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Welcome to ‘The Yussef Dayes Experience Live At Joshua Tree Presented By Soulection,’ This 5-track EP is inspired by the blissful nature of one of the world’s most iconic nature reserves. In collaboration with Soulection, a global music collective, this sonic journey prompts us to ask, “what is more spiritually uplifting than summer in Joshua Tree?” … Released via Brownswood Recordings on 19 August 2022.

TRACE is a collection of 11 unreleased tracks produced by Yutaka Hirose during the Sound Process Design sessions, right after the release of his classic Soundscape series album Nova. Sound Process Design was Satoshi Ashikawa's label, home of his Wave Notation trilogy (Hiroshi Yoshimura’s Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925 and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on sound for these spaces.

Rather than simply providing pre-recorded compositions, Hirose sought to create a "sound scenery". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers and using a multi-sound source, and following the concept of "sculpturing time through sound".

The composer explains: "sculpturing time through sound means that the time, the space itself, the sound played in it, and the audience all become one sculpture. It is close to the idea of a Japanese tea ceremony where you use all of your 5 (or 6) senses to taste the tea."

TRACE: Sound Design Works 1986-1989 is divided into two parts. "Reflection" is based on an ambient soundscape. It narrates "a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness" and feels like a natural and soothing progression of Nova. It was played at entrances of spaces, at events, in cafes and bars. "Voice from Past Technology" expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers.

All in all, TRACE is a crucial addition to every Japanese environmental music fan’s collection, alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, Satoshi Ishikawa’s Still Way, Motohiko Hamase’s Notes of Forestry, Inoyamaland’s Danzindan-Pojidon, and Yutaka Hirose’s very own Nova.

TRACE is a collection of 11 unreleased tracks produced by Yutaka Hirose during the Sound Process Design sessions, right after the release of his classic Soundscape series album Nova. Sound Process Design was Satoshi Ashikawa's label, home of his Wave Notation trilogy (Hiroshi Yoshimura’s Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925 and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on sound for these spaces.

Rather than simply providing pre-recorded compositions, Hirose sought to create a "sound scenery". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers and using a multi-sound source, and following the concept of "sculpturing time through sound".

The composer explains: "sculpturing time through sound means that the time, the space itself, the sound played in it, and the audience all become one sculpture. It is close to the idea of a Japanese tea ceremony where you use all of your 5 (or 6) senses to taste the tea."

TRACE: Sound Design Works 1986-1989 is divided into two parts. "Reflection" is based on an ambient soundscape. It narrates "a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness" and feels like a natural and soothing progression of Nova. It was played at entrances of spaces, at events, in cafes and bars. "Voice from Past Technology" expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers.

All in all, TRACE is a crucial addition to every Japanese environmental music fan’s collection, alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, Satoshi Ishikawa’s Still Way, Motohiko Hamase’s Notes of Forestry, Inoyamaland’s Danzindan-Pojidon, and Yutaka Hirose’s very own Nova.

