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Following releases on West Mineral and Lillerne Tapes, Iggy Romeu’s inimitable Mister Water Wet project makes its Soda Gong debut. “Top Natural Drum” feels like a double entendre ode to digging culture, drawing equally from the plantlife in the dirt and the grooves in the stacks. Tracks like opener “Soak” concoct a haze of resonant ceramic/wooden percs, skittering drum programming, and addictive yet diffuse melodic and harmonic textures. Dusty-fingered nodders like “Caged at Last”, “Classicfit,” and “Gossamer Hits Softly Spun” harken back to the glory days of instrumental hiphop and downtempo, sounding a bit like transmissions from some lost Landspeed Records or Mo’ Wax comp, or like field recordings from the courtyard at Scribble Jam that have been infused with the slippery sonic signatures and sleights of hand that define MWW productions. What links these two distinctive tonal registers is a sort of lingering warmth – warmth like the saturation of natural dye or sunlight on a brisk, clear Midwestern autumn day.

Is this recording an environmental activist art statement or ambient spa music? Maybe both? The fourth release from São Paulo label Lugar Alto is not a Brazilian production but it still has strong ties to the country, it is the psychotomimetically heuristic ambience of The Dreambird by Mitar Subotić (Suba) & Goran Vejvoda. The album was produced in Paris in 1987 and 5 years later was the first release by Suba in Brazil as a limited edition CD put out by the Brazilian Catholic label Paulinas COMEP. Listening to The Dreambird is a deeply immersive organic experience. It is ambient music that actually integrates with your environment. Bird calls and shrieks intertwining with lush synth tones, imagine late seventies Tangerine Dream in a tropical hothouse while sliding into a floatation tank located in the Amazon, an environment of rich and strange sounds. The Dreambird harks back to a time when environmental recordings were being discovered as forms of music, as David Toop writes in his book Exotica “... some recordists stuck to the idea of birdsong as music, a notion that is surely as old as music itself”. The album was made while Goran Vejvoda was living in Paris. Relaxed days were spent sitting around, tinkering with sounds, going out, having lunch, coming back and playing some more. Pascal Humbert, bass player from the French band Passion Fodder, joined the duo for a day. Goran had a Japanese field recording CD called Bird Island Seychelles that contained the exotic bird sounds and sea waves used to create the organic textures of the album. Suba left with the 8-track tapes and rough mix cassettes and adapted the music for a sound art installation/happening by the Danube in Novi Sad where The Dreambird was played, climaxing with a laser show. In the early nineties Suba moved to Brazil, and together with André Geraissati, was one of the producers of Nina Maika, an album by the Brazilian musician, Edson Natale. The album was recorded at the COMEP studio, renowned at the time for having one of the best audio production structures found in Brazil. Edson and Suba got on well with the studio crew and in 1992 proposed the simultaneous release of Sol de Inverno, an album by Edson Natale and Alex Braga, and The Dreambird. In return, COMEP provided studio hours for them to use on further projects. Suba used these hours for the production of Memória Mundi (otherwise known as Oharaska), an extensive musical project that he worked on with influential percussionist João Parahyba, but which was never finished. From this project the track “A Fábula”, with the participation of the singer Natália Barros, came out on the compilation from the Music From Memory label, Outro Tempo II. According to João, Suba managed to convince the nuns who ran the label that The Dreambird was a recording for meditation, which may have caused him to adapt the name and “conception” of the album, adding another intriguing facet to this production. The Dreambird was actually only known by that name in Brazil as the record was never actually intended to be public. The names of the tracks released back then were different from those used on this release, which are taken from the masters maintained by Vladimir Ivković. Moreover, the tracks released on the CD in Brazil were shortened and only 4 of the 6 original tracks were on the CD. This release contains the 4 tracks released in Brazil in their original full-length form, plus the two never released tracks that are available exclusively in digital format. Included as a bonus are Goran Vejvoda’s liner notes translated into French, German, Serbian and Portuguese. New artwork, with drawings by Arthur Longo, a French snowboarder and artist, was commissioned for the album and was conceived by the design studio Sometimes Always, who have worked with Lugar Alto since their first release. Mitar Subotić aka Rex Illusivii aka Suba, was born in 1961 in Yugoslavia. A renowned innovator in his home country but is best known in Brazil for his 1999 CD São Paulo Confessions, a hugely important release that effortlessly walked the line between modern MPB and 90s electronica, influencing a whole generation of Brazilian music makers. Tragically, he died just after it was released and could never benefit from its critical acclaim and success. The Dreambird was recorded in Paris one year before “In the moon cage”, a similar project using the pseudonym Rex Illusivi. This was a recording of exuberant synth scapes, ambient guitar and Yugoslavian folk which was awarded the International Fund for Promotion of Culture from UNESCO, and included a three-month scholarship to research Afro-Brazilian rhythms in Brazil. The album was released in 2015 by Ivković’s Offen Music. In 1994 Suba resuscitated his Serbian band, Angel’s Breath, with Milan Mladenović, and it became a psychedelic samba-rock project with a line-up of Brazilian musicians including João Parahyba and Fabio Golfetti, there were also contributions from Taciana Barros and, implausibly, eventual soap-opera star, Marisa Orth. Key track “Metak” is an unlikely mix of burundi drumming, post-punk, electronics and samba. “Wayang”, his global music project from 1995, further demonstrated his work with textures, loops and samples, and was recorded in Wah Wah Studios in São Paulo. This was also released by Offen Music in 2018. The prolific producer and music critic Carlos Eduardo Miranda, described Suba’s appeal best when he said “He came from the other side of the world and understood everything about this mess”. A hugely in-demand producer who was about to become a key player in the internationalization of Brazilian music. Goran Vejvoda is a multimedia artist born in London. After studying music in Belgrade he’s believed to be the guiding hand behind important releases from the early eighties Serbian scene. After moving to Paris he became a guitarist in various bands and worked with renowned comics artist Enki Bilal. Goran has released several solo albums in Japan, "Fruit Cloud" and "Harmonie". Other records include "Mikro-Organizmi" with Rambo Amadeus and "What" with ZerOne. Goran’s writing can be found in magazines such as The Wire and Vibrö. He has exhibited his art since 1981 and has performed at Beaubourg and Palais de Tokyo and participated in the exhibition "Off The Record" at the Musée D'Art Moderne de la Ville de Paris. More recently he has been working on and showing video art that is a reaction to the covid pandemic, as well as the All Sounds Considered film, which explores the state of sound and silence. It’s challenging to trace the story of this project precisely, very little information is available and what we have are diffused fragments of memory from different actors. So, we return to the initial question: what is The Dreambird? It doesn’t matter if it is either an environmental statement or simply relaxing spa music, what it does is evoke sensations that elevate your mind to a higher and more emotional plane and from there you can travel wherever you like.

