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Brother Theotis Taylor is a 92-year-old spiritual singer and piano player known throughout South Georgia and beyond for his powerful voice and heavenly falsetto. His music took him from his home in Fitzgerald, Georgia, to the stage with Sam Cooke and the Soul Stirrers, to Harlem’s Apollo, and even to Carnegie Hall.

Though his releases are limited to six stunning and rare singles on the Pitch label and a single small-press LP, his recorded archive is vast. For much of his life, Brother Taylor kept a reel-to-reel recorder atop his piano at home.

“The music just comes down on you,” Brother Taylor told us late last year. “You always have your machine where you can catch everything. ‘Cause what you can catch today you can’t remember tomorrow.”

Brother Taylor recorded himself on his DIY home setup only when he was inspired by a higher power, often fasting and praying for days before recording. These intimate home recordings were digitized in 2020 and are being heard for the first time with this release.

Revisiting these old songs brought Brother Taylor to tears. “[When I hear this music] I pick up the same spirit that I did it in. And you see me cryin’. It made me feel good ‘cause I know I did it and I did it well. And I want to see it get out, because if it made me feel good, it make somebody else feel good. Right? This is spiritual music.”

Canadian composer Bruce Haack one of the true pioneers in the field of electronic and children's music. Originally released in 1962 "Dance, Sing & Listen" was Haack's debut album. Following instructions from children dance teacher Esther Nelson the album comes as a hyper-eclectic work based on a great variety of sound material. A hybrid soup of medieval, country, classical, and pop styles including tons of electronic effects, guitars, banjos and other acoustic string instruments and bongos!!! This is open minded music for children at its best.

"CAPTAIN ENTROPY (a participation journey for elementary and high-school people~-through the soul of space-ship earth--from principles of thermodynamics to folks like the American eagle) Created and totally performed by BRUCE HAACK." - from Original Liner Notes An electro-surrealist musical journey from the mind of Bruce Haack “The Captain” - capturing his inventive genius musically in tandem with tapping into the voice of his inner child, innovative story songs inspired by Bruce Haack’s diverse musical interests and a love of Science and explorations of the Natural World, songs to excite the imaginations of listeners, both young and old. Remastered by Kramer in 2023. The digital download contains an additional 20 minutes of previously unreleased bonus material; 3 never-before-heard songs from the lower depths of the Haack Archives. This LP was originally released in 1974 on Dimension 5 - the Artist’s own label. This new reissue LP will be a hand-numbered limited edition pressing of 555 on Black Vinyl and an unlimited pressing on Clear Vinyl. A free digital download card including three additional tracks is included with each LP.

Black Truffle announce the release of Le Piano Englouti (The Sunken Piano), the first collaboration between Brunhild Ferrari and Jim O’Rourke, offering up two side-long realisations of Ferrari’s tape compositions recorded in concert at Tokyo’s SuperDeluxe in 2014, revised and mixed by O’Rourke in 2019. The title piece weaves an immersive web of electronics, pre-recorded piano, and field-recorded sounds, including the raging Aegean sea, the tranquil atmospherics of a Japanese island, and the roar of a pachinko parlour. Far from a slice of audio vérité, these geographically distant sites intermingle in an unreal space where they often become indistinguishable. Shadowed by electronics and reverberant snatches of piano, the field recordings rise up and recede like ocean waves, creating a constantly shifting texture that is nonetheless warmly inviting. Chirping birds are confused with their electronic doubles; snatches of footsteps and voices are engulfed by ambience of unclear origin. Increasingly present throughout the piece, the piano rises up one last time before being swallowed up for good by the pachinko parlour. Tranquilles Impatiences (Quiet Impatiences) takes as its source material the electronic sounds produced by Luc Ferrari for his 1977 Exercises d’Improvisation, seven tapes intended to be heard alongside instrumental improvisation. Brunhild Ferrari’s piece layers Luc Ferrari’s sounds into a dense new work that emphasises the insistently pulsing rhythms of the source material. In this realisation with O’Rourke, the piece becomes a monumental sound-object, a slowly shifting mass of skittering electronic tones, shimmering reverb, and growling bass from which field-recorded events occasionally arise. At times, the placement of these fragments of real life in a pulsing, insistent musical landscape calls up Luc Ferrari’s classic Petit Symphonie; at other points, the swarming electronics bring to mind O’Rourke's Steamroom work or even the vast expanses of Roland Kayn.

Brunhild Ferrari's Stürmische Ruhe, her first duo with Christoph Heemann. "A legendary figure in underground music, Heemann has quietly produced a unique body of work since his beginnings with the absurdist cutups of H.N.A.S. in the mid-1980, including collaborations with Merzbow, Organum and Nurse With Wound, the eerie psychedelia of Mirror (with Andrew Chalk), In Camera (with Timo van Lujik) and Plastic Palace People (with Jim O’Rourke), and the precise cinema pour l’oreille constructions of his solo works. Created together in Ferrari’s Parisian studio (once shared with Luc) between 2011 and 2014, Stürmische Ruhe is a single half-hour piece that folds rain and storm recordings into a intricately woven fabric of haunted electronics, unexpected edits and disorienting processing."

