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Limited cassette edition with 6 additional tracks not included on the vinyl. 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.”

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.”

Tending to his crop with dreams of rotation, Bruce sows and scythes four new grains in the porky mill. Of this strange fruit, that further explores his increasingly familiar, hyper-real and sonically surreal work within this current “movement,” he finds his foothold once more in a wild world intensity: fear and fury grappled in equal measure.

What's more, in celebration of the plentiful harvest thus far, (let alone in the interest of seed diversity), Bruce invites four fellow reapers to the farm, offering their recipe from the spoils of the label's yield:

Vancouver based Brit-abroad, dj_2button pulls apart 'The Hand,' with his 'Accidental Mood Mix,' to be reborn as an Odyssian 13 minute stomper: "a fight of emotions, of light and dark; in quiet protest to the incessant fear mongering that slowly numbs us on a global scale." Balearic shores can be seen glimmering in the distance, whilst you are dragged by part man part (very horny) bull into the depths of dancefloor madness.

re:ni proves she is the captain of her own ship as sweet SSRI numbness billows in the sheets and fraying, dubwise halyards tether and tear through her devilishly elegant 'sertraline queen mix'. polyrhythms plotted and percussion plundered; the vocal from 'Golden Water Queen' sounds oh so sweet in the claws of its new Regina.

Hotly titted deep house reviver, fka boursin empties clips with their bubblegum 'boomkat mix,' of 'The Price,' swivelling the original's brash and bawdy bonce, to face a 120 reality we all need to wake up and start sniffing. Sprinkled with trauma on an icing of a bassline more than a little rood, boursin is packing enough cake for the whole function to take home in (dreadful) goody bags (and even allowed compression in the mastering - mental).

Last and indubitably not least, from lying somewhat dormant in the depths of UK dance music legend, none other than flippin' Untold (!?) rises to seal the release with typically megalithic prowess. Proving he was just resting his eyes for a bit, his 'A1 Mirabelle Mix,' weaves and whips an otherworldly beauty, technically tantalising 'Dham's Jam' in adornments both sour and sweet. It's nothing short of a cloaks and daggers banger, primed for the darkest of dancefloor cosmic moments, and serving as a little less-than-warm-reminder that Untold’s presence in the world of dance music is crucial as ever.

Frankly, if you couldn't tell from all the verbose waffle, they have all absolutely smashed and finessed it: they were all approached after expressing a real resonance from the previous releases and it's such an honour to have them and their fantastic visions on the label.

Available digitally or on high quality cassette, the final chapter of the Poorly Knit's first act has been woven whimsically into the fraying folds.

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.

In 2016, after reissuing two Bruce Haack albums, Haackula and Electric Lucifer Book II, Telephone Explosion began speaking with Ted Pandel (Bruce’s lifelong friend and business partner) about working on the 1970 masterpiece The Electric Lucifer. It turned out there was another matter that he wanted to discuss: finding a final resting place for the Bruce Haack archive.

We were shown test-pressings of The Electric Lucifer board mixes from his Columbia studio sessions, countless pieces of written music, a large number of personal photos, an invitation from Raymond Scott inviting Bruce to play his newly created Electronium instrument (now owned by Devo’s Mark Mothersbaugh), poems, press clippings, and, most importantly, a heavy-duty shelf containing 213 reel-to-reel tapes.

All of the chosen material on The Preservation Tapes is unreleased, and has only been heard by a handful of people.

The Bruce Haack archive is now resting in the Provincial Archives of Alberta, in Edmonton, Alberta, Canada.

"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.

Bruce Haack's "The Electric Lucifer" is rightly considered one of the masterworks of 20th century electronic music. Originally recorded in 1968-69, it's an eminently listenable work where Pop-psychedelia and Moog musique-concrete sounds coalesce.

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."