WRWTFWW Records is honored to present a one of a kind collaboration release between buzzing UK producer and DJ Pizza Hotline and Swedish electronic and synth icon Mitch Murder, delivering 3 gigantic tracks each for the Anti Gravity Tournament album, now available as a limited-edition LP housed in a heavyweight 350gsm sleeve illustrated by the legendary junkboy. It is also available in digital formats.

Inspired by the classic WipEout video game series, this high-energy boosted split-album transports listeners into the futuristic world of anti-gravity racing, a colorful turbo adventure soundtracked by 6 mega tracks of fast-paced atmospheric jungle, thunderous breaks, and liquid drum & bass. The adrenaline-fueled collection delivers maximum energy and dreamy vibes, a true paradise for fans of 90s/Y2K video games, LTJ Bukem, Peshay, Soichi Terada, and previous efforts by Mitch & Pizza.

Anti Gravity Tournament follows 2 critically-acclaimed albums by Pizza Hotline – Level Select and Polygon Island, both still available on WRWTFWW Records, as well as the limited Low Poly Breaks cassette series which sold out in a few minutes.

Mitch Murder is known as one of the originators of synthwave and has released timeless albums on Rosso Corsa Records, Mad Decent, and My Pet Flamingo (TimeSlave Recordings). He is also the man behind the Kung Fury soundtrack and has collaborated with…David Hasselhoff himself!

The astonishing exclusive artwork comes from the one and only junkboy, creative director at Mojang Studios (Minecraft) and all-around design grandmaster.

Fasten your seatbelt and join the fun. </p><iframe style="border: 0; width: 350px; height: 340px;" src="https://bandcamp.com/EmbeddedPlayer/album=1175731080/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://wrwtfww.com/album/anti-gravity-tournament">Anti Gravity Tournament by Mitch Murder x Pizza Hotline</a></iframe>

Although it is difficult to classify, "A Way In" lends itself to the worlds of Afrobeat, Cumbia, Salsa, and Soul– a stirring of potent rhythms and enigmatic melodies that make Mitchum Yacoub’s sophomore album stand tall in the world of groove music. Syncopated dance tracks, definitive horns, and steady backbeats carry tales of anguish, love, and uprising. It is a record that reveals the human spirit: a confluence of thoughtful introspection and earth-shaking ritmo.

Yacoub recorded, produced, and mixed the album, ensuring the meticulously layered sound first heard on his debut, Living High in the Brass Empire. His formidable horn section–Travis Klein, Bradley Nash, and Wesley Etienne–returns in full force and with a range of masterful spotlights. Longtime friend and collaborator Divina also returns, offering understated, soulful vocals on "Hurtin’", "When I’m With You", and "Gold". Panamanian vocalist, Lourdes Iri, stamps her debut on the resistance anthem 'Profecía" and the sensual upbeat Cumbia, "Deseo Celestial". These vocal tunes fit into a kaleidoscope of instrumentals, including "Away", found in the echoes of Ethio-jazz, and Sala, which feels like Hermanos Gutiérrez meets Willie Colón–after sharing a smoke and a listen to "Water No Get Enemy".

