All products

What have we here? 16 pieces of hard-to-classify music, created during the period 1994-2008, a cornucopia of playful, intelligent, questing and eminently listenable electronic music from Osaka-born artist Hyu, who released two albums on Nobukazu Takemura’s Childisc label, in 1999 and 2002. Although a member of the turn-of-the-century generation of artists subsumed under the rather vague term “electronica”, his work stands apart in many ways, particularly in his unique exploration of microtonality, his ability to humanize music technology, and his distinctive trait of combining a light touch and sense of fun with conceptual rigor. This collection is an intriguing mix of previously unreleased tracks and re-edited versions of previously released pieces. There is a wide range of music here, many of the pieces truly unique: wiggy and wiggly robo-pop, fractured funk, swinging sample assemblages of subtle sensory overload, dynamo-drones, overtone explorations. All of it distinctive, much of it prescient, all of it rising above the strictures of genre. Hyu’s music is appealing and fun, but driven by a desire to not only create music, but to create ways of creating music. This desire, this quest, is clearly audible in all of these tracks, and in the overall excellence of his music. Available on CD or 2LP with DL. The 2LP features a bonus cover of “Kaze wo atsumete” by Happy End. A notable feature is the entertaining and enlightening notes, written by Hyu himself.

I Am An Instrument Vol. 1 was recorded live in Copenhagen Denmark and what you hear is 100% improvised music. When the band performs there is nothing planned, except for which one of the members will start the song. After the initial note, it is everything goes. There were no edits in post production so what you hear is what you heard at the venue back in 2019.

Due to high demand of dubplates, the "Bush Tea" is finally released in vinyl 7"!

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone. Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set. Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.