80 page book with over 50 photos and a 21 track CD. Printed in Belgium by die Keure. Designed by John Hubbard. "Zabelle Panosian sang one of the most amazing notes I've ever heard - so much humanity, sorrow, promise, infinite longing. When I write my novel the main character will be Zabelle's note." -David Harrington, Kronos Quartet "Please listen to the Armenian singer, Zabelle Panosian. [Her ‘Groung'] is a secret song that steals away the breath of those who are fortunate enough to hear it." -Nick Cave "A carefully crafted and detailed, yet succinct biography. Many of us were introduced to Armenian-American singer Zabelle Panosian’s soul-jolting rendition of “Groung” via the 2011 release of To What Strange Place, but here, in Zabelle Panosian: I Am Your Servant, for the first time, we travel with Panosian from her birthplace in Bardizag to her home in New York. We are there in the studio with her at Columbia Records for her historic recordings in lower Manhattan, and we stand with her in the radio studios of WEAF. We become readers of reviews of Panosian’s concerts both celebrated and scathing. We accompany her on performances, minuscule and grand from Waterford to Providence and San Francisco to Fresno, eventually recrossing the Atlantic with her to sing in France, Italy, and Egypt. More than a singer or performer, we learn of Zabelle, the estranged sister, the loving aunt, and the mother who passes the baton to her daughter, Adrina Otero, completing what will be the starting point for future historians or ethnomusicologists wishing to explore Zabelle Panosian and her legacy.” -Richard Breaux, Associate Professor of Race, Gender, and Sexuality Studies, University of Wisconsin-La Crosse Among the most significant Armenian singers in the early twentieth century, Zabelle Panosian made a small group of recordings in New York City in 1917-’18. Unaccountably, she was then largely neglected as an artist for more than half a century. This volume by three dedicated researchers is the first effort to reconstruct the life and work of a woman who had an exceptional and cultivated voice — who toured the world as a performer and made a significant contribution to the cultural lives of the Armenian diaspora, the elevation of Armenian art song, and the relief of survivors of the Armenian genocide. Panosian’s music is derived from a syncretic experience of the Western Armenian village near the sea of Marmara where she was born and a passion for the coloratura sopranos she encountered in Boston. As an immigrant carrying the traumas of dislocation and the loss of her home, she transformed her grief into action, dedicated her life to an expression of the greatest art she could imagine, both from her former life and her new life in America, and she created a path in her wake for her daughter to become a renowned dancer. Tracing her story from the Ottoman Empire to New England, from the concert halls of Italy, Egypt, and France to California, Florida, and South America through two World Wars, the story of Zabelle Panosian is that of a serious talent recognized and celebrated, dismissed and forgotten, year by year, waiting only to be known and loved again.

Properly stunning fever-dreamweaving on this new one from Zaumne, occupying an elevated space at the intersection of flickering dub-pop and ASMR soundscaping. If you’re into anything from HTRK to Malibu, Félicia Atkinson to Voice Actor, consider it a major life enhancement. For his Sferic debut, Zaumne enlists YL Hooi - a constant source of inspiration for many of us here, as well as Metoronori and the muted sax of Patrick Shiroishi. Loosely inspired by Baudelaire’s ‘Flowers of Evil’ (soft spoken extracts of which appear throughout), the album is a sort of exercise in escapism and sensual wandering. Throughout ‘Parfum’, faded pop is fleshed out with surreal elegance: all flickering neon and half-heard whispers suggestive of blurred late night fantasies; liminal, abstract, and highly evocative. Sounds hang in the air like incense, caressing the senses with an intentionality that's missing from so much landfill ambient. On opening track 'Voyageur’ he sets the scene with pastoral field recordings, dragging a pitched voice and elongated pads through a rhythmic throb that reduces dub techno to a faint knock. There are echoes of music from the fringes of the afterhours club scene too: Andrew Pekler's obscure imaginary landscapes, Jake Muir's druggy bathhouse vapours, DJ Lostboi’s balmy introspection. But despite a shared bleary–eyed aesthetic, Zaumne’s sound is more explicit and well defined, and with it brings a more acute emotional pull. When YL Hooi appears on 'Sorcières', her voice; drenched in reverb but absolutely crystalline, takes proceedings to a whole other level, reminding us of Natalie Beridze’s perennially overlooked ‘The Wrestler’ from her 2003 album for Thomas Brinkmann’s Max Ernst label; a sort of echo chamber dub perfectly re-imagined as dreampop. A whispered French vocal introduces us to 'Éther', a smoked cloud of looping synths and twinkling bells, and on 'Nymphes’ a wash of pads, wind chimes and waves lapping at the shore somehow manages to swerve all the associated schmaltz you’d imagine and instead gives us the same tingling sensation we had when we first heard Art of Noise’s ‘In Visible Silence’ at dusk, on a beach in the south of France, what seems like forever ago. There's a ritualistic quality to Zaumne’s music too, as if he's burning rare gums and mosses over smoldering coals in a remote Carpathian clearing. Hikari Okuyama, aka Metoronori, brings her pointed surrealism to 'Ombres', adding a softly spoken wonder to Olszewski's chimes, while Los Angeles-based multi-instrumentalist and composer Patrick Shiroishi contributes horn curliques to 'Prairie', ushering us towards the same sonic space inhabited by Bohren und der Club of Gore and Julee Cruise.

