The 15th anniversary reissue of Max Richter’s highly cherished sophomore album expanded with a bonus disc including an orchestral version of ‘On The Nature of Daylight’ and a previously unreleased 2018 take on ‘Vladimir’s Blues’, plus an elegantly rude remix of the same track by Jlin, and a swooning, technoid Konx-Om-Pax rework of ‘Iconography’ "The Blue Notebooks was originally composed in the run-up to the 2003 invasion of Iraq. Richter has described it as "a protest album about Iraq, a mediation on violence – both the violence that I had personally experienced around me as a child and the violence of war, at the utter futility of so much armed conflict." The album was recorded about a week after mass protests against the war. It features readings from Franz Kafka's The Blue Octavo Notebooks and Czesław Miłosz's Hymn of the Pearl and Unattainable Earth. Both readings are by the British actress Tilda Swinton." Here’s our original review from 2004: "Max Richter's 'The Blue Notebooks' is the 4th release on FatCat's 130701 imprint, an outlet for more orchestrated, instrumental material. 'The Blue Notebooks' is Max Richter's second solo album, a distinctive and adventurous work that is beautifully recorded and cinematic in scope. Opening with a text from Franz Kafka over a sparse piano melody, the album moves through gorgeous, heart-wrenching string swells of 'On The Nature Of Daylight' through to sparse but lyrical piano pieces; hazy, swirling atmospherics, avalanche pulse-beats and partially occluded melodies that recall Aphex Twin's SAWII; and to reverberant organ / choir recordings. Utilising piano, cello, violin and viola, alongside electronic beats (made using a variety of antique electronics and Reaktor), spoken word passages and the occasional field recording, other sounds were generated via old guitar pedals and vocoders. Life affirming music."

PAN welcomes back Objekt for Cocoon Crush, his first LP since 2014’s Flatland. Over the past four years Objekt has continued to challenge conventions with his club output (the Objekt #4 single release and the Kern Vol. 3 mix CD for Tresor), while maintaining his reputation as a DJ who deploys impeccable technical finesse in crafting elaborate narratives from a diverse and challenging palette of electronic music. Written between 2014 and 2018 in Berlin and on the road, Cocoon Crush once again sees the producer jettisoning the functional requirements of the dancefloor. Marking a further evolution from the youthful exuberance of Flatland, Cocoon Crush explores a more introspective side, with themes of human interaction resonating throughout the record as it ruminates on a spectrum of complex moods rooted in 4 years of sometimes turbulent personal experience. Cocoon Crush represents an aesthetic departure from Flatland’s largely synthetic tonality, drawing from organic source material and natural textures to illustrate perplexing and unfamiliar sceneries in photorealistic detail. In Cocoon Crush, Objekt diverges further still from his musical influences to craft the purest manifestation of his own musical personality to date: an intriguing and enigmatic album whose reference points are hard to pin down, in which ghostly synth passages weave through mind-bending, weighty drums, and ASMR-triggering foley collages scrape and sparkle. Through meticulous sculpting, Objekt traces a rich and impressionistic journey through claustrophobia, hope, guilt, anxiety and joy, nested in layers of sonic detail which reward with every listen. The album is mastered by Rashad Becker, featuring photography by Kasia Zacharko, and layout by Bill Kouligas.