The diversity of vocal and instrumental pieces is unified by an understanding of vintage production styles and Afro-Latin musical sensibilities. Yacoub credits his father–who immigrated to Detroit from Egypt in 1968–for opening his ears to an array of global music. His childhood home resonated loudly with the sounds of Ali Farka Touré, Oum Kalthoum, Keith Jarrett, Santana, Toumani Diabaté, Stevie Wonder, Lauryn Hill, etc. Later, while attending UCSC, Yacoub studied African music with Karlton Hester–a tenor saxophonist and former student of Joe Henderson–who introduced him to Afrobeat pioneer Fela Kuti. After hearing the hypnotic force of James Brown-infused funk with Yoruba drumming, Yacoub knew there was no turning back.

It wasn’t just Fela’s sonic phenomena, but the summoning of a higher power in the call for justice. A Way In channels the spirit of Afrobeat and imbues the many genres mentioned above with an angle of self-reflection. In a time when artificial music is rising and originality risks being buried, this album offers a refreshing dose of soulful dance music–meant to bring people together, and inward.

It is with great pleasure that we announce Mitchum Yacoub’s debut album " Living High in the Brass Empire"— a showcase in unique stylings of tropical funk, afrobeat, cumbia, and soul; a musical patchwork threaded by a heavy, hypnotic rhythm section and powerfully vibrant horn lines. What sounds like a 12-piece ensemble was actually mostly recorded and performed by Yacoub at his home in San Diego, featuring a few close friends from local groups Sure Fire Soul Ensemble and Boostive. The horn section is comprised of Travis Klein, Bradley Nash, and Wesley Etienne (featuring Todd Simon on “Los Muñequitos"), each with distinguished performances that send the music to higher heights. Nuanced vocalist Divina Jasso lends humanity and introspection throughout the head-nodding soul sounds of “Never Knew”, Latin dance anthem “Cumbia Divina”, and the syncopated funk of “Empire”. You’ll hear rhythms from Colombia, folkloric percussion of Cuba, interlocking grooves à la Fela Kuti, 70’s r&b influence, and something in between it all. Drawing many inspirations into a refreshing and unified record, we think you’ll enjoy Living High in the Brass Empire.