One of the furthest experiments in library music, first official vinyl reissue under Sonor Music Production license. ‘Chitarre Folk’ was conceived in July 1974 and produced by the small publishing company Nike, the album is brilliantly propelled by the two six-string players Bruno Battisti D’Amario and Silvano Chimenti (long-time collaborator of I Gres, Pulsar and Piero Umiliani E La Sua Orchestra), touching avant-folk themes surrounded by Maestro Sandro Brugnolini’s lush arrangements and Edda Dell’Orso’s ghostly vocals. Ethereal psych-folk melodies akin to the imaginary landscapes of John Fahey and Robbie Basho.

Cult jazz soundtrack to supernatural Soho strangler epic by Swiss electronic pioneer held captive since 1966. There’s a devious religious sect underneath the Tower Of London which consists of some of the most greedy and powerful men and women in the world! The plot of this obscure Soho-based German thriller perhaps feels more believable during today’s political climate than it did when it was released back in 1966, taking die hard fans of Edgar Wallace paperback adaptations on a slightly more macabre and mystical journey than they had come to expect. What is perhaps less believable is the almost “criminal” fact that this films unheard spooked-out jazz score by one of the most innovative European players and composers has spent almost fifty-five years locked away, shrouded by mystery, not unlike the stolen Parvati Emerald that lies at the centre of the storyline of Der Würger vom Tower. For those who thought soundtracks and conceptual cinematic records like Mad Monster Party and The Vampires Of Dartmoore were unrivalled in there phantasmagorical micro-genres, well the time has come for the original “jazz électronicien” Bruno Spoerri and the Finders Keepers archivists to unleash thick plodding bass lines, mind-bending percussion effects, wayward electric organs and breakneck European jazz to the loneliest part of your record library. Encapsulated in the unbroken chains of baritonal chants by mystical mad monks during cloaked underground ceremonies while the life-blood of some of the most important and coveted players of the Swiss, French and German jazz scenes perform outlandish musical exchanges under Dr. Spoerri’s watchful eye Der Würger vom Tower delivers on a rare conceptual brief marking a truly unique moment in their combined careers. Having finally been liberated from Bruno Spoerri’s meticulous master tape vault this music takes us to the furthest reaches spanning right back to his first-ever feature-length soundtrack commission in order to find its place alongside other recently resuscitated oblique jazz scores by the likes of Basil Kirchin, Krzysztof Komeda (Cul-De-Sac), Angelo Michajlov (Saxana/In The Night Kitchen), Roger Webb and Jonny Scott. For an established jazz composer like Spoerri, who would quickly gravitate towards the rise of electronic music to become one of its biggest champions and pioneers, it is easy to identify within this score the early murmurs of minimal electronic sound design and bizarre jarring keyboard motifs which wouldn’t sound out of place in recordings by Sun Ra if you can imagine an unlikely recording session with the John Barry Seven. Heinz Pfenninger’s thick plodding bass notes (complete with double tracking and spring reverbs) embody the classic Bert Kaempfert and Tony Fisher wet bass sound (that will instantly appeal to fans of Dave Richmond and Serge Gainsbourg), successfully pinning down the sodden plot against the damp underground canals of Sixties London in conjunction with legendary Swiss jazz drummer Rolf Bänninger as the rhythm sections unwittingly channels McCallum and Axelrod in the dark shadows. Translated as The Strangler In The Tower this lesser-known thriller possibly stretched the imaginations of cinematic crime buffs beyond the genre’s parameters before disappearing into obscurity. Opening up with Sixties shots of Big Ben and Oxford Circus before a cat and mouse chase through Soho (and a quick stop at Paul Raymond’s Revuebar strip club) this film, under the direction of established TV programme maker Hans Mehringer, sees a cast of bizarre red cloaked occultists called The Brothers Of Compensatory Righteousness gather in the deepest chambers of England’s capital to worship their “holy root” and retrieve the scared jewel that binds them. Following a varied cast, including renowned burlesque dancers and confusing twin brothers, this ambitious seventy minute whodunnit (replete with the obligatory tangental plot) might pay the right kind of niche aficionado in rich dividends. It is the soundtrack, however, that is the real sacred jewel in Bruno Spoerri’s crown as the leader and pioneer of Switzerland’s electronic underground (not to mention sample source amongst rap royalty) and a mysterious monarchial figure in European jazz and music technology. A cult soundtrack in every sense of the word. Bound in secrecy. Bound in mystery. Now bound in faux leather and tough cotton. Yes, it’s another Finders Keepers special edition, annointing another holy grail discovery to its highest macabre and monarchical status… with an interactive twist. The hooded cult of crooked politicians, royal ne’er-do-wells and general corruptors of power and privilege provide the underlying narrative of this 1966 witchy crime Euro sleaze which demanded a unique soundtrack by a great experimental mind. Up steps Swiss medical scholar an electronic jazz pioneer Bruno Spoerri for his big screen debut and the rest is history, or better still, phantom funk folklore! A would-be doppelgänger to the likes of Dracula’s Music Cabinet and Mad Monster Party including an added burst of plundering Sun Ra synth and am-dram Don Cherry Druidic drones, this obscure soundtrack album is finally excavated from the Spoerri vault and packaged in fine robes like the hooded cult at the centre of the plot. Disguised In red mottled pleather with bespoke eye holes this limited edition include a custom printed insert with moving eye feature to reveal with actress or composer before you delve into a written interview (exclusive to this format) and rare images and trivia from the original film. Clearly one of the labels finest special editions thus far, this edition represents a sacred jewel in Bruno’s discography, not unlike the stolen emeralds which green light the murderous motives of the strangler in the tower.

