Format: LP/ Digital

Across two song cycles, Richard Wagner’s Fünf Gedichte für eine Frauenstimme (the Wesendonck Lieder) and Johannes Brahms’ late Vier Ernste Gesänge (Four Serious Songs), separated by nearly four decades, Wagner’s songs – written under the spell of his relationship with Mathilde Wesendonck and already pointing toward Tristan und Isolde – and Brahms’ final composition, namesake to the album, shaped by grief, illness and meditations on biblical texts, circle the same existential questions.

Desire and mortality, ecstasy and resignation appear less as opposites than as mirrored states. The voices of Wesendonck’s poetry seem to answer the solemn reflections of Ecclesiastes and Corinthians, revealing an unexpected dialogue across time.

Without seeking historical authenticity or revisionist spectacle, Serious Songs listens for what still resonates beneath these works: the suspended moment where love, loss and transcendence become indistinguishable. The harp assumes the role of the piano as the foundation, pulse and emotional compass. The vocal line, liberated from classical convention, inhabits a contemporary expressive space without severing its bond to the original scores.

It is Romantic music viewed through the acoustics of the present. The project emerged from a moment of professional disillusionment familiar to many classically trained musicians. This led to a confrontation with some of classical music’s traditional flaws that became an invitation to reimagine it.

Sissi Rada approaches the spinal properties of the Romantic Lieder, fragile enough to transform and resilient enough to survive. Intimate, lucid and quietly radical.

Text by Dimitris Papadatos

Credits

Original music by Richard Wagner and Johannes Brahms
Performed, produced and mixed by Sissi Makropoulou

Guest performance by Angelos Samartzis
Mastered by Russell Haswell
Vinyl cut by Rashad Becker
Designed by Philip Marshall

Sissi Rada is Published by Touch Music/Fairwood Music.

Physical copies available in Boomkat

Released August 7, 2026

Format: LP / Digital

An audio essay on crossing to the other side.
The two distinct faces of the vinyl trace the boundary between life on earth and what lies beyond.

Side A reflects the fragile, tangible world of mortals — where love awakens as instinct and memory endures as a gift.
Side B opens to the cosmic beyond, home to souls and celestial beings — eternal presences that dwell beyond matter and the fleeting breath of existence.

At the heart of the music moves a quietly ironic solace:
the creative pulse that death, in its strange mercy, leaves behind when it takes someone dear.

credits

Written, performed, recorded, and mixed by Sissi Makropoulou, with cherished appearances and collaborations from Charis Karantzas, Jay Glass Dubs, Oï les Ox, and Theodor Milkov.

Mastered by Stephan Mathieau

Cover drawing by Dimitris Papadatos

Art direction by Philip Marshall

C&P 2025 Ash International. All rights reserved
Published by Touch Music/Fairwood Music (UK) Ltd.
Made in Poland

Format: LP/ Digital

Oh my days this is unreal! The legend of Persephone, Queen of the underworld in Greek mythology, inspires eminent harpist Sissi Rada – collaborator of Lena Platonos, Lee “Scratch” Perry and Brian Eno – to utterly spellbinding degrees on a suite of one-take recordings made with no overdubs, surely proving her mastery of an instrument extant since Greek mythology was conceived.

Manifesting on the Kryptox subsidiary of legendary German label Gomma, ‘Demeter In Aexone’ is a sublime reading of, and tribute to, the myth of Persephone; the daughter of Demeter (and Zeus), to whom the cult, secret rites of the Eleusian Mysteries were dedicated, and have come to represent a metaphor for journeys of self-discovery, rebirth, and the afterlife. From Sissi’s studio overlooking the beach in Voula, Athens, the magic flows from her fingertips on a rare, 100 year old Lyon and Healy Style 3 harp with a ravishingly romantic and lyrically instrumental fluency that taps deep into both her decades of disciplined tekkerz and the millennia old tale to make fresh its meaning for the modern world. 

We were lucky enough to pay witness to Sissi performing live this summer at P3 Annihilation Eve’s tiny basement sepulchre in Manchester, and were frankly unprepared for the jaw-dropping beauty of her show, where a tour accident to her harp stand meant she made do with playing it lap-steel style, modestly clad in trackies – no classical gown – and judging by the stunned, wide-eyed response of everyone else, we weren’t alone in being utterly astonished. That effect of immediate, timeless beauty with no tricks or aids is fully apparent on this one, too. Shut your eyes and it transports across time/space to the most rarified recesses of the imagination unstuck from the quotidian and projected into spine-tingling bliss states.

Only lightly brushed (if we’re not mistaken) with the electronics that have crept into her work more recently for Stroom (and hint at her parallel love of house and pop musics), Sissi’s finely honed classical and improvisatory skills hold by a silken thread from the introductory ‘Demeter’, thru her exploration of the instrument’s expanded vocabulary in the wooden knocks of ‘One Thousand Years’, to a haunting description of ‘The Abduction of Persephone’, and more ruggedly folkwise pluckiness of ‘Nysian Fields’, with pitch-bent peculiarities evoking otherworldly strangeness in ‘A Safe and Certain Death’, to the nerve-strumming lines of extended melody registered on ‘Pax Kogx’. 

It’s a real no brainer if we ever heard one: dive in without delay.

Text by Boomkat

Credits

Written, performed, recorded and mixed by Sissi Makropoulou

Mastered by Schnittstelle

Photo by Jay Glass Dubs

Artwork by Kostas Murkudis

Για τον Δημήτρη

Format: LP/ DIGITAL

Roland Barthes, in his 1982 book, Structuralism And After, suggests that a diary, instead of presenting its writer with the question: “ Who Am I?’’ , actually declares a far more droll question: “ Am I?”.
It is this question, this unusual dry amusement that is provoked by the absurd habit of keeping notes, setting milestones and authorizing canons in a process such as human life – that in reality is based on the randomness of nature- that harpist, composer and singer – songwriter Sissi Makropoulou also known as Sissi Rada, encapsulates in the title of her new album, “Aporia” a greek word that could be translated as ‘wonder’. And it is this exact process, this ‘’ritual de lo habitual’’ that manifests inconspicuously throughout the ten beautiful songs that Sissi offers in this album.
Her lyrics, nine out of ten in her native greek language, are humble manifestations of the miracle of life, the troubles of love, the thoughts that span through a human mind while performing simple tasks, educated by her love and natural inclination to poetry, read like small vignettes, or marginalia notes on a diary that is of constant flux.
Recorded, mixed and produced by Sissi alone, in her Athens’ home, using a spartan but powerful instrumentation of harp, a Prophet synthesizer, and first and foremost her intimate and enchanting voice,
‘Aporia’ stands out with its simplicity and familiarity, like a page out of a diary, shared with a blush and a witty smile.

Text by Jay Glass Dubs

credits

Written, performed, recorded, produced and mixed by Sissi Makropoulou
Mastered by Mathieu Savenay
Graphic design by Victor Verhelst

Thank you: Michalis, Bernd, Maria- Christina, Charis, my cuz, Nikolió, Pantelis, some specific greek islands, my studio window and of course Dimitris Papadatos- the most beautiful song I have ever heard.
To you Δ.