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視聴-comatonse.000 comatonse.000.r3(Excerpt 1)
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Epiphany i-ˈpi-fə-nē (1) a manifestation of the essential nature of something (usually sudden) (2) an intuitive grasp of reality through something (usually simple and striking) (3) an illuminating discovery or disclosure.
All three definitions apply perfectly to this span of music recorded at London’s ICA in July 1982. It’s a miracle of group interaction, wonderfully paced, moving steadily between moments of mounting intensity and tension. The passage about halfway through — when Derek Bailey’s harmonics ring out above a sheen of inside piano tremolos and shimmering electronics, topped off by Julie Tippetts’ soaring vocalese — is simply sublime. After which it’s fun to try and tell the two pianists apart. Are those runs Ursula Oppens, with her formidable technique honed from years performing some of the twentieth century’s most difficult notated new music, or are those Keith Tippett’s crunchy jazz zigzags? Are those intriguing twangs from one of Akio Suzuki’s invented instruments or could they be Fred Frith’s or Phil Wachsmann’s electronics? Bah, who cares?
There’s plenty of room for the more delicate instruments too, like Anne LeBaron’s harp picking its way gingerly through a pin-cushion of pings and scratches from Bailey and bassist Motoharu Yoshizawa. Of course, some performers are instantly recognisable: Tippetts, as lyrical and flighty on flute as when she sings, Phil Wachsmann, sinuous and sensitive on violin, and trombonist George Lewis, who, as John Zorn once put it, swings his motherfucking ass off.
So many magical moments abound, from the opening dawn chorus of Tippetts’ voice and Frith’s guitar swooping through a rainforest of exquisite piano cascades, to the Zen calm of the closing moments.
Epiphany, indeed.
Mostra Collettiva by Complesso Gisteri—the elusive 1972 gem born from the inspired partnership of Alessandro Alessandroni and Oronzo De Filippi—returns to vinyl for the first time ever. Originally released in microscopic quantities and long considered a holy grail of Italian library music, the album has now been lovingly restored and reissued in its most faithful analog form.
Under the alias Complesso Gisteri, Alessandroni and De Filippi explored a warm, pastoral palette that distills everything collectors cherish about early-70s Italian soundtracks and library sessions. Alessandroni’s unmistakable guitar style—lyrical, shimmering, instantly evocative—sets the tone throughout, weaving effortlessly around De Filippi’s expressive keyboards, from rich piano passages to the crystalline touch of spinet and harpsichord, an emblematic signature of the era’s finest Italian productions. The duo enriches these intimate arrangements with flute flourishes and the ethereal vocal textures of Giulia De Mutiis, whose wordless melodies elevate several pieces into dreamy, almost cinematic vignettes. The compositions radiate joy and romanticism, painting images of pastoral calm, sun-dappled landscapes, and rustic Italian charm. A long-hidden treasure, rediscovered and made available to collectors and music lovers for the very first time.
EM Records is proud to present “8 Automated Works”, the first full release by Componium Ensemble, an “indeterminate chamber music” ensemble helmed by Spencer Doran of Visible Cloaks. Situated in a lineage of automated music that traces back to the ancient Greeks, Doran uses the possibilities of digital technology and its ability to automate a huge range of virtual instruments to move beyond human impulses and limitations to allow “new shapes to emerge”. Dedicated also to Noah Creshevsky, pioneer of what can be considered cyber-human music, Componium Ensemble features a wide and intriguing range of instruments including prepared piano, bowed harpsichord, celesta, bass clarinet, flute, cello, bamboo tingklik and more, often in multiple groupings. Despite this variety of instrumentation and the seemingly formidable theoretical underpinnings, the music is very accessible and attractive, spaciousand fresh, with a light touch and a sophisticated melodic sense which will appeal to pop fans as well as classical/contemporary music listeners. The album is mixed by longtime collaborator Joe Williams (Motion Graphics, Lifted) and available in 10-inch vinyl, CD and Digital formats, with EN/JP liner notes by Doran and a hyper-realistic cover by Japanese visual artist/graphic designer Kai Yoshizawa, using 3DCG software. The CD and Digital formats also feature a Carl Stone remix bonus track.