“Eye Of Delirious” is a long-awaited debut Muscut release of Chillera’s band bass player Ganna Bryzhata — an Odesa-based artist. An ambient LP is a Smoothy Flow Sub Nautical journey that features elements of an industrial dub of Glowing Sirens of the Black sea. REVIEWS: Ganna Bryzhata’s ethereal, shape-shifting electroacoustic experiments feel equally conducive to beatific calm and deep melancholy. Some artists require a certain measure of distance to thrive. That’s the case for Ukraine’s Ganna Bryzhata, aka Bryozone. She’s best known as the bassist of Chillera, a trio of dub aficionados who developed a gently psychedelic style of space rock in their adopted hometown of Odesa, a port city on the Black Sea. The three once considered moving to Kyiv but ultimately decided that life in the capital wasn’t for them: “It’s great to come for a while, to feel the active movement, but it sucks up the energy,” they told an interviewer in 2019. “You need to be more self-organized to live there. We are still not able to bring this chaos to order.” You can hear that refusal to adapt to the rhythms of the big city in their instrumentals, in which Afrobeat basslines and surf licks churn as blithely as the tide, unconcerned with anything beyond maintaining the breezy vibe. A similar sense of willful isolation characterizes Bryozone. Bryzhata’s solo music is a world away from Chillera’s, trading their warm blues riffs and wah-wah twang for ethereal loops and icy, atonal drones. But both projects share a timeless quality. Chillera’s records sound like they’ve spent decades gathering mold in some beachside community thrift store; Bryozone’s output might conceivably have been rescued from the flooded basement of a mid-century tape-music studio. Perhaps even more than Chillera, Bryozone is bubble music, promising an insular journey into inner space. Bryozone’s music has changed considerably since her first two EPs, 2013’s ACID FROG DAY and Ifrit. Where those records remained tethered to familiar strains of lo-fi techno and ambient dub, Eye of Delirious, her debut LP, leaves such recognizable terrain in the rear-view mirror. Across 10 varied tracks, Bryzhata explores a series of mysterious, shape-shifting visions that feel conjured out of thin air—not so much the products of silicon and circuits as the phantasmal afterimages of lysergic dreams. The sea’s rhythms hold sway over the opening tracks. “Smoothly Flow” channels tidal rhythms into a swirl of watery synths and foghorn drones—loops upon loops upon loops, submerged in a thick, grainy paste of tape hiss. It’s eerie and emotionally blank, equally conducive to beatific calm and deep melancholy. “Sub Nautica” pairs a plodding 4/4 pulse and muted dub bass with rolling waves of synth; the influence of dub—a music of ocean currents and cultural exchange—speaks, perhaps, to Odesa’s historic identity as a mercantile city. “Ghost Tribe” and “Liminal Tribe” spin hand percussion through eerie tape effects, turning pitter-pat rhythms into insect chirps and alien soundscapes; they evoke the work of Jan Jelinek, Andrew Pekler, and Muscut label head Nikolaienko, who similarly have reexamined vintage ethnographic phonography through an experimental electroacoustic lens. Some of these tracks aren’t “songs” at all—more like tricks of the light captured on foggy deadstock film. “Sequence One” arrays dissonant chirps and chimes into slippery arpeggios, somewhere between a circus carousel and a flickering asphalt mirage; “Glowing Sirens” and “Ambiency,” imbued with the otherworldly timbres of Sarah Davachi’s Vergers, suggest Aeolian harps, or long metal wires strung across a cavernous tunnel. The closing suite ventures furthest into the penumbra. The title track recalls the haunting expanses of Seefeel at their bleakest; “Fateful Torment” and “Ground Floor” are full of clomping footsteps and ominous electrical buzz, steeped in the doleful, otherworldly frequencies of mid-century explorers like Delia Derbyshire, Daphne Oram, Pauline Oliveros, and Else Marie Pade. These are the most difficult pieces on Eye of Delirious, but they might also be the most rewarding. Bryzhata’s coldly keening frequencies luxuriate in their desolate surroundings, making ghostly tendrils of feedback feel sumptuous. Resolute in their isolation, they offer an alluring glimpse of oblivion, a hand-delivered invitation to disappear. - Pitchfork, By Philip Sherburne From Odesa, sound artist Ganna Bryzhata evokes the hazy ambience of the "Black Sea Paris" The Muscut label, celebrating its 11th anniversary, describes its music of interest as ‘pseudo-archaeology’. On their website, you can see a fabricated photograph showing the uncovering of a cassette tape during excavation. Their releases focus as much on the music as the quality of the sound itself – how the equipment and methodology influence its texture and timbre, what are the side effects of the medium, and what the impact of analogue instrumentation would be. Looking at the catalog, you’ll find input on meditative structures, hunting loops, or specific archaic sounds. Nikolaienko uses a tape player and an old reel-to-reel recorder balancing musique concrète, loops, and pulsating motifs. Nikolaev makes mesmerizing synth passages, whereas Eyot Tapes incorporates cassette loops, spring reverbs, tape delays, and a modular synthesizer. As a result, they create hazy compositions packed with delay effects and reverbs, often based on swirling loops. Bryozone, the project of Odesa-based sound artist Ganna Bryzhata, follows a similar path. Until now, she released two EPs in 2016 but also plays bass guitar, creating psychedelic dub trips in the trio Chillera. Eye of Delirious offer transcends haunting and dreamlike landscapes to provide a peculiar tale. By its atmosphere, it’s difficult to disconnect it from Odesa, a sunny resort known as the Black Sea Paris or the ‘city of dreams’ as Charles King wrote. Bryzhata has recorded a heterogeneous album that sometimes draws a little on the ephemeral atmosphere created by William Basinski or Philip Jeck in their looping pieces. Her hazy ambient strands in ‘Smoothy Flow’ are reminiscent of the feeling of decay present in the music of the two mentioned composers, leaning towards monotonous impressionistic waves, as in ‘Ambiency’. In ‘Glowing Sirens’, the glitchy melody transforms into metallic ambient and creates a ghostly sound, mimicking something vaguely identifiable. ‘Sequence One’ reminds me of a stuttering record, a looped piece, an artifact that brings back memories. However, she does not fall into the obvious cliché of a hazy, indistinct, and impressionistic aesthetic – the neatly arranged compositions assemble into a diverse mosaic. She breaks ambient, dreamlike tracks with underlined beats. There is a moment of cracking the impressionistic suspension in the style of Deadbeat’s or Sun Araw’s dub synth beats, as in the pulsating trance of ‘Sub Nautica’. Sometimes it veers towards rhythmic, quasi-tribal forms as in ‘Ghost of Tribe’. Fortunately Bryozone is not singing and not going in a dream-pop direction – this is a non-obvious, evocative, in a way visual, and narrative soundtrack to the journey to the Black Sea coast. Or elsewhere in the middle of hot summer, as this album with scraps of rhythm, melodies, and hazy vision of sunny afterimages catch with a very impressive and suggestive story. - The Quietus, by Jakub Knera Ukraine’s Muscut keep ‘em coming with Odesa artist Bryozone’s bittersweet, subaquatic ambient fantasies for fans of Spencer Clark, Jürgen Müller, Pataphysical ‘Eye of Delirious’ is the debut album by Ganna Bryzhata aka Bryozone, who hails from the historic Black Sea port city of Odesa, and also plays bass in the band Chillera when they’re not making this type of beautifully detuned dream-food. Following in the glistening wake of work by Pavel Milyakov, Stanislav Tolkachev and Nikolajev on Muscut, the album arrives with no mention or implication that Europe’s most tragic war in a century is occurring in the background, as Bryozone proceeds to project 40 minutes of transportive music as elegantly alien as jellyfish. The 10 tracks are defined by a taste for curdled silicon and and elusive ambient contouring that lends the lushest, disorienting listen. Slipping in head first with the silty early AFXian pads of ’Smoothy Flow’ the set vacillates strains of dub techno and impressionistic ambient in an effortlessly enchanting flow from he sliding pitches of ‘Sequence One’ and the seductive harmonies of ‘Glowing Sirens’, to limn Atlantean creatures with Spencer Clark-like animism in ‘Ghost Tribe’. They tease beautifully buoyant ambience into more quizzical, queasy space on ‘Ambience’, and the likes of ‘Liminal Tribe and ’Sub Nautical’ recalls Cru Servers weirdo club slosh, before it shores up in a submerged ‘Ground Floor’ like an imaginary soundtrack to Ballard’s ‘Drowned World’. - Boomkat A dubby, subaquatic journey into the Black Sea. Share Bryozone has not been chilling in Chillera. The Ukrainian artist is a bass player in the band, who create wonderfully breezy music in spite of their hard work ethic. The trio was formed in Odessa and takes inspiration from surf rock and lo-fi indie, channelling the experience and lifestyle of a smaller port city. They've put out two EPs on the renowned Muscut label and organised a festival to bring attention to Ukraine's south. The sea is a core part of Chillera's identity, as it is for Bryozone. On Eye Of Delirious, the artist's first solo venture in seven years, she nearly perfects a specific type of aquatic beat previously heard on Ifrit, her ambient techno and dub EP from 2016 that carried over Chillera's beachy vibes. Listening to "Ghost Tribe" on Eye Of Delirious, a visual association pops up from my memory—a moment in an Armenian cartoon where a mermaid stares into the camera with her wide eyes. It's creepy, psychedelic, and captivating. On this track, beats bubble and Bryozone evokes an underwater civilisation where this kind of character could live. With "Liminal Tribe," she makes this realm even richer with rolling, spaced-out beats that create a whole universe of creatures. It's as if she's painting a landscape. Her synths roll like waves on "Sub Nautica" and cut like frigid, winter seawater on "Sequence One." She uses field recordings—or, rather, sea recordings—to add ambience, but it's her supple rhythms that are visionary. The album's simplest track, "Ambiency," digs a deep valley to enjoy the peaks of more adventurous tracks. I wish there was more of this contrast on the title track and "Fateful Torment," which stumble into the LP's climax with weighty, post-apocalyptic drums. On "Smoothy Flow" and "Ground Floor," Bryozone uses a decaying filter, like a dying gramophone, that ties the LP to the rest of Muscut's releases and nods to the label's archival work. Eye Of Delirious is a dynamic portrait of life under the sea and it's worth diving into. - Resident Advisor