Phillip Fullwood was born in Kingston, Jamaica, a cousin of bassist George ‘Fully’ Fullwood, before moving to the parish of Saint Ann’s, and then on to Linstead, Saint Catherine. Perhaps it was the importance of the region’s history with slavery that inspired him, but as a young man hanging around the local nyahbinghi community he started pursuing Rastafari.“I was twelve years old before my mother cut my dreadlocks. Cut my hair off my head. I was no rasta then, yunno. And then after a while I become rasta because I was hanging with guys like Sons of Negus and Ras Michael.”The move to St Catherine gave Phillip not only a spiritual direction in life, but also close friendships with two youths named Eric Donaldson and Freddie McKay.“We used to play together. Freddie know my father and my brother. I know his mother. She used to ride a donkey come to town to the market and go back to the country the next day. She was a poor luck lady. Didn’t have anything really. So me an’ Freddie become friends, yunno. Freddie McKay occupation was a painter and do entertainment on the side. He was a good stage actor, a good dancer. Eric Donaldson used to be a fisherman. He lived at a place called Bog Walk. I hear he have a club there now. But Freddie was my friend and him love singing. We used to stay over by Freddie little room. His girlfriend went to America and she sent a picture of her back to him. That’s why he sing ‘your picture is hanging on the wall’. Because of that picture. And the song become a hit.”Phillip’s first foray into song-writing came with ‘Old Joe’ for Freddie McKay, released on Freddie’s debut album for Studio One.“You know how I write that song? My father was town councillor and he had a man called Mr. James, he was kind of handicapped. Walk on his hands. One day I went over there and I asked Mr. James ‘Look man I’m hungry, I need some food’. Do you know what he told me? ‘Son if you can’t buy land you can’t buy stone and if you can’t buy beef you can’t buy bone.’ And he was eating a steak at the time. I started to cry. I went back over to Freddie’s house and there was a guy called Privy. He used to play with the Soul Defenders. They were cooking and I tell what the man said to me. And Privy said, ‘don’t you know Joe and Job is the same name?’ That’s why Freddie sing ‘You just can’t buy land if you can’t buy stone. Old Job I don’t want your job’. Yunno? That’s how I become a writer.”Phillip, now inspired to write poetry and song lyrics, travelled around the country selling African literature printed in London, getting a few cents for each publication sold. On one such trip he met the young Winston Rodney, aka Burning Spear, and was soon writing songs with Spear, and touring as a percussionist in his band. In America they recorded ‘The Whole World Wants To Be Free’ together, and also Phillip’s first lead vocal on ‘Love Everyone’, a longing plea for love and unity. His close relationship to Burning Spear gave Phillip valuable insight into studio work, and his move into production and mixing was inevitable, soon resulting in the profound self-production ‘I Gave You My Word’ in 1979, with arrangement and backing vocals by Winston Rodney.Also in 1979, Phillip met Winston McKenzie, with whom he would start the group I-Mo-Jah.“Imojah mean ‘Unity’ in Swahili. I used to do upholstery in a room I rented in a little dancehall and Winston’s mother used live cross the street from the beach and that’s how I met him. He come to America when he was 14. He’s from Saint Ann’s too. And when I come to America I used to stay at his house in New Rochelle, New York.”In 1982 Phillip moved to the US where the I-Mo-Jah group, which had been started in Jamaica, gained a third member with vocalist Cassandra Jenkins.“Cassandra lived around the block. She’s a young American girl, only sixteen at the time. I was in my thirties. I think Winston McKenzie was in his thirties. I don’t know where she’s at. She was a nice girl. She used to come over to Winston and hang out. Her parents never approve of her being around us either. She was in to reggae – a few Americans get into it.”While in the US, they started going over the rhythm tracks that Phillip had brought with him on master tape, deciding which to re-record and create news songs over. The backing tracks featured Jamaican musical dignitaries such as Sly and Robbie, Leroy ‘Horsemouth’ Wallace and Clive ‘Azul’ Hunt, and would form the backbone of the ‘Rockers From The Land Of Reggae’ album. New vocals were recorded at SFZ studio in Long Island and New Age Studio in Queens, with further overdubs on keyboards and lead guitar, and the album was mixed by Phillip.“Them give me the board and I do the mixing myself. I don’t know if it come out good or if it come out bad. I gave Spear a copy of the album and he said ‘yeah it sound good’. There was a man who played the music over the radio and Freddie McKay say ‘man, I hear the music play over the air - you sound good’, and I never continue after Freddie McKay tell me he heard the music playing. I was never meant to be a singer to tell you the truth.”The striking sleeve, in black and white with green handwritten typography, told the story of Jamaica, with Arawaks overseeing the arrival of Christopher Columbus’ ship Santa Maria, whilst between two sound systems the dreads were dancing and smoking a spliff under a tree. The art was drawn by Magnus Johnstone, a painter and deejay who presented the radio show ‘Reggae Mukasa’ on WMBR, and would later become the foremost champion of the burgeoning hip hop scene in Boston.“Yeah yeah! He used to live in Roxbury, Massachusetts. He used to have a radio program. He was living more over on the black side. When I used to go to his house we used to drink Guinness stout, smoke weed, and he had a big room with a lot of painting. And we went to an art gallery one night and I was scared because there was a lot of white people. I got used to it. I got a lot of white friends after that.”With its off-kilter mix and eccentric vocals, the I-Mo-Jah album was never destined for mainstream success. But its distribution was seriously derailed by some unfortunate events.“When I made ‘Rockers From The Land Of Reggae’ I was taking about 500 to Jamaica and I was told I had to have a license to go through the customs. I got fed up and I just leave the album with them. They wanted me to get a license and all them things, and I said ‘Why I want a license to bring my own thing to Jamaica?’. They said no, so I leave them at customs. I don’t know what happened to them. Maybe they sell them. And that was the end of it. I give the rest of them to Chin Randy’s in Jamaica Queens to distribute.”And so ‘Rockers From The Land Of Reggae’ soon vanished into obscurity. By 1983 Phillip Fullwood had settled permanently in the US and virtually retired from music. Over the years, partly fuelled by its extreme rarity, the album’s reputation has grown immensely, and original copies now command a very high price. Phillip is thrilled that this reissue will now expose it to a wider audience.“Life happen that way. I got kids and grandkids. I’m just a small guy who was with Spear and just tried to do my thing, like everybody else in the entertainment biz. My occupation, my passport you know says entertainer. Wishing a t’ing, yunno.”

These tracks are far more than just the initial glimpses of an upcoming collaboration between I-TIST and TOROKI.