Terre Thaemlitz and Zeitkratzer, two noted and highly-respected names in experimental music. This release finds the Zeit guys meeting Thaemlitz on Terre’s terms, adapting and performing pieces from Deproduction with acoustic chamber instruments. Recorded live in Berlin last year, spreading over two CDs.視聴-Admit It's Killing You (And Leave) (Sound/Reading for Gay Porn) (Live Version)
視聴-Names Have Been Changed (Sound/Reading for Incest Porn) (Live Version)

Everything Is Simple arrives four years after its predecessor, Hold You Up, which in turn came five years after Show Us The Fire. Zelienople does not do things in a hurry. Why should it? Operationally and musically, haste has nothing to offer the Chicago-identified trio. They do not rush their time signatures, and they do not rush their albums, because however long it takes is the amount of time necessary. So, what’s necessary? Singer-guitarist Matt Christensen, multi-instrumentalist Brian Harding, and drummer Mike Weis had all been in other bands before they united to become Zelienople in 1998 (the band’s name references a town in Pennsylvania where Harding and Christensen were once stranded while waiting for parts necessary to fix a broken-down car). All of them have all played other music since then. Harding records long-form instrumental music under the guise Ill Professor. Weis has explored ambient sound, studied Korean rhythmic practices, and improvised with Kwaidan and Slow Bell Trio. Christensen is torrentially productive on his own; at the end of April 2024 he had 212 digital releases on Bandcamp, and by the time you read this, there’ll be more. If Christensen is driven by compulsive necessity, Zelienople’s rate of production must be a spoiler, not an enhancer. But the three musicians need each other to make the convergence of ceremonial cadences, echo-laden instrumentation, and mournfully resigned singing that constitutes Zelienople’s music. Still, the making of Everything Is Simple took Zelienople out of its comfort zone. In 2020, Weis left Chicago for Kalamazoo, Michigan, which meant that the band no longer had access to its usual recording refuge in his basement. They turned loss into an opportunity to change their approach. Instead of layering tracks incrementally, they recorded mostly live with two extra musicians, Eric Eleazer (synthesizer, Fender Rhodes piano) and PM Tummala (synthesizer, Fender Rhodes piano, vibraphones). Keyboards and metallophones broaden the sound field around Weis’ patiently perambulating percussion. And instead of clinging, Harding’s basses and clarinets swirl and wreath around Christensen’s apprehensive articulations of the experience of being a quiet person in a menacingly loud cultural moment. Tummala also contributed his engineering skills, which enabled Christensen to step back from recording duties to concentrate on singing and playing, and his studio, which is much more spacious than Weis’ old basement. While the basic tracks went down quickly, a lengthy period of mixing and fixing ensued, followed by the spatially conscious mastering of Slowdive’s Simon Scott, all of which further magnified the effect of being a bigger band in a bigger space. Still, Zelienople wears its expansiveness lightly; Everything Is Simple may loom sonically, but it doesn’t overwhelm the listener so much as give them the space to inhabit a singular realm.

The improvisational session by trumpet, shamisen, tabla, and electronics creates light and shade. Through J.A.K.A.M.'s reconstruction, it becomes a wellspring of time and space, reflecting soundscapes reminiscent of a Japanese garden. - Chee Shimizu

The improvisational session by trumpet, shamisen, tabla, and electronics creates light and shade. Through J.A.K.A.M.'s reconstruction, it becomes a wellspring of time and space, reflecting soundscapes reminiscent of a Japanese garden. - Chee Shimizu

Zero Kama was an experimental music project founded by Zoe DeWitt in 1983. The first release of Zero Kama was the title V.V.V.V.V., recorded for the Nekrophile Rekords cassette compilation The Beast 666. In 1984 followed the cassette release of the album The Secret Eye of L.A.Y.L.A.H., which is commonly regarded as one of the key albums of the industrial-subgenre 'ritual'. The fact that all instruments used for this recording were exclusively made from human bones and skulls, its elusive musical style, the implied occult symbolism as well as the short-time existence of Zero Kama, whose backgrounds remained unknown for a long time, have been contributing to the cult status of this project until now.