“Eye Of Delirious” is a long-awaited debut Muscut release of Chillera’s band bass player Ganna Bryzhata — an Odesa-based artist. An ambient LP is a Smoothy Flow Sub Nautical journey that features elements of an industrial dub of Glowing Sirens of the Black sea. REVIEWS: Ganna Bryzhata’s ethereal, shape-shifting electroacoustic experiments feel equally conducive to beatific calm and deep melancholy. Some artists require a certain measure of distance to thrive. That’s the case for Ukraine’s Ganna Bryzhata, aka Bryozone. She’s best known as the bassist of Chillera, a trio of dub aficionados who developed a gently psychedelic style of space rock in their adopted hometown of Odesa, a port city on the Black Sea. The three once considered moving to Kyiv but ultimately decided that life in the capital wasn’t for them: “It’s great to come for a while, to feel the active movement, but it sucks up the energy,” they told an interviewer in 2019. “You need to be more self-organized to live there. We are still not able to bring this chaos to order.” You can hear that refusal to adapt to the rhythms of the big city in their instrumentals, in which Afrobeat basslines and surf licks churn as blithely as the tide, unconcerned with anything beyond maintaining the breezy vibe. A similar sense of willful isolation characterizes Bryozone. Bryzhata’s solo music is a world away from Chillera’s, trading their warm blues riffs and wah-wah twang for ethereal loops and icy, atonal drones. But both projects share a timeless quality. Chillera’s records sound like they’ve spent decades gathering mold in some beachside community thrift store; Bryozone’s output might conceivably have been rescued from the flooded basement of a mid-century tape-music studio. Perhaps even more than Chillera, Bryozone is bubble music, promising an insular journey into inner space. Bryozone’s music has changed considerably since her first two EPs, 2013’s ACID FROG DAY and Ifrit. Where those records remained tethered to familiar strains of lo-fi techno and ambient dub, Eye of Delirious, her debut LP, leaves such recognizable terrain in the rear-view mirror. Across 10 varied tracks, Bryzhata explores a series of mysterious, shape-shifting visions that feel conjured out of thin air—not so much the products of silicon and circuits as the phantasmal afterimages of lysergic dreams. The sea’s rhythms hold sway over the opening tracks. “Smoothly Flow” channels tidal rhythms into a swirl of watery synths and foghorn drones—loops upon loops upon loops, submerged in a thick, grainy paste of tape hiss. It’s eerie and emotionally blank, equally conducive to beatific calm and deep melancholy. “Sub Nautica” pairs a plodding 4/4 pulse and muted dub bass with rolling waves of synth; the influence of dub—a music of ocean currents and cultural exchange—speaks, perhaps, to Odesa’s historic identity as a mercantile city. “Ghost Tribe” and “Liminal Tribe” spin hand percussion through eerie tape effects, turning pitter-pat rhythms into insect chirps and alien soundscapes; they evoke the work of Jan Jelinek, Andrew Pekler, and Muscut label head Nikolaienko, who similarly have reexamined vintage ethnographic phonography through an experimental electroacoustic lens. Some of these tracks aren’t “songs” at all—more like tricks of the light captured on foggy deadstock film. “Sequence One” arrays dissonant chirps and chimes into slippery arpeggios, somewhere between a circus carousel and a flickering asphalt mirage; “Glowing Sirens” and “Ambiency,” imbued with the otherworldly timbres of Sarah Davachi’s Vergers, suggest Aeolian harps, or long metal wires strung across a cavernous tunnel. The closing suite ventures furthest into the penumbra. The title track recalls the haunting expanses of Seefeel at their bleakest; “Fateful Torment” and “Ground Floor” are full of clomping footsteps and ominous electrical buzz, steeped in the doleful, otherworldly frequencies of mid-century explorers like Delia Derbyshire, Daphne Oram, Pauline Oliveros, and Else Marie Pade. These are the most difficult pieces on Eye of Delirious, but they might also be the most rewarding. Bryzhata’s coldly keening frequencies luxuriate in their desolate surroundings, making ghostly tendrils of feedback feel sumptuous. Resolute in their isolation, they offer an alluring glimpse of oblivion, a hand-delivered invitation to disappear. - Pitchfork, By Philip Sherburne From Odesa, sound artist Ganna Bryzhata evokes the hazy ambience of the "Black Sea Paris" The Muscut label, celebrating its 11th anniversary, describes its music of interest as ‘pseudo-archaeology’. On their website, you can see a fabricated photograph showing the uncovering of a cassette tape during excavation. Their releases focus as much on the music as the quality of the sound itself – how the equipment and methodology influence its texture and timbre, what are the side effects of the medium, and what the impact of analogue instrumentation would be. Looking at the catalog, you’ll find input on meditative structures, hunting loops, or specific archaic sounds. Nikolaienko uses a tape player and an old reel-to-reel recorder balancing musique concrète, loops, and pulsating motifs. Nikolaev makes mesmerizing synth passages, whereas Eyot Tapes incorporates cassette loops, spring reverbs, tape delays, and a modular synthesizer. As a result, they create hazy compositions packed with delay effects and reverbs, often based on swirling loops. Bryozone, the project of