They represent the beginnings of a deep human connection, an ever-growing artistic and spiritual synergy that has flourished since our first meeting in 2022 in our Bordeaux Dub School sessions.

And this is just the beginning... WAY MORE TO COME !!

----------------------------------------------------------------------------------

Ces tracks sont bien plus que de simples aperçus d'une future collaboration entre I-TIST et TOROKI.

Ils représentent les prémices d'une connexion humaine profonde, d'une synergie artistique et spirituelle en constante évolution, qui s'épanouit depuis notre première rencontre en 2022 lors de nos sessions à la Bordeaux Dub School.

Et ce n'est que le début... LE MEILLEUR RESTE À VENIR !!

"Ikue Mori, PHEW and YoshimiO are three legends of the Japanese Avant Garde music scene: Ikue was an original member of DNA and is a vital member of the NYC Downtown Scene, Phew founded Aunt Sally in 1978 and has performed in countless folk/rock solo projects and collaborations and YoshimiO is a core member of the Boredoms, Saicobab and OOIOO. Here they come together for their first ever trio project. Recorded at Club U.F.O. in Tokyo, the music was edited and mixed during the shelter-in-place months of early 2020. Surprising and powerful, this is a fabulous and essential meeting of three new music superstars!"

I.P.Y is a dense and striking collaboration that brings together three legends of the Japanese avant‑garde — each with a distinct voice and an unrelenting experimental spirit.

Romanian composer, conductor, and musicologist Iancu Dumitrescu is often described as one of the leading figures of spectral music, yet he has produced a body of powerful works resonating with explosive sound and friction that places him very much in his own universe. Dumitrescu studied under his compatriot, the conductor Sergiu Celibidache, who rarely left behind concert recordings. From him Dumitrescu absorbed phenomenology and conducting techniques, incorporating them into his own compositional style.

In 1976 he founded the Hyperion Ensemble, leading it in numerous concerts both within Romania and internationally. In 1990 he established the independent label Edition Modern together with Ana-Maria Avram, through which he released more than thirty recordings over many years. In recent years, however, the publication of new recordings had slowed to a trickle.

This work marks a long-awaited new release: a recording of the concert performance of Libelocus, a three-part work performed in London in 2016. It brings together the distinctive style of this singular spectralist—from explosive ensemble passages to electronic music, all contained within the natural flow of a live performance. Moreover, this is the first LP featuring newly recorded material under his own name to be released in thirty-seven years.

Romanian composer, conductor, and musicologist Iancu Dumitrescu is often described as one of the leading figures of spectral music, yet he has produced a body of powerful works resonating with explosive sound and friction that places him very much in his own universe. Dumitrescu studied under his compatriot, the conductor Sergiu Celibidache, who rarely left behind concert recordings. From him Dumitrescu absorbed phenomenology and conducting techniques, incorporating them into his own compositional style.

In 1976 he founded the Hyperion Ensemble, leading it in numerous concerts both within Romania and internationally. In 1990 he established the independent label Edition Modern together with Ana-Maria Avram, through which he released more than thirty recordings over many years. In recent years, however, the publication of new recordings had slowed to a trickle.

This work marks a long-awaited new release: a recording of the concert performance of Libelocus, a three-part work performed in London in 2016. It brings together the distinctive style of this singular spectralist—from explosive ensemble passages to electronic music, all contained within the natural flow of a live performance. Moreover, this is the first LP featuring newly recorded material under his own name to be released in thirty-seven years.