Following an invitation of the NL-Centrum Amsterdam, Zero Kama played two live concerts in the Netherlands in 1985, and - after two more releases on the Nekrophile compilation The Archangels of Sex Rule the Destruction of the Regime - completely withdrew from the public. While The Secret Eye of L.A.Y.L.A.H. was recorded solely by Zoe DeWitt, the later live performances were realized with befriended musicians such as Didi Neidhart and Muki Pakesch, whom Zoe DeWitt knew from the Austrian music underground of the 1980s.

Since that time there have been a couple of re-releases of Zero Kama recordings, amongst others the 1988 Vinyl version by the French label Permis de Construire, followed by the CD release in 1991. In 2001 the French label Athanor published The Goatherd and the Beast, a 10" vinyl containing tracks from various compilations that were recorded besides The Secret Eye of L.A.Y.L.A.H.. This collection was also included as a bonus CD in the Live in Armhem double CD release by Athanor in 2008. In 2014 Athanor finally published a remastered version of The Secret Eye of L.A.Y.L.A.H. as both vinyl and CD.

Infinite fog Productions presents an anthology release of Zero Kama. The first time ever, everything recorded by the project released as one set on limited CD, VINYL and CASSETE. Recordings transferred from original tapes, carefully mastered by Martin Bowes at the Cage Studios and Micro Majong at Micro Majong Studio. Designed by Cold Graves.

After a six-year hiatus, acclaimed pianist Zhu Xiao-Mei returns with a deeply personal and masterful recording of J.S. Bach’s English Suites. This release completes her heartfelt journey through Bach’s piano compositions, marking another significant milestone in her extraordinary career.

This project is the culmination of years of meticulous preparation and an intimate relationship with the music. Zhu Xiao-Mei’s approach is characterized by a profound connection to each piece, allowing her to bring out the subtleties and nuances that make Bach’s work so timeless. Her dedication to living with the music day-by-day ensures a performance that is both authentic and deeply resonant.

The English Suites, with their blend of lively orchestral and delicate intimate moments, have a special place in Zhu XiaoMei’s heart. She describes them as “a music of intimacy,” making this recording particularly unique. Despite the challenges, including pandemic-related delays and finding the perfect piano, her dedication to authenticity shines through in every note.

Zhu Xiao-Mei’s insightful and sensitive performance invites you into a world of subtlety and depth, offering a refreshing contrast to today’s fast-paced musical landscape. This album is not just a completion of her Bach recordings but a milestone that underscores her exceptional artistry and unwavering devotion to Bach’s timeless music.

These recordings were made in Bombay in 1968 by Bengt Berger (Bitter Funeral Beer Band) during a stay with Ustad Zia Mohiuddin Dagar, who was primarily responsible for the revival of the Rudra Veena as a solo concert instrument. His home in the suburb of Chembur was at the time the magical haunt of a plethora of fantastic musicians, including Ritwik Sanyal and K. Sridhar, who took part in the session. In perfect and stern Duphrad vocal style, these two Raga lead us to different atmospheres and perceptions : Malkauns is the contemplative state of the evening, of the abandonment of the senses before the breaking of the silence in the night; Miyan Ki Todi is the first breath of the morning, the gentle awakening of the limbs before a puja. The two Dagar brothers, Mohiuddin on the Rudra and Fariduddin on the chant, complement each other, become ocean and fire, stillness and storm, in an intimate and tight dialogue of exploration and expressive subtlety, in which the purity of an Indian summer becomes the highest symbol of beauty and freedom of spirit. Originally released on CD by Country & Eastern.