Odesa-based sound artist Ganna Bryzhata, follows a similar path. Until now, she released two EPs in 2016 but also plays bass guitar, creating psychedelic dub trips in the trio Chillera. Eye of Delirious offer transcends haunting and dreamlike landscapes to provide a peculiar tale. By its atmosphere, it’s difficult to disconnect it from Odesa, a sunny resort known as the Black Sea Paris or the ‘city of dreams’ as Charles King wrote. Bryzhata has recorded a heterogeneous album that sometimes draws a little on the ephemeral atmosphere created by William Basinski or Philip Jeck in their looping pieces. Her hazy ambient strands in ‘Smoothy Flow’ are reminiscent of the feeling of decay present in the music of the two mentioned composers, leaning towards monotonous impressionistic waves, as in ‘Ambiency’. In ‘Glowing Sirens’, the glitchy melody transforms into metallic ambient and creates a ghostly sound, mimicking something vaguely identifiable. ‘Sequence One’ reminds me of a stuttering record, a looped piece, an artifact that brings back memories. However, she does not fall into the obvious cliché of a hazy, indistinct, and impressionistic aesthetic – the neatly arranged compositions assemble into a diverse mosaic. She breaks ambient, dreamlike tracks with underlined beats. There is a moment of cracking the impressionistic suspension in the style of Deadbeat’s or Sun Araw’s dub synth beats, as in the pulsating trance of ‘Sub Nautica’. Sometimes it veers towards rhythmic, quasi-tribal forms as in ‘Ghost of Tribe’. Fortunately Bryozone is not singing and not going in a dream-pop direction – this is a non-obvious, evocative, in a way visual, and narrative soundtrack to the journey to the Black Sea coast. Or elsewhere in the middle of hot summer, as this album with scraps of rhythm, melodies, and hazy vision of sunny afterimages catch with a very impressive and suggestive story. - The Quietus, by Jakub Knera Ukraine’s Muscut keep ‘em coming with Odesa artist Bryozone’s bittersweet, subaquatic ambient fantasies for fans of Spencer Clark, Jürgen Müller, Pataphysical ‘Eye of Delirious’ is the debut album by Ganna Bryzhata aka Bryozone, who hails from the historic Black Sea port city of Odesa, and also plays bass in the band Chillera when they’re not making this type of beautifully detuned dream-food. Following in the glistening wake of work by Pavel Milyakov, Stanislav Tolkachev and Nikolajev on Muscut, the album arrives with no mention or implication that Europe’s most tragic war in a century is occurring in the background, as Bryozone proceeds to project 40 minutes of transportive music as elegantly alien as jellyfish. The 10 tracks are defined by a taste for curdled silicon and and elusive ambient contouring that lends the lushest, disorienting listen. Slipping in head first with the silty early AFXian pads of ’Smoothy Flow’ the set vacillates strains of dub techno and impressionistic ambient in an effortlessly enchanting flow from he sliding pitches of ‘Sequence One’ and the seductive harmonies of ‘Glowing Sirens’, to limn Atlantean creatures with Spencer Clark-like animism in ‘Ghost Tribe’. They tease beautifully buoyant ambience into more quizzical, queasy space on ‘Ambience’, and the likes of ‘Liminal Tribe and ’Sub Nautical’ recalls Cru Servers weirdo club slosh, before it shores up in a submerged ‘Ground Floor’ like an imaginary soundtrack to Ballard’s ‘Drowned World’. - Boomkat A dubby, subaquatic journey into the Black Sea. Share Bryozone has not been chilling in Chillera. The Ukrainian artist is a bass player in the band, who create wonderfully breezy music in spite of their hard work ethic. The trio was formed in Odessa and takes inspiration from surf rock and lo-fi indie, channelling the experience and lifestyle of a smaller port city. They've put out two EPs on the renowned Muscut label and organised a festival to bring attention to Ukraine's south. The sea is a core part of Chillera's identity, as it is for Bryozone. On Eye Of Delirious, the artist's first solo venture in seven years, she nearly perfects a specific type of aquatic beat previously heard on Ifrit, her ambient techno and dub EP from 2016 that carried over Chillera's beachy vibes. Listening to "Ghost Tribe" on Eye Of Delirious, a visual association pops up from my memory—a moment in an Armenian cartoon where a mermaid stares into the camera with her wide eyes. It's creepy, psychedelic, and captivating. On this track, beats bubble and Bryozone evokes an underwater civilisation where this kind of character could live. With "Liminal Tribe," she makes this realm even richer with rolling, spaced-out beats that create a whole universe of creatures. It's as if she's painting a landscape. Her synths roll like waves on "Sub Nautica" and cut like frigid, winter seawater on "Sequence One." She uses field recordings—or, rather, sea recordings—to add ambience, but it's her supple rhythms that are visionary. The album's simplest track, "Ambiency," digs a deep valley to enjoy the peaks of more adventurous tracks. I wish there was more of this contrast on the title track and "Fateful Torment," which stumble into the LP's climax with weighty, post-apocalyptic drums. On "Smoothy Flow" and "Ground Floor," Bryozone uses a decaying filter, like a dying gramophone, that ties the LP to the rest of Muscut's releases and nods to the label's archival work. Eye Of Delirious is a dynamic portrait of life under the sea and it's worth diving into. - Resident Advisor