ZZK Records presents Mito y Comadre’s Guajirando, a journey into the reinvention of traditional Venezuelan music For years the ancestral riches of the folklore, culture and traditions of the indigenous peoples of Latin America have withstood the passing of time and the different impositions and trends of an increasingly globalized world that seems intent on pushing them into oblivion. Their fight to stay true to their roots and preserve their legacy means there is more and more interest in sharing these treasures with the world. Guajirando comes from this interest in finding recognition in our roots. This is the debut record from Mito y Comadre, the Venezuelan synth-pop and electronic roots group who with these nine previously unreleased songs take us on a journey through the sights and sounds of their country. The fusion of electronic sounds pays homage to a rarely explored music, one that is profoundly rooted in the territory, creating a dialogue between native percussions and rhythms such as the quitiplás, the malembe and the quichimba of Barlovento, the macizón and perra of the Caribbean coast, the calypso of the heartland, the flauta guajira and the gaita oriental, among other instruments. Backed by machines, electronic elements and the production of Grammy winner Christian Castagno (Bomba Estéreo, Systema Solar, Iggy Pop, Arcade Fire), they seek to bring visibility to these traditional rhythms with contemporary tendencies, creating a visionary fusion that places them on the scene as one of the most promising proponents of experimental Venezuelan music today.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what’s truly hers, what can’t be repossessed or demolished, she sees love. “The best thing I ever did in my life was to love people,” Mitski says. “I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I’ve created onto other people.” She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she’s gone. Listening to it, that’s precisely how it feels: like a love that’s haunting the land. Love is always radical, which means that it always disrupts, which means that it always takes work to receive it. This land, which already feels inhospitable to so many of its inhabitants, is about to feel hopelessly torn and tossed again – at times, devoid of love. This album offers the anodyne. “This is my most American album,” Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. But “maybe it’s beyond witnessing,” she says. At times, it feels like the album is an exercise in negative capability – a fearless embodiment and absorption of the pain of other bodies. When I ask her what the album would look like, if it were a person, she says it would be someone middle-aged and exhausted, perhaps someone having a midlife crisis. But through the daily indignity and exhaustion, something enormous and ecstatic is calling out. In this album, which is sonically Mitski’s most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time-traveling to bless our tender days, like the light from a distant star. Mitski wrote these songs in little bursts over the past few years, and they feel informed by moments of noticing – noticing a sound that’s out of place, a building that groans in decay, an opinion that splits a room, a feeling that can’t be contained in a body. It was recorded at both the Bomb Shelter in East Nashville and the Sunset Sound Studios in Los Angeles. The album incorporates an orchestra arranged and conducted by Drew Erickson, as well as a full choir of 17 people - 12 in LA and 5 in Nashville - arranged by Mitski. And for the first time, it felt important to Mitski to have a band recording live together in the studio, to create this new sublime sound. Working with her longtime producer Patrick Hyland, the album has a wide-range of references, from Ennio Morricone’s bombastic Spaghetti Western scores to Carter Burwell’s tundra-filling Fargo soundtrack, from the breathy intimacy of Arthur Russell to the strident aliveness of Scott Walker or Igor Stravinsky, from the jubilation of Caetano Veloso to the twangy longing of Faron Young. From the first track, the album introduces and then heals a wound. “Bug Like an Angel” finds the divine in the ordinary, in the boozy drowning of sorrow. The narrator sings from the strange comfort of rock bottom: “sometimes a drink feels like family.” And suddenly, that choir of angels sings: “FAMILY!” This first track introduces a cosmic paradox: “The wrath of the devil was also given him by God.” This is an album in which dark and light exist in the same gesture, the same broken prayer. Like the Buddha inviting the demon Mara in for tea, The Land embraces brutal, daily pain — the necessary toll of transcendent love. In “Buffalo Replaced,” the wail of a freight train replaces the vibrations of the long-gone stampeding buffalo. Here, hope itself is personified, anthropomorphized into a sleeping creature, and our narrator wonders if life would be easier without her. But then, as though in response, “Heaven” offers a beautiful moment of passion, preserved like a fossil in time even though the “dark awaits us all around the corner.” This oasis is aggressively interrupted by “I Don’t Like My Mind,” a song from the perspective of someone in extraordinary pain. They are begging to keep their job, while actively keeping terrible traumatic memories at bay. Without their employment, these memories might take over, consuming them as relentlessly as the cake that they ate one “inconvenient Christmas.” The toggling between hope and despair in these four songs is masterful — the good, the bad, and the ugly in America’s backyard. This mythology continues to deepen with the stunning “The Deal,” in which someone is so burdened by their soul that they beg for it to be taken from them. Soon, the singer’s soul is revealed to be a bird perched on a streetlight. In a coup of songwriting, the narration does not switch into the newly-souled bird’s voice. No, we stay with the soulless “I.” The bird calls down: “You’re a cage without me. / Your pain is eased but you’ll never be free.” This song reinforces the album’s tug-of-war between the intoxication of love and the pain of isolation. Close on its heels is “My Love Mine All Mine,” an instant classic and the beating heart of the album, wherein the singer imagines their love shining down on the earth from the moon, long after the speaker is gone. “It’s just witness-less me,” she sings on “The Frost,” which suddenly takes us from the anticipation of loss right into the aching loneliness of it. On the subject of witnessing, Mitski says: “I’ve always been the person on the outside watching. And I’ve also done that with myself... outside of myself, witnessing myself, watching myself.” She thinks that she might have adopted this habit as a condition of being a woman of color, and that it’s led to the occasional post-apocalyptic fantasy of being the only person left in the world. We talked about Samuel Beckett’s Krapp’s Last Tape, in which a man is profoundly alone, with only an archive of old tapes to keep him company. He remembers the seismic event of an old sexual encounter, but now it’s: “Past midnight. Never knew such silence. The earth might be uninhabited.” The Land repeatedly offers that same hypothesis. Without love, is there anyone here? After the alien lift of “Star” comes the album’s showdown. “I’m Your Man” feels as inevitable, bloody, and haunting as a Sergio Leone duel scene. The “Man” in the title isn’t some fella proclaiming devotion, Mitski says, but rather the man inside her head, the haunting patriarch who treats her like a dog and can destroy her at whim. Despite his confidence and swagger, he is tracked down by a pack of hounds — who have unionized in the name of catharsis. After this violent reckoning, a Fowler’s Toad calls out in what sounds like a human scream. The night settles into silence. The earth might be uninhabited. We glide into the liberating closer, “I Love Me After You,” in which someone is truly alone but truly free. King of all the land. “I don’t have a self,” Mitski observes. “I have a million selves, and they’re all me, and I inhabit them, and they all live inside me.” Loving all of these selves does not yield the easy burst of a pop song. It’s the “long, complex, deep love, that you can never get to the end of, that’s always evolving, like a person. And there’s just no end to it. It feels like space travel.” The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Maybe this is what our best artists do: take a spaceship into the furthest reaches of pain, in order to bring back the elixir that we already had inside us. The unknowable known of love. “You have to go to both worlds all the time,” Mitski says, by which she means the mysterious world of making and the brutal world of living. This album is an act of hyperlocal space travel. Love is that inhospitable land, beckoning us and then rejecting us. To love this place — this earth, this America, this body — takes active work. It might be impossible. The best things are.

