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Often referred to as 'Brazil s unofficial poet laureate' and the 'Bob Dylan of Brazil', this heavy-weight of Brazilian music was also a young revolutionary who used his music to protest against Brazil's oppressive military regime. This protest music, which became known as Tropicalia, first earned Veloso a stint in jail, but by the time this dour album was released in 1971, it had placed him in exile in the UK. Veloso's extreme bitterness and melancholy can be heard on every groove of this album, but don't let the album s gloomy atmosphere stop you from buying it; it is dripping with some of the best moments of saudade in the history of Brazilian music. Color vinyl version.

Caetano Veloso, one of the great masters of Brazilian music, released his first album "Irene", also known as "The White Album", in 1969, and his second studio album as a solo artist. Veloso and his ally Gilberto Gil were arrested and jailed for criticizing the military regime without any clear reason. This is the monumental album that he left behind just before his exile to London, England, and sent out to the world as his own message. Limited edition of 500 copies on clear vinyl.

Evocative, eclectic, intimate, and rhythmically complex, TRANSA contains everything that has made Caetano Veloso the most distinctive and, arguably, most important voice in modern Brazilian music. The album was recorded during Veloso's political exile in England but released in 1972 upon his return to his homeland. Though the songs are not overtly political, they seem allegorical, celebratory, and plaintive at once, and point to a tension between the artist's expressive impulse and the strictures of his native country. This tension is further heightened by the presence of lyrics in both English and Portuguese. The beautiful, desperate "You Don't Know Me" may be the world's first bilingual bossa nova/folk-punk anthem of identity. The jazzy "Nine Out of Ten" gives way to the gear-shifting "Triste Bahia," which features webs of accelerating Brazilian percussion. A spare treatment of the classic samba "Mora Na Filosofia," the cosmic ditty "Neolithic Man," and the 12-bar "Nostalgia" (ending with the wise line "That's what rock & roll is all about") close out the set. TRANSA is a jewel in Veloso's discography and a must for anyone interested in Brazilian pop--or brilliant, original pop in general.

With the release of this seminal album, Veloso would become the leading voice of Tropicalia. The songs on this album immediately connected with people. Alegria, Algeria was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album's first song Tropicalia was an anthem for the whole movement; it's a fragmented allegory, a structure borrowed from friends in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship. Superbacana (translated as 'Supergroovy') follows a hyperbolic superhero's use of technology to fight a gang of cowboys led by the money-hungry Uncle Scrooge, serving as allusions to American imperialism and greed felt in their country, all in the rapid-fi re structure of a comic book. The subtext in all these songs, which the dictatorship would not immediately catch, were that these repressed but glaring contradictions, not the bountiful sunny paradise that the military regime was pushing, were the true national identity. Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries' bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort.

Preview tracks

 

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Call Super revives the endangered art of the mix CD with a fluid, technicolour hour of elegantly advanced club music featuring a striking assembly of emergent artists.

Since their first releases in the early 2010s, Joseph Seaton has been a many-sided artist balancing expressive electronics with organic instrumentation. Their background in jazz has informed ambient and experimental albums, but they've proven to be just as comfortable tackling all shapes and speeds of impactful club music. This extends to their practice as a DJ, regularly surfing the slipstream of the club and festival circuit with a sensitive, seductive instinct for the movement of a dancefloor.

Seaton set out to make ARPO — an acronym for A Rhythm Protects One — to honour the meaning of mix CDs in a world drowning in online DJ streams. Part of the generation raised on seminal series like the metal-tinned fabric and fabriclive (which Seaton themselves contributed to), they cast back to the lasting impression of landmark sessions like Coldcut's 1995 opus Journeys By DJ: 70 Minutes Of Madness. These were mixes to absorb over and over again, where every deeply considered track and transition became lodged in your psyche.

As a DJ, producer and composer with a reputation for distinctive, head-turning musicality, Seaton puzzled out a selection for ARPO that bristles with invention. Every track feels like a moment, loaded with motifs and loops that gently impose their presence across an ever-shifting, intricately woven tapestry of dancefloor psychedelia (not to be confused with any genres with 'psy' in the name).

As well as exclusive new material under their Call Super and Ondo Fudd aliases, Seaton seeks out uncanny talent from breakthrough artists in tune with their creative vision. In terms of slinky 4/4 groove and mid tempo pace, you might locate the likes of Conny Slipp, Scarletina and Clam1 on the wilder fringes of minimal tech house, but their productions teem with textural depth and melodic subtlety that reach past that scene's typically functional tendencies. Curveballs abound, and Seaton relishes in the chance to divert into dramatic workouts like their own 'Limelight' and 'mothertime' or strip everything down for the striking, swooning poetry of Malgo & KVS' 'The Argosy'.