The long-awaited repress! The label's Warfaring Strangers Comp and Josefus-based proto-heavy metal hot 71st edition !! Missouri's unknown four-piece heavy psychedelic, Bulbous Creation's only album is back from Numero!

Bullion is Nathan Jenkins, an enduring cult figure of electronic music. A producer and songwriter quietly to be found connecting artists, genre and UK subculture. His credits range from Carly Rae Jepsen, Ben Howard, Nilüfer Yanya and Avalon Emerson's breakout album & The Charm to records for Westerman and Joviale.Bullion's celebrated solo releases, meanwhile, have run parallel on Young, The Trilogy Tapes, Jagjaguwar and his own DEEK Recordings. It's a creative red-thread Bullion ties together on his surprise new album, Affection - a warm, occasionally off-kilter and beautifully realised pop record that’s bold enough to step from behind-the-scenes and show affection in public. Affection started life upon Nathan's move back to London from Lisbon, where he relocated in 2018. Back then, the comfort of the crowd suited him: self-confessedly passive and faltering by nature, the opportunity to exist somewhere without any personal history proved liberating. Returning home, Nathan increasingly found himself reflecting on his place in the world, seeking affection in place of cynicism. Bullion's music has always been difficult to pin down, but entirely distinctive - and on Affection, its rich pleasures are in hearing how this uncompromising approach is strengthened, in part, by softening. The album wonders-aloud about the meaning of intimacy, in relationship to others and the self. Masculinity and other contemporary concerns are punctuated by old-world charms, found in the ‘hat stands and watches' of World_train. Influences stretch from morning swims to adolescent fears and a book of poems his Dad wrote as a young man, in songs that are tender if not always true of Nathan himself. Affection ultimately asks how we understand people, but in being more vulnerable at least attempts to care a little less about what they think, too. Taking your own advice is integral to Bullion's latest album, where Nathan applies what he’s encouraged fellow artists to do in the studio for years: be open to adventure. Affection steps into a more emotionally-present, often playful space, with collaborators Carly Rae Jepsen and Charlotte Adigéry gracing songs that prioritise feeling over fixed meaning. Rare, for instance, emerged during sessions for Jepsen’s recent album in Toronto: high energy turning coy to express something 'deep in the heart'. World_train, meanwhile, is an eccentric and brilliantly odd angle on Bullion's love of pop, its locomotive power summoning a lost past amidst the uncertainties of the everyday. 'I can hardly understand what it takes to be a real man', Bullion sings. '... and nobody can', Adigéry confirms. Still, connections - missed, imagined, or still possible - cocoon much of Affection, with Panda Bear collaboration A City’s Never emerging after Noah and Nathan lived in Lisbon at the same time but never actually met. For Bullion, the willingness to allow others into his songwriting process is as much about opening up the world of the album as it is about bettering the work and the person. In blurring the observational with the introspective, Affection's avant-pop touch abandons categorisation. The albums lyrics are as unguarded and devotional as they are inquisitive of alternative ways of being, signing off with 'being still is hard to do'. Nathan has mastered his sound, but life - in its expectations, contradictions, impulses and desires - remains impossible to control. Affection is an unassumingly powerful pursuit of a more compassionate form of confidence, in which Bullion cements his place in the present-day by entirely surrendering to the future.