“The history of automated instruments reaches back as far as Archimedes and his "organum hydraulicum”, but it was the Banū Mūsā brothers in 9th-century Baghdad who first perfected the concept of a programmable, automated musician: a mechanically controlled flute which performed using a cistern’s hydraulic water pressure and a system of arrangeable punchcards using a visionary proto-MIDI structure. As European clock-making and mechanical music caught up to the Islamic Golden Age a millennium later, automated instruments intersected with aleatoric composition in Dietrich Nikolaus Winkel’s “self composing” Componium, a mechanical organ with two irregularly-shifting barrels that is said to have been able to arrange upwards of 55 trillion variations of an 80 bar piece divided into alternating 2 bar sections of pins. It is this intersection of chance systems and musical automatons that forms the terrain for the pieces on this release.
These basic principles remain unchanged in the contemporary virtual studio, but the array of automatable instruments within our software systems has widened to a near-unfathomable degree (not to mention the speed and ease in which they can be summoned). Virtual players can be manipulated by far deeper aleatoric processes of note randomization, tempos modulated by the pseudo-naturalistic values of perlin noise, with even the physical properties of instruments erratically contorted and continuously in flux...” - S. Doran (from the album’s liner notes)
EM Records is proud to present “8 Automated Works”, the first full release by Componium Ensemble, an “indeterminate chamber music” ensemble helmed by Spencer Doran of Visible Cloaks. Situated in a lineage of automated music that traces back to the ancient Greeks, Doran uses the possibilities of digital technology and its ability to automate a huge range of virtual instruments to move beyond human impulses and limitations to allow “new shapes to emerge”. Dedicated also to Noah Creshevsky, pioneer of what can be considered cyber-human music, Componium Ensemble features a wide and intriguing range of instruments including prepared piano, bowed harpsichord, celesta, bass clarinet, flute, cello, bamboo tingklik and more, often in multiple groupings. Despite this variety of instrumentation and the seemingly formidable theoretical underpinnings, the music is very accessible and attractive, spaciousand fresh, with a light touch and a sophisticated melodic sense which will appeal to pop fans as well as classical/contemporary music listeners. The album is mixed by longtime collaborator Joe Williams (Motion Graphics, Lifted) and available in 10-inch vinyl, CD and Digital formats, with EN/JP liner notes by Doran and a hyper-realistic cover by Japanese visual artist/graphic designer Kai Yoshizawa, using 3DCG software. The CD and Digital formats also feature a Carl Stone remix bonus track.
“The history of automated instruments reaches back as far as Archimedes and his "organum hydraulicum”, but it was the Banū Mūsā brothers in 9th-century Baghdad who first perfected the concept of a programmable, automated musician: a mechanically controlled flute which performed using a cistern’s hydraulic water pressure and a system of arrangeable punchcards using a visionary proto-MIDI structure. As European clock-making and mechanical music caught up to the Islamic Golden Age a millennium later, automated instruments intersected with aleatoric composition in Dietrich Nikolaus Winkel’s “self composing” Componium, a mechanical organ with two irregularly-shifting barrels that is said to have been able to arrange upwards of 55 trillion variations of an 80 bar piece divided into alternating 2 bar sections of pins. It is this intersection of chance systems and musical automatons that forms the terrain for the pieces on this release.
These basic principles remain unchanged in the contemporary virtual studio, but the array of automatable instruments within our software systems has widened to a near-unfathomable degree (not to mention the speed and ease in which they can be summoned). Virtual players can be manipulated by far deeper aleatoric processes of note randomization, tempos modulated by the pseudo-naturalistic values of perlin noise, with even the physical properties of instruments erratically contorted and continuously in flux...” - S. Doran (from the album’s liner notes)
COMPUMA has released his long-awaited first solo album "A View" on his own label <SOMETHING ABOUT>.