Jin Mu is taken from the Chinese Zodiac and translates to the elements of Metal (Jin) and Wood (Mu). this is essentially the concept of this record.. Tucceri plays a selection of wooden and metal flutes and Zeitgeist plays drums and cymbals. In this sense it's a musical connection to the natural elements and spirits embodied in these instruments. Having worked together for several years on the project ‘Zeitgeist Freedom Energy Exchange’ Zeitgeist and Tucceri come together here in a very intimate and vulnerable setting. This recording offers a place of reflection and healing amongst an ever imposing and disposable pop culture. In a time where we fight for each others attention in 10 second social media grabs. The duo offer something of the opposite. An opportunity to tap out of the technological bombardment and allow the listener the place to reflect, to ponder, to imagine. This record is especially poignant at a time of rising tensions in Australia about the acknowledgment and rights of the indigenous peoples and an ongoing fight for the settlement of refugees in what is essentially a nation of immigrants.

"In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano's pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities." - Zoe Efstathiou. "Following collaborations with Egil Kalman and Oda Dyrnes, Greek pianist Zoe Efstathiou investigates chaotic overtone systems on this pecuilar solo piano excursion, teasing inscrutable, hypnotic drones that sound utterly alien. RIYL Akira Rabelais, John Also Bennett, Kassel Jaeger." - Boomkat. Bio: Zoe Efstathiou, pianist and electro-acoustic composer, originally from Greece, has lived in Sweden since 2015. Her interest shifts between the intricate relationships of the overtones of acoustic instruments, electro-acoustic textures, and the sonic potential of light installations. Her music interpolates the momentary with the ever-evolving, exploring ideas related to time, expectation and memory. Physical copies of the ltd LP is available from Boomkat, A Musik, Discreet Music, etc!

ZULI's widest-reaching and most ambitious album to date, 'Lambda' is a conspicuous left turn for the Berlin-based Egyptian producer. Draped in gauzy, granulated textures and woven with enigmatic vocal flourishes from collaborators MICHAELBRAILEY, Coby Sey and Abdullah Miniawy, it's a vivid, soul-searching set of polychromatic reflections that sets fire to the boundaries between ambient, trip-hop, industrial music, chamber pop and symphonic noise. In some aspects, 'Lambda' reveals ZULI's softer side; gone are the earth-shaking chopped rhythms and stop-start outbursts of corroded static that characterized his last full length, 'Digla Dive - Live'. But peer beneath the brain burrowing vocal melodies, mangled instrumental loops, anxious poems and subtle, harmonic synth washes and a new kind of intensity lurks in the shadows. Since his early releases on Lee Gamble's UIQ label and his 2018 breakout 'Trigger Finger', ZULI has notched up major global acclaim for his futuristic, kinetic musical diversions. He cut his teeth supplying beats to local rappers back home in Cairo, soon shifting his attention to the city's burgeoning dance underground, promoting events, DJing prolifically and tirelessly supporting the scene's most experimental fringe. In 2019, ZULI teamed up with Rama to curate the irsh series of video transmissions, evolving the project into a label shortly afterwards. And now situated in Berlin, the duo have extended the concept to encompass an ongoing sequence of genre-averse club nights. All this experience and constant creative motion is etched into the foundations of 'Lambda'. It's an album that plays liberally with euphoria, but feels constantly precarious, intrepidly peering out from its tense internal world. Lead single '10000 (Papercut pt. 1)' is one of the album's most unexpected cuts, featuring a soaring falsetto vocal from Hamburg-based British composer and performer MICHAELBRAILEY. "What do I have to show for it?" he asks suggestively, while ZULI replies with seismic bass rumbles and celestial, harp-like chimes. Building towards a crippling, dense crescendo, the track is among the weightiest ZULI's ever produced, replacing his signature beats with industrial metal drones and razor-sharp electronics. Brailey also shows up on the symphonic 'Syzygy', singing sweetly until he stretches his voice into mutant echoes, augmenting the chorals with powdery, granulated hisses and surreal piano phrases. On 'Plateau' meanwhile, ZULI works alongside virtuosic multi-instrumentalist and singer Abdullah Miniawy, who calls to the heavens as digitally pulverized strings quiver in the background. And cult British artist Coby Sey adds his unmistakable tones to 'Ast', mouthing tense, thoughtful words over mangled music box jingles and ecstatic pads. When he's not straddled by his collaborators through, ZULI is free to make some of his most personal gestures. He fashions a phantasmic, pitch-fluxed robotic croon on 'Trachea', curving it around half-speed hip-hop clacks and cinematic drones, then driving it into walls of impermeable noise on 'The Horn'. And the album's most revealing moment comes with the short 'Fahsil Qusseer', when ZULI recites a poem written by his father. Stretching his voice and a tape-saturated break like elastic, ZULI mimics the emotional push-and-pull of the protagonist, who overcomes their anxiety to escape into the outside world, only to retreat immediately back to the safety of solitude. The track puts the whole of 'Lambda' into sharp focus - through the walls of noise and exuberant, intoxicating waves of ambience, ZULI finds solace in limbo between the manic extremes.