The 5 LP / 5 CD box set „Electroacoustic Works“ celebrates the 100th anniversary of IANNISXENAKIS (on May 29th, 2022), one of the most influential 20th century avantgardecomposers. All tracks have been newly mixed by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER and finally reveal their full sonic range and dynamics. Booklet with English / German liner notes by REINHOLD FRIEDL (zeitkratzer) and rare photos from the Xenakis archive.IANNIS XENAKIS (1922-2001) is one of the most important composers of the 20th century avantgarde whose influence on music can be traced to the present day – not only in the world of conservatory-trained composers but also in various streams of current non-academic underground aesthetics such as experimental electronic music, noise and industrial. After he arrived in Paris in 1947, XENAKIS not only studied composition with MESSIAEN and later became a member of the famous GRM (Groupe de recherches musicales), he also worked as assistant to the famous architect LE CORBUSIER and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles which give his music an unprecedented aesthetic and “shocking otherness” (The Guardian). Although XENAKIS also composed for orchestra (his most famous works are “Metastasis“, “Pithoprakta” and “Terretektorh”), electronic music became his way for exploring new ideas and concepts and to develop new techniques like a graphic interface for sound synthesis or later, when computers were easier accessible, his so-called "stochastic synthesis" (Gendy 3, S.709 > Disc V, Late Works). XENAKIS’ first electroacoustic pieces (Disc I) like “Diamorphoses” or “Bohor” turned out groundbreaking works while the latter even caused, as MICHEL CHION put it, the “greatest scandal of electroacoustic music” on the occasion of its performance 1968 at the GRM in Paris.His so-called „Polytopes“ (Discs II - IV) were overwhelming multimedia performances with especially designed architectures, laser and light shows etc. where sometimes up to several hundred loudspeakers were used to move the sounds in space. For example his most famous composition “Persepolis”, commissioned by the Persian Shah, premiered in 1971 in Shiraz-Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation. The most radical aspects of sound can be found in Xenakis' late work and its merciless reduction toharsh, almost ruthless sound synthesis. In the early nineties, he devoted himself to the concept of acomposing machine: a machine that designs everything independently and calculatesthe finished piece, the algorithm is the work.For the first time, the complete electroacoustic works of XENAKIS are now available on record – the truly overdue testimony and legacy of a restless investigator and explorer of sound. Years of source studies and comparative research by zeitkratzer director REINHOLD FRIEDL, in collaboration with sound engineer MARTIN WURMNEST, made these critically reflected stereo mixes possible, which were appropriately mastered by RASHAD BECKER and which, in addition tothe aspect of fidelity to the source, put the listener in the center. Xenakis' adventurous music can now finally be enjoyed in its full sonic range and dynamic.

Architecture, music, mathematics. From the series Recollection GRM, which reissues the INA-GRM works, the history of Greek-French people who controlled a large amount of uncontrollable sounds by architecture and mathematical methodologies and transformed them into music with unparalleled strength. Introducing contemporary music composer Iannis Xenakis (1922-2001).

Constructed the Philips Pavilion at the Brussels World's Fair (1958). Also included is'Concret PH', which was performed using 400 speakers, along with Edgard Varese's blockbuster electronic music "Poem Electronique" at the Philips Hall. You can't taste this tingling sensation that is ejected from a very esoteric and incomprehensible range that incorporates mathematics into music. Others, such as the chaotic concrète'Bohor'dedicated to Pierre Schaeffer, are a number of sound images that make you feel as if you are looking at a complete building in front of you.

Inspired by the infinitely numbered harmonies transmitted by Vista, a benevolent being from a distant dimension, Iasos broke ground for a new age of electronic sound manipulation. His was pioneering work—done from a bohemian boat-slip home office—on some of the first commercially available synthesizers and, on stage, into the kaleidoscopic heart of psychedelic-era concert visuals. As life-affirming and attuned to spirit as Iasos' soul portraits were, prestigious psychology departments heard in them the tones humans hear at the precipice between life and death. Before ambient and New Age were so named and codified, the “Paradise Music” of Iasos (represented here by 13 selections transmitted between 1975 and 1985) brought Earth-transcriptions of a vast and galactic soundhealing to a planet much in need.

Around 1967, mysterious music began to play in my head, and I heard that I began to listen to it naturally. The beautiful music that emerges from within him uplifted, healed and exhilarated his spirit. He called it "paradise music", referring to this type of music that he had never heard before. (From the commentary) -Yassos, who was born in Greece and raised in the United States, began to feel the light called Vista (the existence of light near the forehead), and from the records of communication and telepathy with them, human beings. I created a musical piece to help lead to the next stage. This album, which is the 1st album of 1975, makes you feel free, profound, spiritual, and even beyond the galaxy, so that the image of the word New Age (80's etc.) changes 180 degrees. It's a magnificent and very visual album. A truly true spiritual mix of electronically modulated flutes and steel guitars, spacey electric pianos, and natural sounds such as waves and animal calls, taking you to an unmeasurable world.・ The monumental tower of cosmic music. Close your eyes and keep listening deeply. You will have access to new visions and locations.

