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A subjective mixtape by Dj Salinger. Mixed, recorded and assembled by Dj Salinger in a state of deep melancholy. Mastering by Franz Kirmann.

Franz Kirmann is a French music producer living in London. He has made albums for various labels including Denovali, Bytes, Mercury KX. He also writes music for film and TV and is a lecturer in music production at Point Blank Music school.
 

DJ Shadow, aka Josh Davis, could be credited with bringing newfound introspection to the gloating sounds of hip-hop. Condensed with urban oscillations and scatological beats, 1996's Endtroducing shudders with eclectic samples and aural montages that reach beyond the constraints of hip-hop style. Enhancing the mix with fundamentals of rock, soul, funk, ambient, and jazz, the modern fusions fail to go unnoticed, even by the casual listener. While most of the tracks are compiled by layering samples from vinyl treasures found in used-record bins, the production quality of the mosaic is unmatched. Darkened melodies carry throughout the album with its eye on the end of the tunnel. The narration samples come from numerous sources and keep the listener involved and waiting for resolution. With a message as fragmentary as an overheard conversation, Endtroducing conveys no apparent conclusion, but begs the mind, body, and soul for some rewind.

オランダ・ロッテルダムのDJ Shaun-Dによる、バブリングからダッチ・ハウスへの進化を辿るコンピレーション・アルバム『From Bubbling to Dutch House』が、〈Nyege Nyege Tapes〉よりリリース。本作には、1990年代のスピードアップされたダンスホールを基盤に、エレクトロ・ハウス、トラップ、B-More、レイヴなどを融合させた、シュリルなシンセとシンクロペーションが特徴の全10曲を収録。初期の代表曲"Pull Up"や"XXXmachine"から、未発表の新曲
Outta Control"、"Ultra Instinct"まで、DJ Shaun-Dのキャリアを網羅した内容となっています。

Parallel Traces of the Jewel Voice by dj sniff is a project that takes inspiration from historical narratives and personal memories constructed around The Jewel Voice Broadcast (Gyokuon Hoso) that took place on August 15 of 1945. Contrary to common belief, Emperor Hirohito did not speak live on air to announce the surrender of Japan on this day. Instead, two lathe-cut discs with his recorded voice were skillfully mixed and played by NHK engineer Shizuto Haruna. Haruna’s proto-DJ/turntablist performance was heard not only in Japan but also throughout the colonized territories in Asia, marking the end of World War II and Japanese rule. Interested in these aspects which often have been overlooked within the Japanese narratives of this historical event, dj sniff conducted research in both Taiwan and Japan. Over the course of 3 years he collected various materials that include; interviews and field recordings, audio samples extracted from phonograph discs and recordings sessions with improvising musicians, and a re-reading of the Imperial Rescript on Surrender in Chinese. These were used to compose two compositions that are paired differently depending on their distribution format. The vinyl release is a multi-sided disc with two parallel grooves cut on one side, which in effect plays a different composition depending on where the stylus is cued. The other side has no audio but features two silkscreened lines that refer to how Haruna played the original lathe-cut discs. For the digital release, each composition is independently assigned to the left and right channel and is heard simultaneously. Additionally, an extensive text written by dj sniff accompanies this release. Sniff uncovers technical details of the recording and broadcasting of the emperor’s voice that took place over 75 years ago. He also reflects on his encounters with the elderly community in Taiwan who spoke fluent Japanese and shared their personal stories after listening together to records from their childhood.

After the conceptual depth of "Parallel Traces of the Jewel Voice" (2021), dj sniff returns to Discrepant with a more direct and visceral document: Turntable Solos.

Composed from live recordings made during the latter half of 2024, Turntable Solos captures dj sniff’s improvised performances in their rawest form. At the core of his setup is Cut ’n’ Play, a software sampler he originally built in Max / MSP in 2007. Since then, he has continued developing custom tools and instruments that extend what Derek Bailey called the “instrumental impulse” — the tactile, responsive relationship between musician and machine that defines improvisation.

Following a summer 2024 tour of Japan with Gonçalo Cardoso, sniff was encouraged to document and release a selection of his live sets. Not long after, a performance at 20α (Alpha) in Hong Kong would become the emotional and conceptual anchor for the project. In the liner notes, sniff reflects on the eerie parallels between recent footage of protestors in Los Angeles — assaulted by police using so-called “less-lethal” weapons, and civilians being abducted into detention centers — and the 2019 Hong Kong protests. A place once filled with personal nostalgia began to feel like a grim foreshadowing of what might unfold in Western societies.