This is an full-length album based on the music for the play "View" commissioned in fall of 2021 by the theater group "Blue Egonak" based in Kitakyushu. The album contains 9 original songs and 2 dub mixes, totaling 11 songs, newly reworked with co-producer hacchi (Urban Volcano Sounds / Deavid Soul).
In addition to his inexhaustible DJ and music selection activities, COMPUMA has released a number of collaborations and remixes, including a 2007 album
as Smurphies' Fearless Bunch [Smurph-Otokogumi] (reissued on vinyl in 2021) and its predecessor Asteroid Desert Songs [ADS], as well as duo works with Ken Takehisa (KIRIHITO)). COMPUMA has also released a number of collaborations and remixes, but this is his first album as a solo artist. Recently, his DJ trio "Akuma no Numa" with Dr. Nishimura and Awano, has been getting a lot of attention, and their performances have been introduced on radio shows overseas.
The sound, including electronic sounds, field recordings, and the space between them, evokes a variety of landscapes, and that quietly stimulates your imagination. It is a work that will have a unique presence in the next wave of the new age ambient/environmental music revival that has been emerging in the global ambient/IDM scene.
One of the two dub mixes included on the album, "Vision(Flowmotion in Dub)" is a re-work of "Flowmotion(IN DUB)" which will be included in "Midnight is Comin'", a compilation curated by ¥ØU$UK€ ¥UK1MAT$U scheduled for release in May on the Singapore label Midnight Shift. The other dub mix is a version of "View 2", done by Naoyuki Uchida who is known for his work on LITTLE TEMPO, Oki Dub Ainu Band and more recently GEZAN's "KLUE".
Album is mastered by Soichiro Nakamura of Peace Music, who has worked with Shintaro Sakamoto, OGRE YOU ASSHOLE, and countless artists. Artwork is by Tomoo Gokita, a world-renowned painter who is also known in Japan for his jacket art for META FIVE and TOWA TEI. Design is by Satoshi Suzuki. Gokita and Suzuki, both of whom have worked on COMPUMA's previous products.
(text by Yusuke Kawamura)
LIL MOFO
Includes Download Code for the live recording and a new remix "View 2 Electro" (remix of "View2" from the
album "A View").
Compuma : Electronics, Synthesizer
Naoyuki Uchida:Dub Mix
Kiyotaka Sumiyoshi:Movie
"A View" release party held at WWW Shibuya on Sept.30 2022 has been reproduced on video. Video footage
was added to the live recording from the show.
Mastered by Naoyuki Uchida ( except “View 2 Electro” by hacchi )
Produced by Compuma for Something About Productions 2023
Design : Satoshi Suzuki
“Horizons” is an album by COMPUMA, developed from his 2023 digital-only “Horizons EP” released via Bandcamp. Inspired by his roots in Kumamoto and the landscapes he encountered during walks in various locations, the album captures the calm and comfort of everyday life. Blending ambient, downtempo electronic, and imaginary environmental sounds, it offers a minimal yet richly atmospheric listening experience.
90s is Asteroid Desert Songs, 00s is Smurphotokogu, and in recent years, the first 12-inch impact of Koichi Matsunaga aka COMPUMA, a stubborn electro crew who admits himself and others with his musical connoisseurs who are dying in "Devil's Swamp". drop. Only computers can interact with "Haku's music" on an equal footing! I delusionally asked to rebuild the album. This is the work that came up! ?? !! The experimental result that the computer says, "It looks like an original work ...". However, in order to faint in agony and complete the original request, I decided to announce it under the name of Compuma meets Haku. An electro song with a non-trivial atmosphere that has a feeling of devotion from each note of snare, kick, hat, etc. 80s US Old School-Tasteable dance music that has blossomed suspiciously in the depths of Japan across the Atlantic Ocean from the 1960s!