A “Fact of Being” was lucky happy to invite you to Iasos dimension and presents 3 epic ambient/new-age releases from a remarkable artist. Iasos is a Music Creator, specializing in celestial, heavenly, inter-dimensional music. He is also one of the original founders of "New Age" music has named "the Duke Ellington of New Age and the "Creator of New Age" by the New York Times. His albums often in lists like “the list of 50 Best Ambient Albums of All Time.” by Pitchfork, “The 20 best new age albums“ by Facmag, to name just a few. Since 1968 Iasos has remained focused and dedicated to his original intention - composing and recording his music, giving seminars, and doing multi-media concerts around the world. His music has been used by NASA, LAZARIS, ENCYCLOPEDIA BRITANNICA, LASERIUM, and HEWLETT PACKARD, as well as by numerous hospitals, health clinics, therapists, mental health clinics, and surgeons throughout the world. Despite this, we found that some of Iasos’s masterpieces are criminally rare and hard to get on physical formats. In 2019 during discussions with Iasos, we have chosen 3 albums for the first part of the reissues of Iasos's music on the Fact of Being on vinyl and audio CD. May this music be an OASIS for your Soul. In 1975 Iasos, published his first work "Inter-Dimensional Music" which during the years became an absolute classic of a new age and ambient music. This is probably a first "new age" album ever released. In addition, a year after in 1976 Steven Halpern, with his well-known masterpiece "Spectrum-Suite" cemented the existence of style. Being unique, the music lays at the crossroads of ambient, new age, psychedelic, prog, and space music. Recommended for fans of Peter Davison, Popol Vuh, Brian Eno, Robert Fripp, Steven Halpern, and Michael Stearns' early works. Now, after 45 years since first publishing the album available again on limited CD and VINYL in original artwork. Reviews: “It is NOT the typical sounds of the average new age music found throughout the '80s, it is a trippy, exotic psych sound having roots in '60s West Coast experimental music. A cornerstone of new age music by real new agers. "l find lasos' inter-dimensional music needing new words to describe it. I feel as though I were entering a new world -- a new and very profoundly beautiful world. --Buckminster Fuller “What’s most remarkable about Inter-Dimensional Music is how immaculately conceived it appears, less a stepping stone than a lodestone magnetizing the entirety of future new age sonic aesthetics. Even its creator, eccentric Greek bohemian Iasos, seemed caught off guard by it, admitting surprise when in 1967 he began hearing a new, nebulous form of music in his head, which he referred to as “paradise music”. Less than a decade later — on May 17, 1975 to be exact — he manifested this vision into a 45-minute suite of smeared synthetic textures, strings, piano, percussion, flute, and field recordings, dusted in heavenly FX and backwards tape. It’s an astoundingly ahistorical invention, crystalizing the essence of a style no one else had even imagined, much less attempted. The only remotely comparable form it shares a lineage with is some sort of outsider spiritual exotica but little in that world feels this hazy, immaterial, and limitless. The sides are diffuse and disorienting, evaporating into hypnagogic wisps of perfumed breeze or quiet creeks of frogs. Even so, Iasos distinctly intended Inter-Dimensional Music for focused enjoyment rather than background ambience because he believed his music could connect listeners to “heavenly realms of existence” — and heaven must be heard to be entered.” – Factmag (the list of 50 Best Ambient Albums of All Time.) New York Times: "Inter-Dimensional Music" - Iasos' 1975 debut album - he thought that was one of the most important records of the 20th century, that that piece had you could listen to that a hundred times and you still wouldn't really be able to grasp how complex it was. And that there's stuff going on there - harmonically and that, that's so advanced."