In this turbulent context, 20α stands out as a space of resistance and renewal — a beacon for a new generation of experimental musicians, growing in defiance of increasing censorship and surveillance. "Turntable Solos" is both a personal statement and a public act of sonic resilience.

Respekt! Sex Tags Mania, Karolin, Laton, Tage Tombola, Don Papa - The Genuin Of Moss Hip-Hop, Engvaal & The Rygge Family, Lene B., Kambo Super Sound & Family, The Endless Dynamic of Dynamo Dreesen, Brian Not Brian - Going Good And Axin' It Fo' Real - Salik Zia, SVN, Nupi & General Elektro, Bjørn Torske, L.A. Morillo, Fit Detroid, Skatebård, A-Bucci, Camila 575, Dåple-Pera, Benji, Atle, Vilunki 666, Queens Only - Madteo - Keeping It A Level Higher Than The Rest, Geir & Søssa, Rat Salad, Mor & Jerry, Eupraxia, Ringvold Gasta, Unit 6Q, DJ Gilb'R & Versatile Crew With I:Cube, Sähkö & The Keys Of House Life, Winklez, Peng! Ossia, Nell & The Dennis Bros., Roland Lifjell, Paleo & The Bhakti Crew, "70 CPS" Bailey, Bodhi Beats, Pyramide Phillips, Samir M'Kadmi, Thug Records, Audio-In Crew, King 909, Graff Et Grill, Paint House, 411, Nbm, Done, Pol, Sol, Yre, Culos, Kvam, Sau 2, Coats, Buba, 1999, Tmb, Crew - Skredderåsen, Moss! It's Not What You Play - But How You Play. Recorded and digitally edited at the 6th-EonMANIA-fract2 STD between 2012-2014. Original session for Side B recorded at Pyramide Studio, Frankfurt 2010. Vocals on Side C recorded at Inna Di Bu Studio, Moss 2013. Graffiti Can't Be Stopped

The charismatic DJ Terre Thaemlitz (=DJ Sprinkles), who was active in New York's transsexual clubs in the 1990s and is currently based in Japan, travels the world and continues to develop his artistic musical style with a focus on house music, This is the project of glitch rave techno evangelist Mark Fell and Mat Steel, a cutting-edge duo from Sheffield, and SND, who have produced outstanding work for Mille Plateaux and Raster-Noton. This dead stock 12" of timeless deep house music is now in stock. Mastered by Terre Thaemlitz and cut by Matt Coltonm.

A double-CD set compiling all of DJ Sprinkles & Mark Fell's collaborative 12-inches on the first disc, combined with a second disc filled with ten previously unreleased outtakes from the Complete Spiral EP sessions. As the album title suggests, listeners get an "incomplete insight" into the mixing and editing methods of these two very different electronic audio producers united by their histories with, and love of, classic deep house. (Track tip: out of this entire set, DJ Sprinkles' personal favorite for mixing on the dancefloor is "Incomplete Spiral 4.") Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes two CDs in an archival vinyl pouch with two double-sided insert cards (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 1)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 2)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 3)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 4)

A rare collection of music that has been long awaited by Thaemlitz fans comes highly recommended by Meditations! He is a charismatic DJ, Terre Thaemlitz (=DJ Sprinkles), who has been active in New York's transexual clubs in the 90's, and is currently based in Japan, but travels around the world and continues to develop his artistic music with house music. He has been traveling around the world and developing his artistic music through house music. This is a best-of album that includes one-off compilation tracks as well as self-remixes related to his solo projects. Self-released on Comatonse Recordings, this 2-CD set comes in custom packaging assembled by the artist himself, and includes two double-sided insert cards (100mm x 100mm), a 4x4 panel poster insert (472mm x 472mm) printed on newsprint, and more. This is a great introductory title for this artist. This is a great introductory title for this artist. ....!!!

Viewing-ADMIT IT'S KILLING YOU (AND LEAVE) (SPRINKLES' DEAD END) (Excerpt)
Viewing-MEDITATION ON WAGE LABOR AND THE DEATH OF THE ALBUM (SPRINKLES'UNPAID OVERTIME) (Excerpt)

Dj Sprinkles’ debut full length album,continues with themes from 1998’s “Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney’s buyout of Times Square” (a track recently featured on Ame’s “Coast2Coast” DJ mix compilation for NRK Records).

While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.

The title song of track1&2 is a real “strictly rhythm” house music. It’s a simple 4/4 beat with piano loop.maybe this is a real minimal house! Third track “Ball’r (madonna-free zone)” is a euphoric mid tempo house.this track reminds jan jelinek or larry heard.