Way beyond neatly boxed-off club styles, the individual tracks have their own unique qualities that hold space within the mix as a whole — memorable hooks that burrow in deep, sequenced as a complete and immersive whole to carry with you through life. As Seaton puts it themselves:

"There is a line in the Malgo & KVS track that goes, 'I must be the place where the storm catches breath.' The line captures that feeling of the best of times in a club, where everything slips away in terms of time and you feel like you’ve reached a place beyond the outside world, a place of your own that is somehow communal with those around you. The mix was meant to be an honest reflection of those moments for me as a DJ. The zones that somehow encapsulate the physical and mental harmony you feel in that place. This is a mix for that zone."

Of course, the importance of a mix CD is also rooted in its physicality. Seaton thought back to some of their favourite CD packaging, landing on the iconic pill box that housed Spiritualized's 1997 space rock opus Ladies and Gentlemen We Are Floating in Space. The original designer and manufacturer of that packaging, Daniel Mason, was sought out and enlisted to collaborated with Dekmantel's Jan Tomson. They created a triple-gatefold digipak that centres on figures and a typeface created from dance notation, and a volvelle — a rotating circle dating back to the middle ages originally used to calculate the phases of the sun and the moon. In ARPO's packaging, it acts as a key to detail the artists and track names that feature on the mix. It's a lovingly thought-out, unique piece that further cements Seaton's offering as a memorable entry into the mix CD canon.

This is Calm's first beatless chillout album.
The sound quality is also softer than usual, giving it a more organic finish.
Continuing from the previous work, the main members have participated in several songs, but this time, rather than jazz-like freedom, Calm's play that is close to the writer's style is added.
And the best feature is that it seals the long arrangement that is good at it, and it has a structure like a good old record album era, with a total of less than 50 minutes and an ending in no time.
FJD, a friend from the first, is in charge of the design.

The analog edition is configured with the good old LP era in mind.
A new challenge in a sense for Calm, who recently had a lot of double-disc sets.

Precious musical legacies may not be forgotten. Therefore, ReGrooved makes sure that one-of-a-kind records receive a well-deserved re-release. God’s Prescriptions, Camille Doughty’s sole solo effort, is a prime example of a soul/gospel album that earns the right to be heard, time and time again. Born in mid-January 1944, Camille Doughty the singer proved to be gifted at age 10 when she joined the Green Spiritual Singers and performed with them throughout her home state, Ohio. At 12, she was six years shy of the minimum 18 years age limit to join the Young Adult Choir. However, her extraordinary vocal qualities warranted an exception in her case. Two years later she was recruited by her uncle, Rev. Shellie R. Doughty Senior into the Inspirational Choir of the Mr. Herman Baptist Church, a renowned ensemble in Doughty’s hometown of Columbus. 1972 marked the year in which Camille finally went solo, urged on by numerous admirers of her singing capabilities. Since then, she has appeared in several concerts, radio programs and television shows in the United States. In many of her appearances, she had the opportunity to perform with celebrated professionals of the gospel genre. All these efforts culminated in the release of her only solo record, God’s Prescriptions. Released in 1978 on Gospel Roots, it was never reissued… until now! ReGrooved is proud to present a beautiful, supreme quality remaster of the original album, first released by the Gospel Roots label. It features her famous rendition of the traditional spiritual ‘Elijah Rock’ and several other standards, including ‘I Trust in God’, ‘It Don’t Cost Very Much’ and ‘I Asked the Lord’. Our third release is a wake-up call to those who have been touched by Doughty’s voice back in the day, as well as a beautiful introduction to new fans.

Limited edition gold vinyl with embossed sleeve. After leaving the band, Damo Suzuki himself said, "No one else can reach that kind of space. It's a new dimension." He also said that this album is Can's masterpiece.

Peel Sessions 1973-74 is a unique collection showcasing the legendary German experimental rock band’s dynamic live performances captured for BBC Radio 1’s John Peel sessions. This album brings together raw, electrifying recordings from 1973 and 1974, highlighting Can’s groundbreaking sound that blended psychedelic rock, avant-garde, and improvisational music. Fans and newcomers alike will experience the band’s creative energy and innovative spirit in an intimate setting outside the studio.