A trio of Kansas City soul sweepers, from the sprawling midwest burg's storied Cavern, Damon, and Forte concerns. Bump and the Soul Stompers' 1970 sweet soul double sider "I Can Remember" was a tail pipe-dragging, low rider classic in the making, had it ever been released. A few years later Jerald "Bump" Scott took his new group to Cavern's subterranean confines to cut the group harmony masterpiece "Living In The Past," but remained unissued prior to Numero's discovery of the Cavern tapes. As disco was cresting at the top of the next decade, Sharon Revoal tracked her James Brown meets James Bond stepper "Reaching For Our Star"—the last 45 released on Marva Whitney's peerless Forte label.

The world premiere of a two-disc set of the ultimate rarities in dub history from a renowned label known for its archival reissues of rare and high quality reggae and dub material. The combination of Jamaica's most talented producer, Bunny Lee, Prince Jammy's mix and The Aggrovators' performance is the ultimate combination of Johnny Clarke, Tommy McCook, Hortense Ellis and Derrick Morgan. Conflict Dub" (1977) was released in very small quantities on the white label at the time and is rarely seen on the used market. And now, for the first time, we're reissuing this fantastic album (recorded around the same time as the previously reissued "Dubbing in the Backyard") under the name "Dubbing in the Front Yard". (recorded at the same time as the previously reissued "Dubbing in the Backyard"). This interesting release couples the early days and maturity of the creative and strong partnership between Bunny Lee and Prince Jammy, who produced many classic albums at King Tubby's, the heaviest mixing studio in Jamaica at the time. The newly prepared cover features a rare photo taken by Howard Johnson, director of the Channel 4 documentary "Deep Roots Music", in the same week as the 1982 recording.