This album, crafted entirely within a subharmonic framework and meticulously processed through tape manipulation, stands as Concepción Huerta’s sharpest work to date—undoubtedly her most abrasive, intense, and exhilarating. Her signature remains intact: a practice deeply rooted in drone, musique concrète, and hauntingly visceral textures—a kind of soundtrack that evokes powerful, image-driven narratives.
Conceptually, Huerta’s sonic vision evokes an image of open veins, not human veins, but those of the earth itself, the open veins of Latin America. These nervures are, in truth, rivers of lava; fury transmuted into fire coursing beneath the land until it erupts. The album is, in a way, a reflection on dispossession, resource extraction, and colonization. But beyond being a historical commentary—one that some might relegate to a forgotten past—it is also a reminder of the present, of how these practices persist in contemporary, postmodern guises.
It serves as both a tribute to the literary work of Eduardo Galeano, one of the most influential voices of Latin American leftist thought, and a howl from the Lacandon jungle in Mexico, resonating with the Zapatista struggle, the resistance of the Guaraní people in Paraguay and Argentina, and the voices of Indigenous communities across Latin America.
In the 16th century, a book titled Visión de los vencidos (The Broken Spears) was published in Mexico, compiling Nahuatl texts that presented the unofficial history, the account of the defeated. Concepción Huerta’s album El Sol de los Muertos (The Sun of the Dead) is not a call to action nor a reactionary manifesto, but an invitation to reflection, a historical reexamination. It urges us not to accept the official narrative at face value and serves as a warning, to remain vigilant and, within our capacities, resist the resurgence of fascism and colonialism in all its modern forms.
This album, crafted entirely within a subharmonic framework and meticulously processed through tape manipulation, stands as Concepción Huerta’s sharpest work to date—undoubtedly her most abrasive, intense, and exhilarating. Her signature remains intact: a practice deeply rooted in drone, musique concrète, and hauntingly visceral textures—a kind of soundtrack that evokes powerful, image-driven narratives.
Conceptually, Huerta’s sonic vision evokes an image of open veins, not human veins, but those of the earth itself, the open veins of Latin America. These nervures are, in truth, rivers of lava; fury transmuted into fire coursing beneath the land until it erupts. The album is, in a way, a reflection on dispossession, resource extraction, and colonization. But beyond being a historical commentary—one that some might relegate to a forgotten past—it is also a reminder of the present, of how these practices persist in contemporary, postmodern guises.
It serves as both a tribute to the literary work of Eduardo Galeano, one of the most influential voices of Latin American leftist thought, and a howl from the Lacandon jungle in Mexico, resonating with the Zapatista struggle, the resistance of the Guaraní people in Paraguay and Argentina, and the voices of Indigenous communities across Latin America.
In the 16th century, a book titled Visión de los vencidos (The Broken Spears) was published in Mexico, compiling Nahuatl texts that presented the unofficial history, the account of the defeated. Concepción Huerta’s album El Sol de los Muertos (The Sun of the Dead) is not a call to action nor a reactionary manifesto, but an invitation to reflection, a historical reexamination. It urges us not to accept the official narrative at face value and serves as a warning, to remain vigilant and, within our capacities, resist the resurgence of fascism and colonialism in all its modern forms.
Emerging from the European roots scene, conscious singer Congo Lion delivers his long‑awaited full‑length album Silver Dragon. Having moved to Africa in his teens and drawing deep inspiration from legends like Burning Spear and Peter Tosh, he channels sharp social commentary through a classic roots reggae framework. Produced by Karigan, the album blends warm, vintage‑style analog textures with a clean, modern sound. From the title track “Silver Dragon” to songs confronting colonial legacies and cycles of violence, the record is rich in message and spirit, with dub versions on the B‑side adding further depth. A standout contemporary roots release for 2026.
Congo Natty is one man, a family, a movement. Mikail Tafari aka Rebel MC stands at the core, but as “Jungle Revolution” shows, he’s the lens that brings the whole into focus.