Featuring tracks that emphasize hypnotic rhythms, ecstatic grooves, and visionary experimentation, Peel Sessions 1973-74 stands as a vital document of can’s influential role in shaping modern music. Collectors and enthusiasts can look forward to remastered audio quality and detailed liner notes providing insight into the sessions' historical context.

Tracked in the decade after Duster went on hiatus, Canaan Amber's debut solo EP CA demonstrates the California-born guitarist's affection for San Francisco jangle and Santa Cruz surf. Crawling at a banana slug's pace, Canaan wraps the loneliest one-string guitar solos around a cluster of hollow rhythms and ghostly mumbles. The original 2012 five-song CD has been expanded to include seven other demos plundered from the prolific songwriter's vault. More Wolf Moon than Black Moon, CA continues to explore and map the hidden galaxies that make up the Duster universe.

With her third Gondwana album, ‘Constellation’, Caoilfhionn Rose has come of age as an artist, digging deep to find experimental new ways of expressing her wonder at nature’s beauty, her love of music in all its diversity, and her belief in the restorative powers that both afford in the troubled post-COVID world. The ten tracks on ‘Constellation’ feel rooted in a knowledge of folk, jazz and all the twentieth century’s classic tunesmiths, and yet they seem to create a magical, otherworldly space of her own imagining, blending Caoilfhionn’s core piano with synths, and pitting a live rhythm section and saxophone embellishments against ambient samples and future-facing production techniques. ‘Constellation’ features contributions from Halsall’s rhythm section, drummer Alan Taylor and bassist Gavin Barras, as well as Jordan Smart from Mammal Hands, whose supple sax exquisitely colours the fringes of most of its songs. Also guesting: John Ellis, former member of The Cinematic Orchestra, beatifically tinkling the ivories at the end of ‘Fall Into Place’, and producer Aaron Wood via a raft of ambient samples adding textured loveliness throughout ‘Rainfall’. “I love being open to collaboration,” Rose enthuses, “and the record’s a collage, knitting together all these influences, sounds and players, and just really going for it with the experimentation in the production.”

"Applying elements of minimalism or electronic music to their compositions, Carcascara's second studio album is deeply rooted in folk, blues or jazz. Borrowing from American primitivism, this acoustic guitar trio based half way between London and Zumaia, stretch the boundaries of tradition with a fluid and developed command of the string instrument. Coming out 14 years after their self-titled debut, highly recommended for fans of Robbie Basho, Steve Reich or John Fahey."

The official soundtrack to Jean-Cosme Delaloye's documentary about the life and career of Detroit techno pioneer Carl Craig, 'Desire: The Carl Craig Story' is set for digital release on June 20th 2025, with 2x12” Vinyl and CD editions to follow on July 18th 2025.

The collection, coming via his prolific and seminal Planet E Communications, features music from across Craig’s vast catalog, including several tracks that have never previously seen full digital release. Its selections span his many aliases and projects, offering a rare glimpse into the full scope of his groundbreaking career.

Among the rare and remastered tracks featured is No More Words - originally released in 1991, newly reissued on vinyl and available digitally for the first time. A foundational track in the Detroit techno canon, No More Words captures the emotive synths and tight grooves of Craig’s sound that would soon resonate across dance floors worldwide. Its reissue marks a moment of reflection on the genre’s roots and evolution.

Another remastered track from Craig’s extensive archive is The Truth, a deep cut from Craig’s discography under his Designer Music alias, now widely available for the first time a quarter-century after its original release. The film’s end credits are scored by the contemplative Meditation 4, an ambient production previously only available on Craig's 2013 Masterpiece compilation CD for Ministry of Sound.

Iconic remixes such as his Grammy-nominated rework of Junior Boys’ Like A Child is included alongside lesser-known but equally epic remixes such as his sublime 2012 mix of Slam’s Azure, which is employed for the film’s title credits and had previously only seen a limited release. Also featured across the soundtrack’s multiple formats are iconic Carl Craig productions under his 69, Psyche/BFC and Innerzone Orchestra aliases, and collaborations with Moritz von Oswald and Francesco Tristano.

The soundtrack serves as a companion to the new documentary directed by Jean-Cosme Delaloye and produced by Sovereign Films, which follows Carl’s journey from Detroit’s middle-class roots to global stardom, set against the city’s decline and recovery. The film explores his work at the intersection of music, art, and culture, from his collaborations with Bottega Veneta to his Party/After-Party installation, acquired by the Detroit Institute of Arts and exhibited at MOCA Los Angeles.