Sometimes, Mitski says, it feels like life would be easier without hope, or a soul, or love. But when she closes her eyes and thinks about what’s truly hers, what can’t be repossessed or demolished, she sees love. “The best thing I ever did in my life was to love people,” Mitski says. “I wish I could leave behind all the love I have, after I die, so that I can shine all this goodness, all this good love that I’ve created onto other people.” She hopes her newest album, The Land Is Inhospitable and So Are We, will continue to shine that love long after she’s gone. Listening to it, that’s precisely how it feels: like a love that’s haunting the land. Love is always radical, which means that it always disrupts, which means that it always takes work to receive it. This land, which already feels inhospitable to so many of its inhabitants, is about to feel hopelessly torn and tossed again – at times, devoid of love. This album offers the anodyne. “This is my most American album,” Mitski says about her seventh record, and the music feels like a profound act of witnessing this country, in all of its private sorrows and painful contradictions. But “maybe it’s beyond witnessing,” she says. At times, it feels like the album is an exercise in negative capability – a fearless embodiment and absorption of the pain of other bodies. When I ask her what the album would look like, if it were a person, she says it would be someone middle-aged and exhausted, perhaps someone having a midlife crisis. But through the daily indignity and exhaustion, something enormous and ecstatic is calling out. In this album, which is sonically Mitski’s most expansive, epic, and wise, the songs seem to be introducing wounds and then actively healing them. Here, love is time-traveling to bless our tender days, like the light from a distant star. Mitski wrote these songs in little bursts over the past few years, and they feel informed by moments of noticing – noticing a sound that’s out of place, a building that groans in decay, an opinion that splits a room, a feeling that can’t be contained in a body. It was recorded at both the Bomb Shelter in East Nashville and the Sunset Sound Studios in Los Angeles. The album incorporates an orchestra arranged and conducted by Drew Erickson, as well as a full choir of 17 people - 12 in LA and 5 in Nashville - arranged by Mitski. And for the first time, it felt important to Mitski to have a band recording live together in the studio, to create this new sublime sound. Working with her longtime producer Patrick Hyland, the album has a wide-range of references, from Ennio Morricone’s bombastic Spaghetti Western scores to Carter Burwell’s tundra-filling Fargo soundtrack, from the breathy intimacy of Arthur Russell to the strident aliveness of Scott Walker or Igor Stravinsky, from the jubilation of Caetano Veloso to the twangy longing of Faron Young. From the first track, the album introduces and then heals a wound. “Bug Like an Angel” finds the divine in the ordinary, in the boozy drowning of sorrow. The narrator sings from the strange comfort of rock bottom: “sometimes a drink feels like family.” And suddenly, that choir of angels sings: “FAMILY!” This first track introduces a cosmic paradox: “The wrath of the devil was also given him by God.” This is an album in which dark and light exist in the same gesture, the same broken prayer. Like the Buddha inviting the demon Mara in for tea, The Land embraces brutal, daily pain — the necessary toll of transcendent love. In “Buffalo Replaced,” the wail of a freight train replaces the vibrations of the long-gone stampeding buffalo. Here, hope itself is personified, anthropomorphized into a sleeping creature, and our narrator wonders if life would be easier without her. But then, as though in response, “Heaven” offers a beautiful moment of passion, preserved like a fossil in time even though the “dark awaits us all around the corner.” This oasis is aggressively interrupted by “I Don’t Like My Mind,” a song from the perspective of someone in extraordinary pain. They are begging to keep their job, while actively keeping terrible traumatic memories at bay. Without their employment, these memories might take over, consuming them as relentlessly as the cake that they ate one “inconvenient Christmas.” The toggling between hope and despair in these four songs is masterful — the good, the bad, and the ugly in America’s backyard. This mythology continues to deepen with the stunning “The Deal,” in which someone is so burdened by their soul that they beg for it to be taken from them. Soon, the singer’s soul is revealed to be a bird perched on a streetlight. In a coup of songwriting, the narration does not switch into the newly-souled bird’s voice. No, we stay with the soulless “I.” The bird calls down: “You’re a cage without me. / Your pain is eased but you’ll never be free.” This song reinforces the album’s tug-of-war between the intoxication of love and the pain of isolation. Close on its heels is “My Love Mine All Mine,” an instant classic and the beating heart of the album, wherein the singer imagines their love shining down on the earth from the moon, long after the speaker is gone. “It’s just witness-less me,” she sings on “The Frost,” which suddenly takes us from the anticipation of loss right into the aching loneliness of it. On the subject of witnessing, Mitski says: “I’ve always been the person on the outside watching. And I’ve also done that with myself... outside of myself, witnessing myself, watching myself.” She thinks that she might have adopted this habit as a condition of being a woman of color, and that it’s led to the occasional post-apocalyptic fantasy of being the only person left in the world. We talked about Samuel Beckett’s Krapp’s Last Tape, in which a man is profoundly alone, with only an archive of old tapes to keep him company. He remembers the seismic event of an old sexual encounter, but now it’s: “Past midnight. Never knew such silence. The earth might be uninhabited.” The Land repeatedly offers that same hypothesis. Without love, is there anyone here? After the alien lift of “Star” comes the album’s showdown. “I’m Your Man” feels as inevitable, bloody, and haunting as a Sergio Leone duel scene. The “Man” in the title isn’t some fella proclaiming devotion, Mitski says, but rather the man inside her head, the haunting patriarch who treats her like a dog and can destroy her at whim. Despite his confidence and swagger, he is tracked down by a pack of hounds — who have unionized in the name of catharsis. After this violent reckoning, a Fowler’s Toad calls out in what sounds like a human scream. The night settles into silence. The earth might be uninhabited. We glide into the liberating closer, “I Love Me After You,” in which someone is truly alone but truly free. King of all the land. “I don’t have a self,” Mitski observes. “I have a million selves, and they’re all me, and I inhabit them, and they all live inside me.” Loving all of these selves does not yield the easy burst of a pop song. It’s the “long, complex, deep love, that you can never get to the end of, that’s always evolving, like a person. And there’s just no end to it. It feels like space travel.” The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Maybe this is what our best artists do: take a spaceship into the furthest reaches of pain, in order to bring back the elixir that we already had inside us. The unknowable known of love. “You have to go to both worlds all the time,” Mitski says, by which she means the mysterious world of making and the brutal world of living. This album is an act of hyperlocal space travel. Love is that inhospitable land, beckoning us and then rejecting us. To love this place — this earth, this America, this body — takes active work. It might be impossible. The best things are.

