’un AR-15 : guitares surf, westerns spaghetti et angoisse de banlieue s’entrechoquent jusqu’à former un langage propre, tranchant. La réalité est instable, alors on continuera à raconter des histoires — et pour Rose, le côté sinistre et lisse du quotidien prend une nouvelle dimension.
En collaboration avec le producteur John Congleton, Rose a construit cet album en misant sur l’humour, les superpositions et l’instinct plutôt que sur le lissage. Des morceaux comme « Conversations with Shiv », « Goddamn Train » et « Everything in its Right Place » ont été enregistrés en studio pour la première fois, lors de sessions qui privilégiaient les premières impulsions à la perfection. Le résultat est panoramique mais jamais précieux : des morceaux qui semblent méticuleusement construits tout en menaçant constamment de muter.
Au cours des six dernières années, la musique de Rose a évolué parallèlement à son engagement en faveur d’une meilleure protection du travail et des droits de négociation collective pour les musiciens et les équipes techniques. La pratique créative et l’engagement politique ne font plus qu’un à mesure que la carrière de Rose prend une forme hyper-indépendante. Ces préoccupations résonnent tout au long de *Gentling the Horse*. Ses paysages sont peuplés de systèmes hérités qui semblent absurdes mais inéluctables, où l’humour devient une tactique de survie et où la satire révèle la violence silencieuse ancrée dans la vie quotidienne américaine.
Des dérapages sur une pelouse impeccablement tondue, le parking d’un centre commercial abritant des grandes surfaces, le drive d’un fast-food… C’est un fantasme hyper-réaliste à l’américaine qui sert de cadre à Caroline Rose (elle/iel) dans *Gentling the Horse at the Walt Whitman Mall*. Cet album marque également les débuts de SUCK records, le label fondé par l’artiste basée à Los Angeles – une évolution tout à fait appropriée pour une musicienne énigmatique dont l’œuvre refuse de se cantonner à un seul registre.
*Gentling the Horse at the Walt Whitman Mall* transforme l’ordinaire en surnaturel. L’album associe des textes autobiographiques d’une grande finesse d’observation à des textures de guitare grandioses qui restituent le quotidien avec une clarté brutale et une ampleur mythique. Sous ses mélodies envoûtantes et ses refrains accrocheurs caractéristiques coule un courant de violence et l’effritement du rêve américain.
C’est Ennio Morricone armé d’un AR-15 : guitares surf, westerns spaghetti et angoisse de banlieue s’entrechoquent jusqu’à former un langage propre, tranchant. La réalité est instable, alors on continuera à raconter des histoires — et pour Rose, le côté sinistre et lisse du quotidien prend une nouvelle dimension.
En collaboration avec le producteur John Congleton, Rose a construit cet album en misant sur l’humour, les superpositions et l’instinct plutôt que sur le lissage. Des morceaux comme « Conversations with Shiv », « Goddamn Train » et « Everything in its Right Place » ont été enregistrés en studio pour la première fois, lors de sessions qui privilégiaient les premières impulsions à la perfection. Le résultat est panoramique mais jamais précieux : des morceaux qui semblent méticuleusement construits tout en menaçant constamment de muter.
Au cours des six dernières années, la musique de Rose a évolué parallèlement à son engagement en faveur d’une meilleure protection du travail et des droits de négociation collective pour les musiciens et les équipes techniques. La pratique créative et l’engagement politique ne font plus qu’un à mesure que la carrière de Rose prend une forme hyper-indépendante. Ces préoccupations résonnent tout au long de *Gentling the Horse*. Ses paysages sont peuplés de systèmes hérités qui semblent absurdes mais inéluctables, où l’humour devient une tactique de survie et où la satire révèle la violence silencieuse ancrée dans la vie quotidienne américaine.