Featuring interviews with Gilles Peterson, Roni Size, Laurent Garnier, DJ Minx, Kenny Larkin, Moritz von Oswald, and James Lavelle, Desire highlights Carl’s championing of Detroit’s Black creative excellence and the often-overlooked African-American roots of electronic music.

The official soundtrack to Jean-Cosme Delaloye's documentary about the life and career of Detroit techno pioneer Carl Craig, 'Desire: The Carl Craig Story' is set for digital release on June 20th 2025, with 2x12” Vinyl and CD editions to follow on July 18th 2025.

The collection, coming via his prolific and seminal Planet E Communications, features music from across Craig’s vast catalog, including several tracks that have never previously seen full digital release. Its selections span his many aliases and projects, offering a rare glimpse into the full scope of his groundbreaking career.

Among the rare and remastered tracks featured is No More Words - originally released in 1991, newly reissued on vinyl and available digitally for the first time. A foundational track in the Detroit techno canon, No More Words captures the emotive synths and tight grooves of Craig’s sound that would soon resonate across dance floors worldwide. Its reissue marks a moment of reflection on the genre’s roots and evolution.

Another remastered track from Craig’s extensive archive is The Truth, a deep cut from Craig’s discography under his Designer Music alias, now widely available for the first time a quarter-century after its original release. The film’s end credits are scored by the contemplative Meditation 4, an ambient production previously only available on Craig's 2013 Masterpiece compilation CD for Ministry of Sound.

Iconic remixes such as his Grammy-nominated rework of Junior Boys’ Like A Child is included alongside lesser-known but equally epic remixes such as his sublime 2012 mix of Slam’s Azure, which is employed for the film’s title credits and had previously only seen a limited release. Also featured across the soundtrack’s multiple formats are iconic Carl Craig productions under his 69, Psyche/BFC and Innerzone Orchestra aliases, and collaborations with Moritz von Oswald and Francesco Tristano.

The soundtrack serves as a companion to the new documentary directed by Jean-Cosme Delaloye and produced by Sovereign Films, which follows Carl’s journey from Detroit’s middle-class roots to global stardom, set against the city’s decline and recovery. The film explores his work at the intersection of music, art, and culture, from his collaborations with Bottega Veneta to his Party/After-Party installation, acquired by the Detroit Institute of Arts and exhibited at MOCA Los Angeles.

Featuring interviews with Gilles Peterson, Roni Size, Laurent Garnier, DJ Minx, Kenny Larkin, Moritz von Oswald, and James Lavelle, Desire highlights Carl’s championing of Detroit’s Black creative excellence and the often-overlooked African-American roots of electronic music.

Built on Bunny Lee’s classic riddims and topped with Carl Harvey’s free‑flowing, expressive guitar leads, Ecstasy Of Mankind

Carl “Sherlock” Holmes started gigging in the early sixties forming Carl Holmes & the Commanders with whom he recorded a full length album for Atlantic in 1962 entitled Twist Party At The Roundtable. Later on he recorded a couple of 45’s for the Parkway and Verve labels. In May of 1966 a pre-Experience Jimi Hendrix gigged with the group but never recorded with them. After a final 45 for the local Philly label Black Jack, the group disbanded and Carl formed the Sherlock Holmes Investigation a solid outfit backed by a strong rhythm section packed with congas, vibes, flute, organ and sax. Philly’s Sigma Sound Studio was the place they recorded their sole album and Curtis R. Staten’s CRS Records was the label that released it. This album has it all! Smokin funk breaks in Black Bag, Investigation, Get Down Philly Town, It Ain't Right and some syncopated latin-inspired jams in Modesa. All these coupled nicely by some fine mellow numbers in Close To You, Think It Over and Your Game . And all but one (Bacharach/David's Close To You) written by a guy named Len Woods, a remarkable songwriter, no doubt! After Tramp Records has released four songs of this album on two 45RPM singles recently, the entire Investigation No.1 album is now available on CD. It even comes with a bonus track which has been originally released on 45RPM single only.