Original deadstrock copy. Japanese Obscure Private Issue New Age gems!

Recorded from 1984 to 1986, The Impossible Humane is the sole album from The New Blockaders side project Mixed Band Philanthropist. Originally released on the German Selektion label in 1987 and impossible to find nowadays, Staubgold makes this rare gem of industrial-goes-musique concrète available again in a strictly limited edition of 400 copies. Furthermore, the reissue contains two bonus tracks taken from the 7" single The Man Who Mistook a Real Woman for His Muse and Acted Accordingly. The album is assembled of exclusive source material by the who's-who of the industrial music scene of the time, including contributions from Nurse With Wound, Organum, Andrew Chalk, The New Blockaders, Etant Donnes, H.N.A.S., P16.D4, Asmus Tietchens, Controlled Bleeding, Smegma, Merzbow, and many more. "A classic chunk of destroyed concrète. Assembled from a variety of musical and spoken sources, this is a nonstop barrage of genius. Filled with headsnapping changes, sexual innuendo and general confusion, it's a totally great listening experience," said The Wire. Idwal Fisher wrote: "This car-crash tape collage still stands today as one of the best examples of the genre. Its perpetual barrage of split-second samples are a dizzying mess of '60s pop songs, scrapes, industrial whirr, uncategorizeable racket, ghostly voices, electronic beebles and burrs, sped-up records, tape whizz, machine rumble, snatches of reggae, bucket damage, kazoo farts, disco spots and about three-thousand or more (I'm guessing) other samples that really shouldn't work, but, by some sleight of hand or genius, actually do. On paper, snatches of steel bands shouldn't be found on the same side of tape as Geordie MCs, Michael Jackson, pneumatic drills, early Merzbow and '50s doo wop, but here they are and it works. Totally. Then comes the added bonus of being able to listen to this to the point of ad nauseam, mainly due to the fact that there are so few reference points that every listen brings something new."

We invite you to embark on a captivating sonic odyssey with Quiet Logic, a masterpiece co-crafted by electronic maestros Mixmaster Morris and Jonah Sharp at Haruomi Hosono’s Studio back in 1997. It encapsulates a time when electronic music was undergoing rapid transformation, and these artists were at the forefront, pushing boundaries and redefining soundscapes. Inspired by their unique musical backgrounds, from Hosono's immense contribution to electronic music, and a key figure in the renowned group Yellow Magic Orchestra, to Morris's illustrious worldwide chill out DJ performances and Sharp's pioneering San Francisco Reflective label, Quiet Logic delivers a blend of intricate rhythms and celestial environments remastered for 2023 and available for the first time on vinyl format. Listeners are invited to once again traverse its ambient realms and complex beats. For fans of Haruomi Hosono / YMO, The Irresistible Force, Spacetime Continuum, Dreamfish, Tetsu Inoue, FFWD, H.I.A., Fax +49-69/450464, and mind expanding musics.