Zweistein was the brainchild of Suzanne Doucet, who was joined by her sister Diane during the recording process, with added studio effects by Peter Kramper. Doucet spent the first part of 60’s as a pop star - gathering number of hits, and as a TV presenter. Filled with a radical spirit, a love of art and technology, and fueled by a heavy intake of psychedelic drugs, her successes proved unfulfilling by the end of the decade. Zweistein was born. The album, which stretches over three LPs, each with its own theme - Trip, Flip Out, and Meditation, is a writhing radical construction in sound - far closer to the revolutionary gestures of synthesis, electronic and electroacoustic practice emerging during that era, than what is commonly associated with Krautrock or Kosmische. Almost completely abstract, with passages of fleeting melody and drone - enveloping landscapes realized through sound, Trip Flip Out Meditation is pure art, creativity, and experimentation, filtered through the lens of LSD - the heights of the era and all the wonders it brought, with an unmistakable, overt attack on the pop sensibility of its day. An artist diving underground, rearing their head into the mainstream with a thrust of what was found. An astonishing edition - double gatefold, silver engraved gimmick sleeve, 3LP plus a bonus 7" single w/PS and a colour insert. Limited to 1000 copies.

A 12" outing for the Ø:'s excellent Fermionit + the unreleased Kulmamomentti coming in the form of edits from members of the sähkö recordings crew (Kaukolampi & Jimi Tenor). Huge Tip! Mika Vainio was recording a new Ø-album since 2014. He almost got it ready before his too early passing in 2017. Mika's girlfriend Rikke Lundgreen from Oslo has been going through Mika's notes, numerous versions and takes of the album tracks. Now the collection of the tracks is completed, there were two tracks that Mika thought should not be included the album. They make this release. The shoter track Kulmamomentti is edited slightly longer by Jimi Tenor and Timo Kaukolampi.Ø (Mika Vainio) - Fermionit / Kulmamomentti (12")

2024 Repress. Essential stuff from Finnish legend, Mika Vaino ( Ø, Pan Sonic ++ + +).
One for the headphone amp / hi fi sound system crew.

Minimal & reduced nordic techno and electronics - Mika Vaino's second album from 1996 - only released on vinyl for the first time in 2019.

the masterpiece is repressed. Dope minimal experimental dub techno with dots and lines intersecting in a cold, dark monochrome space. It's a chilling space created by thoroughly inorganic acoustics, dynamic heavy bass, dubwise from a deep epicenter, and unsettling melodies. he sampled from Tarkovsky's "Solaris" and covered Pink Floyd's "Set The Controls To The Heart Of The Sun". The cover photo, taken by Mika Vainio herself, is also very beautiful.

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment. Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forward-looking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles. There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more self-aware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light. Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway—feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment. Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forward-looking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles. There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more self-aware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light. Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway—feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.

теплота is the London-based duo of Grundik Kasyansky & Tom Wheatley. Their work interrogates the haptic, social and liberating relationships with technologies old and new; using feedback synthesizer and computer-acoustic bass, they fuse a spontaneous interplay orthogonally over cyclical structures, with techno as perpetual fulcrum. Following their debut HEAT/WORK on Cafe Oto’s TakuRoku label and the monthly ЭС research series, Skynned will be landing on Accidental Meetings. Half techno, half free jazz, the music is both hypnotic and open-ended, relentless and ephemeral.