Sampling and processing Asuna's arsenal of toy keyboards, computer music pioneer Carl Stone transforms seemingly throwaway sounds into chattering, plunderphonic memories before batting them back to the Japanese producer for further editing. You can tell that 'Imu Plastos' was developed with live performance in mind. Sound artist Asuna, who's released on 12k, Faitiche and White Paddy Mountain, is already notorious for his "100 Toys" and "100 Keyboards" performances, wherein spirals of cheapo instruments are repurposed to create complex, textured electroacoustic compositions. Stone fits into the chain well; they performed together for the first time in 2024 and Stone worked on the audio in real time, taking mental notes for studio sessions that followed. In a more controlled environment, the duo pushed themselves to rethink the process, reversing the flow so that Stone would create the sound and Asuna would sample. The finished album is a set of improvisations from these sessions that keeps rebuilding and deconstructing itself. Early on, you can still hear the creaky source material, but the first two tracks disappear in a matter of minutes - 'As Aural Consent' is the first substantial production and it's far more mysterious, 11 minutes of ratcheting noises and disquieting squeaks. 'A Salsa Nocturne', meanwhile, is a wind tunnel organ jam that you'd never guess was made using a bunch of kid's instruments and on 'Ulina as Ancestor', the duo burrow deep beneath the earth's surface, searching out eldrich resonances and sublime chaos.

A super special environment with over 40 seconds of reverberation. Amazing electro-acoustic dam music recorded in a huge concrete space inside the dam.

One day in 2022, Carl Stone, an American computer music pioneer, and Ken Ikeda, a musician and artist who emits primitive and original electronic sounds, visited "Uchinokura Dam" deep in the mountains in Shibata, Niigata. This album is a record of musical experiments secretly performed inside the dam to explore new possibilities of electronic music. The dam has a hollow structure, and the internal space is about 40m in both height and depth, and itself is a huge resonance device. The electronic sounds emitted by Carl and Ken fill the space with infinite reverberations. All sorts of sounds such as dripping water, footsteps, conversations, and noises are added as performers, creating a philharmonic orchestra of electrons and reverberations that are created and elaborated while confronting the constant reverberating sounds. 

Electronic Music from the Eighties and Nineties presents the soothing, hallucinatory side of Stone’s slow-evolving, time-bending composition. While we can’t always identify the source, we can hear that his sounds come from somewhere, and that there is a “correct” or “complete” version of them in theory; and so we can hear when they are being changed. What drives Stone’s music is the flow that he draws out of those differences: the way an Indonesian gamelan morphs into a chorus built from one female vocalist over the course of “Mae Yao”’s twenty-three minutes, the surprise emergence of a Mozart chorus out of the synths and skip-glitches of “Sonali,” or the slow, ambient evolution of “Banteay Srey”. “Woo Lae Oak,” issued in a single side edit for the first time, is an exception. Its samples – a tremolo string and a bottle being blown across the top like a flute - are simple in the extreme. Yet the Stone hallmark is clearly present, he locates the inherent emotional properties of the sounds – the tingling anticipation of the string and the calm nobility of the wind – and takes them into unexpected expressive territory.

Electronic Music from 1972-2022 seeks to frame fifty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 ("Three Confusongs" and "Ryound Thygyzunz", featuring the voice and poetry of Stefan Weiser – later known as Z'EV) up to the present. This collection is not meant as a definitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival release marking Carl Stone’s evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving. Stone’s practice emerged from the repetitive archival process of his graduate job at CalArts preserving vinyl recordings by dubbing them to tape. With perhaps 10,000 albums ranging from Renaissance and electronic works to music from across the globe, he had to re-record multiple discs concurrently, creating chance collisions and coincidences. In the decades since, he’s explored various ways to compose this process, creating temporal envelopes in which found sounds – existing tracks or field recordings – can take form. Whilst the technologies he’s used have changed and samples have varied beyond categorization, what’s remained consistent is his concern for organizing temporal experience using fragments of pre-existing sounding events. Stone's impish collage-like constructions of times cut from time suggest that archival records are neither wholly in documents preserved from change nor in living memories and use, but in their interaction.

An archaeological sound source from the famous label Unseen World, which continues to send obscure electronic music. An early collection of early recordings by Carl Stone, an American composer who studied under Morton Subotnick and is a professor at Chukyo University, and a master of sampling and cut-up collage.
This work consists of 6 unreleased songs from the 70's and 80's and 7 songs of "Shing Kee" excerpted from the work "Mom's" released by New Albion in 1992. "Shing Kee" (1986), which is a sampling of Schubert's "Bodhi" sung by Akiko Yano, has a great sense of ambience for sustained sounds, and Seth Graham and Kara-Lis Coverdale are also surprised by the timeless three-dimensional electronic sound. , "Shibucho" (1984) and "Dong Il Jang" (1982) are also ambitious works in which cut-ups were attempted using sampling methods. Our Rashad Becker is in charge of mastering. An avant-garde electronics masterpiece that unfortunately demonstrated a strange soundscape like melting modern architecture. Even if I listen to it now, it doesn't feel old at all. Recommended for a wide range of people from DJ material to new age to ambient drone lovers. A gatefold specification & booklet & DL code limited track is also included.