Ten tracks long, “Jungle Revolution” clearly lays out the way in which Tafari sees Jungle as a re-boot of roots reggae for a new century. Full of blood and fire, the sternum-buzz of sub-bass, rapid fire drum breaks, sweet hooks, righteous anger and professions of love, it’s the kind of passionate, committed, raw and spiritual, beautiful record that doesn’t come along that often. “The message of reggae is Ras Tafari and Ras Tafari is love,” he explains. “They sang about love but they was also prophesying and talking about the system, talking about things that were going on in the world. I saw Jungle as being that same music, where we were going to spread a message.”
That message is spread by a diverse cast of collaborators. The album was mixed with On-U legend Adrian Sherwood and Skip McDonald (whose career goes back as far as the Sugarhill Band) plays guitar and, on the deep dub of “Revolution,” melodica. Production smarts are martialled from Benny Page (on the straight up ragga-jungle of “UK Allstars”), Vital Elements (the 150bpm anthem “Jah Warriors” and “Jungle Is I and I”), Serial Killaz (the pure roots bounce and rinse out of “Get Ready”) and Boyson & Crooks (creeping technoid paranoia on “London Dungeons”). Vocalists, meanwhile, run a huge range. There’s a who’s who of UK soundsystem culture on “UK Allstars.” True Congo Natty family like Nanci & Phoebe (check out Phoebe “Iron Dread” Hibbert’s verse on “Microchip” and Nanci Correia’s contributions throughout the record) and La La & The Boo Yaa (“Jungle Souljah”) fill the album with sweet hooks and total commitment. Last, there are artists perhaps best known for their work with others, but drawing new sustenance from Congo Natty’s Rasta beliefs and political views. Lady Chann offers a scintillating contribution on “Jungle Is I and I” and Buggsy, best known for his work with Joker, makes a telling intervention.
That this all holds together into a coherent whole that nods back to the legacy of roots reggae and classic jungle without being in thrall to either is down to the clear-eyed vision of the pioneer behind it. That he could make a record so vital, so alive with love and anger and pure joy, shows that Congo Natty the man is more than just a legend. He’s a revolutionary. And that revolution is happening now.
Conna Haraway follows Spatial Fix with Shifted, a three-track 12” that turns toward propulsion and restraint. Where the earlier record sprawled in dense textures, this one explores sleek momentum and subtle form. Side A holds ‘Redirect’, an eleven-minute collaboration with XENIA REAPER. Built from a late-night Glasgow jam, her luminous synth line drifts against Haraway’s bass and loops, gliding into weight and pulse. On the flip, ‘Detach’ and ‘Duration’ channel a rediscovered love of 4x4 techno. Stripped and detailed, they balance home-listening depth with club-ready swing—poised, fluid, and adaptable. Fans of the Basic Channel axis, Deepchord, echospace [detroit] etc. should check this for sure. Matthew Kent's Short Span label never misses!!
This album was compiled from original sources that have been lovingly restored and mastered. It represents a mere fraction of Connie's recorded repertoire.
This album was compiled from original sources that have been lovingly restored and mastered. It represents a mere fraction of Connie's recorded repertoire.
Label co-founder Conrad Pack returns to SELN with what is in essence a Dub EP, but so much more. The failsafe formula of stepping percussion and “ital” bass lean on a familiar soundsystem nature with engulfing pads finishing the job to evoke a true BIG SMOKE FEELING. Although the melody itself wouldn’t sound out of place in a UK Drill number the song overall still touches on DIY ++ sonics (yes it’s as good as it sounds if not better). Recorded during the height of the Scram era, masterminded by Leeway (Guy Gormley), and hosted by the late soundsystem luminary Julian Fairshare at Ormside Projects, the influences are crystal clear; Steppers-esq, leaning heavily on London’s musical legacy past and present, whilst still pushing for SOMETHING NEW. Praise EP will be available as a limited edition Vinyl (edition of 200) and digital download. You can catch Pack performing a special live set at our forthcoming 'late night event’ at Ormside Projects on 4th October alongside Kerrie, Jah Vibemaster & Sam Clarke.