“No, without listening at doors, the ear captures noises here and there and unexpected sounds without choice, but remains attentive to the messages of each one picked up over the years. It gathers surprises and impressions, bringing them together in a simple mix. In waking up these ear memories again, which were mostly recorded on magnetic tapes, I am very happy about the collaboration of Eiko Ishibashi and Jim O'Rourke in playing on this mix tape.” Brunhild Ferrari

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.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world. Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work. “I came from nothing”–Berle doesn’t take his rise to global prominence for granted. Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege. Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album [No Reino Dos Afetos 2] everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco. Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar. Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage. With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world. Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work. “I came from nothing”–Berle doesn’t take his rise to global prominence for granted. Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege. Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album [No Reino Dos Afetos 2] everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco. Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar. Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage. With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Bryn Harrison writes music that deliberately disorients. The British composer—obsessed with "time, memory, and cyclic structures"—follows Feldman's lead, creating perceptual labyrinths where past bleeds into present and nothing stays quite where you expect. Towards a slowing of the past, a 45-minute tour de force for two pianos and electronics, achieves disorientation through sheer density: a whirlwind of notes that somehow maintains "delicacy and deftness of touch."

Mark Knoop and Roderick Chadwick—both veterans of Harrison's intricate demands—navigate this terrain with staggering precision. The piece descends inexorably, dropping two octaves over its duration while decelerating to half its original tempo. Pre-recorded electronic sounds (originally conceived as live electronics) run backwards, pitch-shifted and speed-adjusted, evoking what Harrison calls "feelings of immobility, redundancy or even complete stasis." Midway through, everything halts: a two-minute sustained chord in the electronics, a startling caesura that "changes everything while changing nothing save perception."

Marc Medwin, writing for Dusted Magazine, compares it to Radigue's droning palimpsests or Schoenberg's third orchestral piece: "The music teems with sonic undercurrent in a superficially static frame." Each note, he observes, is "suffused with color, each sonority a frequency kaleidoscope." Off Shelf notes how the music "hits different on each listen—and sometimes doesn't hit at all," making more sense as you sit with it, "much like the emotions it conveys."

Harrison explains his title's seeming contradiction: "Music is well placed to create distortions of memory or to confuse our sense of presentness, pastness and futurity. I particularly like titles that contain a sense of contradiction or impossibility." The work demands what Medwin calls "the encapsulation of concentric occurrence framing and framed by the static multidirectionality of memoried experience."

Knoop and Chadwick spent years preparing. "With a work like this, the devil's in the detail," Harrison notes. "The writing is highly textual and requires clarity and precision and a special kind of touch." They devised strategies for accented grace notes—gauging stress and emphasis across registers—and slightly off-kilter rhythms. The result, recorded at St Paul's Hall, Huddersfield, is what Another Timbre calls "extraordinary, virtuosic work"—music like "being caught up in a whirlwind, swirled round and round."

Medwin's conclusion: "The best way to come to terms with it all is to listen again."

“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

Jazz snare & ride cymbal meet classical Indian tabla & pakhawaj! What happens when one of the best jazz drummers of all time combines efforts with one of India’s most renowned tabla players? Voilà! Rich À La Rakha. Calypso-flavored compositions, spontaneous jams, and a genuine instrumental dialogue between the two greats truly makes this a one-of-a-kind listen.

Another pair of Ricardo Villalobos mixes of Building Instrument (Mari Kvien Brunvoll’s Band) via Villalobos' own Sei Es Drum imprint."If it is nice, collaborate twice. Once again a track from the Building Instrument gets the Ricardo Villalobos treatment.It's all about the frequencies."

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.

With his 2006 masterpiece debut album Burial and his 2007 second album Untrue, which earned him the highest praise as “the most important electronic music work of the century,” Burial has established two monumental achievements. Despite his identity and background remaining unknown, he has captivated many music fans and influenced numerous artists. He has also generated significant buzz through split works with Thom Yorke and Four Tet, as well as collaborations with Massive Attack, continuing to captivate people across eras and genres as one of the most important musicians of our time. Now, he releases his latest single!