Over the past several years, the recorded output of Carl Stone has been turned on its head. In previous decades, Stone perennially toured new work but kept a harboring gulf of time between the live performances and their recorded release. This not only reflected the careful consideration of the pieces and technical innovations that went into the music but also the largely academic-minded audience that was themselves invested in the history and context of the work. The time span of Stone's recorded output in both sheer musical duration and year range was generously expansive. Following multiple historical overviews of Stone's work on Unseen Worlds and a re-connection with a wider audience, the time between Stone's new work in concert and on record has grown shorter and shorter until there is now almost no distance at all. Stone's work has often at its core explored new potential within popular cultural musics, simultaneously unspooling and satisfying a pop craving. On Stolen Car, the forms of Carl Stone's pieces have also become more compact, making for a progressive new stage in Stone's career where he is not only creating out of pop forms but challenging them.

Stolen Car is the gleeful, heart racing sound of hijack, hotwire, and escape. Stone carries the easy smirk and confidence of a car thief just out of the can, a magician in a new town setting up a game of balls and cups. With each track he reaches under the steering wheel and yanks a fistful of wires. Boom, the engine roars to life, the car speeds off into the sunset, the cups are tipped over, the balls, like the car, are gone.

"These tracks were all made in late 2019 and 2020, much of when I was in pandemic isolation about 5000 miles from my home base of Tokyo. All are made using my favorite programming language MAX. However distinct these two groupings might be they share some common and long-held musical concerns. I seek to explore the inner workings of the music we listen to using techniques of magnification, dissection, granulation,, anagramization, and others. I like to hijack the surface values of commercial music and re-purpose them offer a newer, different meaning, via irony and subversion." - Carl Stone, Los Angeles, September 2020

Over the past several years, the recorded output of Carl Stone has been turned on its head. In previous decades, Stone perennially toured new work but kept a harboring gulf of time between the live performances and their recorded release. This not only reflected the careful consideration of the pieces and technical innovations that went into the music but also the largely academic-minded audience that was themselves invested in the history and context of the work. The time span of Stone's recorded output in both sheer musical duration and year range was generously expansive. Following multiple historical overviews of Stone's work on Unseen Worlds and a re-connection with a wider audience, the time between Stone's new work in concert and on record has grown shorter and shorter until there is now almost no distance at all. Stone's work has often at its core explored new potential within popular cultural musics, simultaneously unspooling and satisfying a pop craving. On Stolen Car, the forms of Carl Stone's pieces have also become more compact, making for a progressive new stage in Stone's career where he is not only creating out of pop forms but challenging them.

Stolen Car is the gleeful, heart racing sound of hijack, hotwire, and escape. Stone carries the easy smirk and confidence of a car thief just out of the can, a magician in a new town setting up a game of balls and cups. With each track he reaches under the steering wheel and yanks a fistful of wires. Boom, the engine roars to life, the car speeds off into the sunset, the cups are tipped over, the balls, like the car, are gone.

"These tracks were all made in late 2019 and 2020, much of when I was in pandemic isolation about 5000 miles from my home base of Tokyo. All are made using my favorite programming language MAX. However distinct these two groupings might be they share some common and long-held musical concerns. I seek to explore the inner workings of the music we listen to using techniques of magnification, dissection, granulation,, anagramization, and others. I like to hijack the surface values of commercial music and re-purpose them offer a newer, different meaning, via irony and subversion." - Carl Stone, Los Angeles, September 2020

Carl Stone continues his late career prolific renaissance with a new album of sculpted, tuneful MAX/MSP fantasias. Stone “plays” his source material the way Terry Riley’s In C “plays” an ensemble – with a loose, freewheeling charm connected to the ancient human impulse to make sound, melody, and rhythm from anything. Stone’s unique technique simultaneously focuses and sprays sound like a symphony of uncapped fire hydrants. Is this techno, avant-garde, sound art? It’s simply (or rather fantastically messily) Carl Stone.