The acoustic unit MIZ, formed by members of Japan's hugely popular band MONO NO AWARE, released their first album『Ninh Binh Brother's Homestay』in 2020. It contains ten tracks of primitive, beautiful acoustic sound, capturing the breathtaking scenery crafted by nature and the local atmosphere and scents that rise from the time drifting within it.

The acoustic unit MIZ, formed by members of Japan's hugely popular band MONO NO AWARE, released in 2022.

Originally released in 1981, this is MIZUTAMA SHŌBŌDAN’s legendary debut album. A wild theatrical mix of avant-post-punk material worked out by one of the most uncompromising women’s brigades ever. An outstanding document from “another” Japan! MIZUTAMA SHŌBŌDAN were a force of nature – powerful and original and unapologetic. I saw them live before I heard the first record and was very impressed. I liked the way the group interacted, it was a very good atmosphere between everybody. I really liked the contrasting sounds and styles of Kamura and Tenko, two very different kinds of voices that really worked well together.

‘Fred Frith’

CONTAINS PRINTED INNER SLEEVE AND 4-PAGE FOLD-OUT INSERT

Mixed by master Fred Frith and released in Japan in 1985 this is MIZUTAMA SHŌBŌDAN’s sophomore album. Another dangerous ride with the fearless Polka Dots Fire Brigade and a further step into the Japanese dreamland.

MIZUTAMA SHŌBŌDAN were a force of nature – powerful and original and unapologetic. I saw them live before I heard the first record and was very impressed. I liked the way the group interacted, it was a very good atmosphere between everybody. I really liked the contrasting sounds and styles of Kamura and Tenko, two very different kinds of voices that really worked well together.

‘Fred Frith’

MJ Guider returns to Modern Love’s fantasy jukebox series with a fog-bound piece of nu-gaze that blurs dream pop sweetness with rough-edged texture. New Orleans artist Melissa Guion builds the track from chugging, re-amped goth guitars, blown-out drums and suspended, diaphanous vocals, as if a classic shoegaze sound were viewed through thick frosted glass. The result echoes the blurred intensity of My Bloody Valentine, the sleek gloom of Curve, and the hazy atmospheres of Cocteau Twins, while retaining MJ Guider’s own nocturnal mood. The flip moves into more abstract territory: slow, humming waves of harmonic noise drift like a hymn before a powdery rhythm gradually unsettles the calm, hinting at the dub-tinged ambience of Bowery Electric.

Opening Night is a collection of instrumental music composed for the opening gala of the New Theater Hollywood by Danish composers MK Velsorf & Aase Nielsen. A cycle of minimal pieces for e-guitar, e-piano and backing tracks, the music was performed and recorded live from the stage balcony during the dress rehearsal, arrival of the guests and between speeches throughout the night.

The music is patient, minimal and groovy – consisting of sparse guitar vamps, drum and synth loops, it establishes a mood, or a tone: one of sun-soaked dreams, ecological dread and never-ending anticipation. Opening Night evokes the environmental furniture music of Erik Satie, as well as the light melancholia of Arthur Russell, the procedural TV score of Mike Post, and the sleazy atmospheres of certain Michael Mann films.

Designed to weave in and out of the listener’s consciousness, Opening Night is light in feel yet with a deep pull, breezily conjuring feelings of banality, pleasurable dissociation, and eerie repetition. The listener is invited to get in the car and stay for a while.

The New Theater Hollywood is a performance space run by artists Calla Henkel and Max Pitegoff, housed in the historic 49-seat 2nd Stage Theater in Hollywood’s largely defunct Theater Row, conceived as a space to develop and stage original theatrical productions in the crosswinds of performance, literature, contemporary art, film and television.

WRWTFWW Records is proud to announce the highly anticipated official reissue of holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada’s MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon) and a digipack CD.

Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato’s debut album, Yasuaki Shimizu’s Kakashi, Colored Music self-titled LP and many more) MKWAJU is the fruit of the collaboration between Takada’s crew and world-famous composer/musical director Joe Hisaishi, the man behind most of of Hayao Miyazaki’s Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano’s Sonatine, Hana-Bi, and Kikujiro. The ensemble’s transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album. Historic.

Led by Midori Takada on marimba, gong, vibraphone, and tom tom, MKWAJU is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada’s career and an all-around pioneering album.

Alongside Takada and Hisaishi (who not only produced the album but also played synthesizers), personnel on MKWAJU includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion fame, Junko Arase (heard on Satoshi Ashikawa’s legendary Still Way - Wave Notation 2), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi).