MESTIZX is Bolivian-born singer and multi-medium performer Ibelisse Guardia Ferragutti and renowned Chicago expat jazz drummer Frank Rosaly's debut album as co-composers, arrangers and musicians. Partners in both marriage and art, the Amsterdam-based Ferragutti and Rosaly dove into the sounds of their respective ancestral roots in Bolivia, Brazil, and Puerto Rico to create a deeply personal meditation on decolonization and the defiant power of ritual and protest. They chose the title MESTIZX – a non-gendered version of the sometimes slurred Spanish colonial word for a “mixed person” - as a means of both challenging and embracing the liminality of their identities and artistic practices. Rosaly says: “I grew up quite Puerto Rican in my home, but was taught to mask it outside my home. I wasn’t allowed to speak Spanish, so the drums eventually became my language, secretly tying together my own feeling of connection to mi tierra. This record is the first time I actively give voice to the nuance within myself, allowing me to take ownership of this in-between, which is what this album communicates for me… There is this unusual place that exists between these two cultures, of which I am both. There is a complex story in that sliver of in-betweenness, worthy of giving voice to all of us that live in-between.” Ferragutti adds: “My personal understanding is one that stems from being placed in between lineages that carry the colonizer and colonized, the oppressor and oppressed, the demon and the angel… thus by definition is tied to post-colonial social constructs which we as Bolivians have to step in, like a 500 year novel that goes on and on… We have access to many memories and traditions, but not really, because we don’t fully belong to any of those… This makes us feel we're in a constant state of being the “visitors” and “outsiders.” On one hand, we are never truly part of one lineage. On the other hand, it makes us a travelers of worlds, storytellers in between multiple languages, cultures, and worldviews. We chose MESTIZX for this work as an act of recognizing the mixed state of being as a difficult and yet powerful one.” The album was produced and recorded primarily at International Anthem Studios in Chicago, where Ferragutti and Rosaly were joined by a community of musicians and beloved friends including Matt Lux, Avreeayl Ra, Ben LaMar Gay, Daniel Villarreal, Bill MacKay, Rob Frye, and Mikel Patrick Avery, with addditional contributions from Chris Doyle, Guilherme Granado, Viktor Le Givens and Fredy Velásquez. The music creatively infuses Latin rhythmic patterns and oblong swing from pre-and post-colonial Latin America into a collision of avant jazz, art punk, Chicago post-rock, bomba, plena, cumbia, Andean, minimal, electronica, and folk. A wholly original but undeniably universal sound – both of-the-moment and alluringly futuristic - MESTIZX contains points of reference and resonance for fans of Juana Molina, Café Tacvba, Max Roach & Abbey Lincoln, Liquid Liquid, Arto Lindsay, As Mercenarias, The Ex, Tortoise, Tom Zé, Elza Soares, La Mecanica Popular... It’s a vast, vibrant and encompassing spectrum of sounds, but at its core MESTIZX is a lucidly conscious collection of auto-biographical statements from Ferragutti & Rosaly on the deeply personalized effects of colonialism on geography, history, and identity. Despite its heavy subject matter, however, MESTIZX finds a lifeline in communal, celebratory, soul-bearing and movement-inducing music.