唯識思想では、菩薩が仏になる道筋を、虚妄分別の止滅から意言分別の智慧の獲得として明らかにし、さらに、仏の正覚の智慧を、無分別智と無分別後得智に分けて明らかにすることで、自利利他を完成した仏の智慧の根本を明らかにしている。
唯識思想が説く仏の智慧を基本として、浄土教で説かれる法蔵菩薩と阿弥陀仏の根源的意味を明らかにすることで、往相回向・還相回向が説かれる意義を明確にする。

序文

第一章 「虚妄分別」と「意言分別」とは
　一、ラトナーカラシャーンティの唯識説――虚妄分別の成立
　二、虚妄分別（煩悩）と菩提について
　三、虚妄分別とは何か
　四、虚妄分別（迷い）から意言分別（智慧）へ
　五、ラトナーカラシャーンティの、梵文『般若波羅蜜多論』の「菩薩の修道論」
　六、「意言分別」も、「虚妄分別」のアーラヤ識の如く、種子を有する
　七、「意言分別」とは何か
　八、意言分別とはどのような分別であるか
　九、意言分別と解脱（唯識の真観）
　十、「虚妄分別」より「意言分別」へ、さらに「無分別智（唯識の真観）」へ――「蛇・藤蔓・四塵の譬」によって解説する
　十一、「無分別智」の成立
　十二、梵文『入無分別陀羅尼経』を引用して、「無分別智・無分別後得世間智」を解説する
　十三、釈尊の「金剛座」での沈黙と、その後の伝道、説法の開始
　十四、無分別智の行者は「唖人の如く」、無分別後得智の行者は「非唖人の如し」
　十五、「無分別智」は無分別であるのに、何故、「智」であるか

第二章 『無量寿経優波提舎願生偈註』（浄土論）
　一、『浄土論』の修行者は法蔵菩薩である
　二、「一法句者謂清浄句」とは
　三、一法（法身、無分別智、清浄句）と一法句（受用身と変化身、後得清浄世間智）について

第三章　曽我先生の法蔵菩薩＝阿摩羅識説に菩薩像を問う
　一、阿摩羅識（amalavijnana）とは何か
　二、阿摩羅識という言葉が消えて「幻師」という言葉が現れる
　三、「幻師」という言葉は『摂大乗論』に引き継がれる
　四、菩薩は因果の相を、幻師の如く了別する
　五、菩薩は無分別後得智・幻術師・受用身（仏身）である

第四章　唯識より浄土教の菩薩像を問う
　一、「往相廻向」「還相廻向」について改めて問う
　二、金剛法座の釈尊に「往相、還相」論は可能であるか
　三、『浄土論註』の還相廻向に対する小川説批判
　四、菩薩はすでに受用身（仏身）である
　五、「巧方便廻向」について小川説を批判する――菩薩は衆生に先がけてすでに成仏している
　六、「善巧摂化」と十波羅蜜
　七、十波羅蜜とは何であるか
　八、『大乗荘厳論』等より、浄土教の菩薩像を問う
　九、菩薩の「往相廻向」「還相廻向」について

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跋文

判型・ページ数 4-6・138ページ

昭和11年、石川県白山市に生まれる。昭和34年、大谷大学文学部仏教学科卒業。昭和39年、名古屋大学大学院印度哲学専攻、博士課程単位取得。名古屋大学文学部助手、名城大学教授を歴任。 現在、名古屋大学名誉教授。文学博士(論文博、名古屋大学)。真宗大谷派嗣講。瑞宝章受章。
主な著書に、『インド後期唯識思想の研究』、『アビダルマ仏教とインド思想』(共著)、『「いのち」の意味』、『真宗の「命観」――私たち人間が仏となること』、『「人間の悪」に対する裁きと救い』、『悪人、善鸞は救われましたか?』、『文学者 三島由紀夫と仏教』、『世親の浄土論と瑜伽行唯識』、『浄土論の唯識思想』ほか。

 

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