Suntub’ is the second full length album from ML Buch, a double record of 15 pieces by the Danish composer and producer, entering further into the realm of electric guitars and layered vocals along with exploring new instrumental expressions. With an offset in open tunings on a 7-string Stratocaster, slide and fretless tablet guitars and deep-sampled virtual guitars, the album draws up narratives and locations in a distant time. Props like puddles, well buckets, bone barrels and flesh rags live in these scenes, suspended in air, drifting about, climbing stairs and ladders, all given life through guitar sensibilities and visceral vocals.

Suntub’ is the second full length album from ML Buch, a double record of 15 pieces by the Danish composer and producer, entering further into the realm of electric guitars and layered vocals along with exploring new instrumental expressions. With an offset in open tunings on a 7-string Stratocaster, slide and fretless tablet guitars and deep-sampled virtual guitars, the album draws up narratives and locations in a distant time. Props like puddles, well buckets, bone barrels and flesh rags live in these scenes, suspended in air, drifting about, climbing stairs and ladders, all given life through guitar sensibilities and visceral vocals.

Suntub’ is the second full length album from ML Buch, a double record of 15 pieces by the Danish composer and producer, entering further into the realm of electric guitars and layered vocals along with exploring new instrumental expressions. With an offset in open tunings on a 7-string Stratocaster, slide and fretless tablet guitars and deep-sampled virtual guitars, the album draws up narratives and locations in a distant time. Props like puddles, well buckets, bone barrels and flesh rags live in these scenes, suspended in air, drifting about, climbing stairs and ladders, all given life through guitar sensibilities and visceral vocals.

Suntub’ is the second full length album from ML Buch, a double record of 15 pieces by the Danish composer and producer, entering further into the realm of electric guitars and layered vocals along with exploring new instrumental expressions. With an offset in open tunings on a 7-string Stratocaster, slide and fretless tablet guitars and deep-sampled virtual guitars, the album draws up narratives and locations in a distant time. Props like puddles, well buckets, bone barrels and flesh rags live in these scenes, suspended in air, drifting about, climbing stairs and ladders, all given life through guitar sensibilities and visceral vocals.

'Skinned' is the debut album from Danish composer, producer and singer ML Buch. After releasing her debut EP Fleshy in 2017 ML Buch is ready with her first full-length album Skinned that takes her expansive guitar work and catchy melodies to another territory. With her unique experimental pop and vocals that seem to slide into your ears as fluorescent liquid, ML Buch portrays the reality of intimacy in a digital era. Working primarily with synthetic midi sounds, the general love of songwriting and guitar music is ever present. The album comes with an extensive visual side in the form of five music videos acting as tableaus that echo the encounter between screens and skin and how the senses wriggle, flutter and weave in and out of our online presence and intimate lives. As if in search for something real, ML Buch takes the listener on the other side of the skin. Led by tender love songs like I’m A Girl You Can Hold IRL and Can’t Get Over You With You we journey through her throat and into her intestines, discovering a fascinating realm of shiny mucus and bile in flesh and yellowish colors. Panoramic images were captured by a small pill camera travelling through the body of ML Buch and act as extentions of the architecture of the music. This literal way of internalizing modern technology is symbolic of Skinned where eclectic instrumental compositions share the space with strong hooks and ML Buch’s spherical voice.

Music From Memory are excited to present the first compilation of works by British electronic pioneers MLO aka Peter Smith and Jon Tye. Titled ‘Oumuamua’ and second up in the Virtual Dreams series, the compilation is an in-depth artist focused release containing twelve thoughtfully selected tracks that touch on highlights from the duo’s discography as well as newly (re)discovered music drawn from a vast archive of unreleased pieces, sketches and extended jams recorded between 1993-1995. MLO’s ambient explorations began when Pete and Jon, having first met in rival punk bands during the late ‘70s, found themselves with unlimited access to an incredibly well-equipped studio, having been hired to produce an Icelandic pop star’s record in the early ‘90s. Particularly charmed by the Korg PS 3300 and an Emulator 2, Smith and Tye were also deeply fascinated by outer space and set about developing a musical landscape informed by both this new state of the art musical equipment and what lay beyond the Earth’s limits. Painting with a palette informed by classical minimalism, new age and the works of Cluster & Eno; the duos primary colours were drones, sustained tones, washes, calming tides, gentle temple bells and soft angelic voices with flickering glimpses of percussion and drums that hinted at the possibilities of a dance floor. ‘Oumuamua’ is a collection of music to get lost-in, a wander down the mazed, mirrored corridors of the subconscious. Peaceful, flowing, fresh-water patterns, drawing the listener toward a mediative, inner space. Not strictly ambient, rather the music rests temporarily within the boundaries between drum ‘n’ bass, library music, soundtracks and Techno. Or how Jon Tye himself puts it: “It really feels like music from a different place, a different time, made by different people.”