MESTIZX is Bolivian-born singer and multi-medium performer Ibelisse Guardia Ferragutti and renowned Chicago expat jazz drummer Frank Rosaly's debut album as co-composers, arrangers and musicians. Partners in both marriage and art, the Amsterdam-based Ferragutti and Rosaly dove into the sounds of their respective ancestral roots in Bolivia, Brazil, and Puerto Rico to create a deeply personal meditation on decolonization and the defiant power of ritual and protest. They chose the title MESTIZX – a non-gendered version of the sometimes slurred Spanish colonial word for a “mixed person” - as a means of both challenging and embracing the liminality of their identities and artistic practices. Rosaly says: “I grew up quite Puerto Rican in my home, but was taught to mask it outside my home. I wasn’t allowed to speak Spanish, so the drums eventually became my language, secretly tying together my own feeling of connection to mi tierra. This record is the first time I actively give voice to the nuance within myself, allowing me to take ownership of this in-between, which is what this album communicates for me… There is this unusual place that exists between these two cultures, of which I am both. There is a complex story in that sliver of in-betweenness, worthy of giving voice to all of us that live in-between.” Ferragutti adds: “My personal understanding is one that stems from being placed in between lineages that carry the colonizer and colonized, the oppressor and oppressed, the demon and the angel… thus by definition is tied to post-colonial social constructs which we as Bolivians have to step in, like a 500 year novel that goes on and on… We have access to many memories and traditions, but not really, because we don’t fully belong to any of those… This makes us feel we're in a constant state of being the “visitors” and “outsiders.” On one hand, we are never truly part of one lineage. On the other hand, it makes us a travelers of worlds, storytellers in between multiple languages, cultures, and worldviews. We chose MESTIZX for this work as an act of recognizing the mixed state of being as a difficult and yet powerful one.” The album was produced and recorded primarily at International Anthem Studios in Chicago, where Ferragutti and Rosaly were joined by a community of musicians and beloved friends including Matt Lux, Avreeayl Ra, Ben LaMar Gay, Daniel Villarreal, Bill MacKay, Rob Frye, and Mikel Patrick Avery, with addditional contributions from Chris Doyle, Guilherme Granado, Viktor Le Givens and Fredy Velásquez. The music creatively infuses Latin rhythmic patterns and oblong swing from pre-and post-colonial Latin America into a collision of avant jazz, art punk, Chicago post-rock, bomba, plena, cumbia, Andean, minimal, electronica, and folk. A wholly original but undeniably universal sound – both of-the-moment and alluringly futuristic - MESTIZX contains points of reference and resonance for fans of Juana Molina, Café Tacvba, Max Roach & Abbey Lincoln, Liquid Liquid, Arto Lindsay, As Mercenarias, The Ex, Tortoise, Tom Zé, Elza Soares, La Mecanica Popular... It’s a vast, vibrant and encompassing spectrum of sounds, but at its core MESTIZX is a lucidly conscious collection of auto-biographical statements from Ferragutti & Rosaly on the deeply personalized effects of colonialism on geography, history, and identity. Despite its heavy subject matter, however, MESTIZX finds a lifeline in communal, celebratory, soul-bearing and movement-inducing music.

The liminal space between storytelling and dreaming is full of noise. Like whispers, flickering lines of static travel to the rhythm of tension, moving through moments of stillness and chaos. The sharp details of the hyper-personal become shared memories. Dreams can be stories, their fabric transient and their logic malleable - like folk songs carrying ancient knowledge or clairvoyant wisdom. White Dove Dream tells a story that only sound can. One that defies language and closed narrative; a story that is both a personal rumination and collective conversation. There are layers of healing synthesis and dream logic improvisation; captured recordings coalesce somewhere beneath the scramble like deja vu. Like a diary entry or a manifesto - noise is folk music and Icebear is noisy. ​​Icebear is Eilis Mahon, a musician from Kildare, Ireland, currently based in Limerick City. ~ Icebear began as a lofi recording project while Mahon was in school. Her previous releases 'Bug', 'in watermelon sugar', 'in summer i am an empty field' & 'lost voice memos' were recorded in her childhood bedroom using tape experiments and synth improvisations. As Mahon entered adulthood, the project morphed into an experiment in noise and performance, using harsh noise and improvised electronics to explore pain, power and trauma. White Dove Dream circles back to Icebear's roots - created alone in a bedroom during a period of personal (and collective) alienation, it serves as a reminder that the past versions of ourselves are never too far away, never quite gone; they flicker, fade out and repeat. White Dove Dream is her debut release on Weeding - an independent label and collective of friends based primarily in Dublin, Ireland, who love to make and share noise.

Iceblink is a homespun, intimate project conjured by Lynn Avery in Minneapolis. As a trans woman, everything she creates is about her experience and Lynn describes "Carpet Cocoon" as her comfort album, music to retreat to in the winter. Informed by her passion for mixtapes, oddities and crate digging blogs, the album is eclectic yet cohesively spun around the aesthetic of a bedroom new age album. Sonically, it has a fuzzy and rounded vibe incorporating nylon string guitars through vocoders, textural Prophet synthesizers, flutes and filtered saxophone. The effect of "Carpet Cocoon" is stunning and personal, melancholic yet idyllic, a spiritual ritual of baths for lying on your bedroom floor.

We're excited to bring you this collaboration between Spanish Producer Nueen and Manc vocalist / rapper Iceboy Violet, who has previously sprinkled their magic dust across Hyperdub releases from aya and Loraine James. The album traces the arc of a four year relationship, In Iceboy's words - 'fondly memorialising its highs and documenting its lows, trying to process and reflect positively and then ending with the ecstatic but ominous spark of new love.' Between them they've made an album that's magical, intimate and heartfelt, sometimes anguished but ultimately re-enchanting.