Although his identity and background are still unknown, Brial has fascinated many music fans and influenced many artists. His overwhelmingly original sound has made him one of the most popular artists of the 2,000's. We stocked his 2019 EP "Claustro / State Forest".

Although his identity and background are still unknown, Brial has fascinated many music fans and influenced many artists. His overwhelmingly original sound has made him one of the most popular artists of the 2,000's. We stocked his 2016 EP "Young Death, Nightmarket".

Antidawn reduces Burial’s music to just the vapours. 

The record explores an interzone between dislocated, patchwork songwriting and eerie, open-world, game space ambience. 

In the resulting no man's land, lyrics take precedence over song, lonely phrases colour the haze, a stark and fragmented structure makes time slow down. 

Antidawn seems to tell a story of a wintertime city, and something beckoning you to follow it into the night. The result is both comforting and disturbing, producing a quiet and uncanny glow against the cold. Sometimes, as it enters 'a bad place', it takes your breath away. And time just stops.

Burial has set two milestones with their masterful debut album "Burial" in 2006 and their second album "Untrue" in 2007, which won the greatest acclaim as "the most important electronic music work of the century". In 2022, Burial will release his first full-length album in 15 years, "Antidawn," and as he continues to reach new heights, he will suddenly release his latest track on a limited-edition 12-inch from XL Recordings.

Although his identity and background are still unknown, Brial has fascinated many music fans and influenced many artists. His overwhelmingly original sound has made him one of the most popular artists of the 2,000's, stocked his 2011 EP "Street Halo".

Burial releases a limited 12-inch EP "Streetlands", the sequel to "Antidawn"!
With his 2006 masterpiece debut album "Burial" and 2007's second album "Untrue", which was hailed as "the most important electronic music work of this century", he set two monumental achievements, and his true identity still remains. Although his background is unknown, Burial has fascinated many music fans and has influenced many artists.
With his overwhelmingly original sound, he reigns as one of the leading artists of the 2000s. Released in.
It is an ambient work with a texture that you can tell at a glance that it is Burial's work, and its profound sound sets it apart from others, creating a unique world that exceeds 30 minutes despite being an EP work.

Beautiful ghost town forever ...
A collection album that covers the ten generations of the solitary genius Burial will be released

The 2006 debut album "Burial" and the following year's second album "Untrue" have been established, and although their identity and identity are still unknown, their overwhelmingly original sound is UK garage-dubstep. By extension, Burial left a big impact as one of the representative artists of the 0's beyond the category of club music. The genius who continued to be silent revived with the EP work "Street Halo" in 2011 when he entered a new decade, and although expectations for the release of the third album increased, he suddenly continued to release EPs and singles after that, " I continued to search for new expressions after "Untrue". This work is a collection album that covers the steps that Burial left on Hyperdub in the Ten's, and walked to the unexperienced zone with listeners, seeking dismantling of the post dubstep that he had built himself, release from the scale and development of the track. A total of 17 songs, 150 minutes, including 6 songs from the first CD version of the song, are recorded on a 2-CD set. From "Street Halo" and "Loner", which presented a deep house mode with a hasty 4/4 beat, to "Kindred", which is an 11-minute self-collage of your own world view, and more emotional without being bound by the beat. "Rival Dealer" that develops a unique story, "Truant" that has one of the best sunlight ambiences in history, "Come Down To Us" that is a popular song representing Burial in the Tens, and recent single "State Forest". The pieces of the lonely genius, including the burial ambient track, are rearranged in the order of the intentional songs, and are completed here as one big lyric poem.

the second album released in 2007, which won one of the biggest accolades as ‘the most important piece of electronic music of the century’, is reissued on 2LP (140g black vinyl).

Since 2018 João Pais Filipe (on drums) and Burnt Friedman (electronics/synth) investigate into automatic pattern–composition rooted in doubling and halving; the unimpeachable laws of motion. The offer of freedom can be seen as a way to get in touch with necessity. On „Mechanics Of Waving“ the attempt is made to succumb to such a mode of action, the drilling of a method, not through individual cunning or displayed musicianship. Through constant practise Friedman & Pais discover the principles of rhythmic phenomena while dis–associating the music from cultural idioms. Inspired by rare infrasound–ratios ranging from 11 to 23, Nonplace releases the results of a 4 years long operation.

Deadstock, the first collaboration between German electro heavyweights Burnt Friedman and Mohammad Reza Mortazavi released on Nonplace. Extremely minimalistic. The sound design is restrained, percussive, and beautifully constructed. This is an artistic and stoic work of human-powered techno, with a definite surge of heat in the midst of dynamic tranquility.

Mohammad Reza Mortazavi (Tombak) & Burnt Friedman (electronics, synth.) release their second EP “YEK 2”.
Equipped with one drum only and laser-pattern–electronics, Mortazavi and Friedman produce delicate, yet archaic, trance–inducing, transnational dance music with“…hints of dust and grain… “. (Freq)

Mortazavi and Friedman move hands and faders according to odd cyclical rhythms with incredible accuracy. The extreme dynamic range and rhythmic congruency of drum and electronics merge both, Mortazavi`s and Friedman’s repertoire entirely.
Complete in [YEK], resisting cultural notions of folklore and territory.