Iceboy and Nueen mutually admired their like-minded approach to making ambient music on recent solo releases and started swapping ideas for collaboration. Nueen sent beats at an almost overwhelming rate, which matched the speed and sharpness of Iceboy's emotions while they processed the end of the aforementioned relationship, creating songs which helped them process and navigate through the mental fog. The tracks were finished with Iceboy zooming in and chiselling the details, all finished in 3 months.

Nueen's music responds with foggy, but richly detailed grainy production. There are Smudgy, drill-laced beats contrasting with curdled, spiralling chords and at times he seems to isolate elements from Burial's palette and intensifies them, like SM FID's fire-like crackles. At other times, he draws out a malevolent ambience which feels elemental and troubling like on Cement Skin. Friends and collaborators switched up some of these songs, with artist Harriet Morley as the first voice on the album and Dawuna adding their rugged silky background vocals around Still's descriptions of black hair braiding and lives intimately intertwined. The album's final track, Kiss Me Again is blessed with young Manchester singer Bennettiscoming as a softening foil to Iceboy's coarse rapture.
You Said You'd Hold My Hand Through The Fire is an immensely affecting and lucid album, powerfully wrought and ultimately hopeful. 

Originally recorded and released in 1977, the Instant Composers Pool's Tetterettet is the first classic of the band's larger incarnations. Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or ICP) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate. The ICP Tentet's Tetterettet is made up of recordings from 14-17 of September, 1977, cut and spliced together by pianist/composer Misha Mengelberg in a style similar to Teo Macero's work with Miles Davis. The first side is taken up entirely by Mengelberg's multi-part title track that breaks in and out of different tempos, with a loose arrangement style owing more than a bit to Charles Mingus' finest work on Black Saint or Ah Um. Traversing across decades and styles from free-jazz funereal marches, to carnivalesque excursions, broken piano rolls, and ear-splitting skronk, ICP Tentet show remarkable skill and chops in both their compositional craft and improvisational symbiosis. There's a playful undercurrent here that finds its home in some previously uncharted land between Mingus and Spike Jones. Featuring numerous ICP regulars along with the brilliant Alan Silva on bass, and a return to the fold of the amazing saxophonist John Tchicai, Tetterettet is one of the best of ICP's larger group recordings; humorous, unnerving, and ultimately, quite beautiful. This limited-edition reissue marks the first time this album has been in print on vinyl since its initial release

The only break-up record you'll ever need to own. With its lofted harmonies, pick-pocket rhythms, and wailing-in-the-2AM-distance ambulance guitar solos, Ida's 1996 sophomore album leaked out of Brooklyn via detachable car stereo CD players and mixtapes from long-distance lovers. Originally issued on the stalwart Simple Machines label, this 30th anniversary deluxe Numero edition of I Know About You adds half a dozen extras, a wealth of photographic evidence - tissues not included.

The only break-up record you'll ever need to own. With its lofted harmonies, pick-pocket rhythms, and wailing-in-the-2AM-distance ambulance guitar solos, Ida's 1996 sophomore album leaked out of Brooklyn via detachable car stereo CD players and mixtapes from long-distance lovers. Originally issued on the stalwart Simple Machines label, this 30th anniversary deluxe Numero edition of I Know About You adds half a dozen extras, a wealth of photographic evidence - tissues not included.

Funded by Capitol, tracked in 14 studios, issued by Tiger Style, and lost in the Y2K shuffle, Ida’s fourth album captures a band caught between Brooklyn and Woodstock, temping and adulting, burying a parent and birthing a child. A tireless compendium and ode to sleep, sex, all-night talking, and other bed-ridden activities, Will You Find Me‘s 14-songs are pillowed with 34 outtakes, alternate mixes, 4-track demos, and covers from the band’s extensive vault, unfolding thematically across four LPs. The accompanying 24-page booklet documents Ida’s major label album that never was in both stunning photographs and Douglas Wolk’s blow-by-blow essay. Who were you then?