Fourth track “Brenda’s $20 Dilemma” is a sequel of his fag jazz style.check the beautiful kuniyuki remix of this song(mule musiq 34). Fifth track “House Music Is Controllable Desire You Can Own” is a classic new york house style.if you like the record of jus-ed or that kind of artist,you like this song.

Sixth track “Sisters, I Don’t Know What This World Is Coming To” is a one of the highlight song on the album. Actually this track is not 4/4 beat house but very emotional powerfull music. Seventh track “Reverse Rotation” is a deep and madness beautiful song.When you listen this song,you associate the music of theo parrish or pepe bradock.

Eighth&nineth track are main songs of this album. “Grand Central, Pt. I (Deep Into the Bowel of House)” is associated the sound of jungle wonz or virgo. but this song is filled with somthing sadness.check the story about this album from terre,you will see…. http://www.comatonse.com/releases/midtown120blues.html This album is for a real house music lovers.

視聴-Midtown 120 Intro・ミッドタウン１２０イントロ
視聴-Midtown 120 Blues・ミッドタウン１２０ブルース
視聴-Reverse Rotation・後戻り
視聴-Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅　パート２（列車でミズーリ州から72時間）

A highly collectable compilation first released as a double-CD by Mule Musiq in 2013, now updated and expanded to a triple-CD set of 21 remixes clocking in at almost 4 hours. Self-released on Sprinkles' own Comatonse Recordings, Queerifications & Ruins: Collected Remixes by DJ Sprinkles Expanded Edition compiles the bulk of DJ Sprinkles' third-party remix work produced between 2006 and 2017. Discs 1 and 2 are essentially identical to the first edition, featuring reworks of tracks by Leftroom boss Matt Tolfrey, Japanese producer Kuniyuki, Chicago producer Area, Ojo De Apolo founder Jorge C., and French DJ Hardrock Striker. Disc 3 adds long sought after remixes of Scissor & Thread boss Francis Harris, UK media sweetheart Simon Fisher Turner, regular Comatonse collaborator Will Long, the late US composer John Cage, and even "that" remix of The Mole everyone bitched about not being on the original compilation despite it not even existing yet. Unfortunately, one of our audio producer friends couldn't join us this time around, so the opening two tracks on Disc 1 have been "demixed" into new DJ Sprinkles tracks exclusive to this compilation, "Empty Dancefloor" and "Lost Dancefloor." (Okay, track 1 sounds the same as before because it consisted of only Sprinkles' parts to begin with, but track 2 brings in some changes.) All copies are hand assembled by Sprinkles herself, with the packaging including three CDs in an archival vinyl pouch, a double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeves, and a 4x4 panel poster insert printed on newsprint (472mm x 472mm) featuring Emi Winter's painting, "Lady."

The long-awaited DJ Sprinkles reworkings of Will Long’s Acid Trax finally arrive on vinyl, beginning with this first instalment in a three-part EP series via Comatonse. Mastered by Terre Thaemlitz and cut by Rashad Becker, EP 1 features DJ Sprinkles’ ‘Acid Dog’ remix – a resoundingly trippy, sensual 11-minute journey of padded subs, shimmering percussion and richly layered 303 tones. One of the most immersive entries in the Sprinkles catalogue, it’s club music with both emotional depth and hypnotic power.

On the flip, Long’s original takes a more minimal approach, delivering a meditative groove that floats raw drum machine rhythms and restrained 303 sequences in wide-open space. Both tracks embrace the ascetic, introspective aesthetics that define this project.

Note: The correct tracks on this 12” are ‘Acid Trax N’ and ‘Acid Dog (DJ Sprinkles Remix)’ – centre labels are incorrect.

Artwork by Terre Thaemlitz.

Tokyo-based artist Will Long—well known for his acclaimed ambient works under the name Celer and his best-selling Long Trax series on Meditations—returns with a remix cut EP from his 2024 album Acid Trax, featuring none other than DJ Sprinkles a.k.a. Terre Thaemlitz, the iconic figure of artistic deep house explorations. Side A delivers a hypnotic, minimalist acid track running over 11 minutes, evoking the spirit of Phuture and early Plastikman, with razor-sharp 909 rhythms and acid-laced 303 lines. On the flip, DJ Sprinkles brings their unmistakable touch to the remix, sculpting a deeply immersive experience with intelligent arrangement and emotional depth—deep house at its most refined. A sublime slice of after-hours introspection and floor-ready elegance.

Tokyo-based artist Will Long, widely known for his ambient works under Celer and the Meditations best-seller Long Trax, returns with the third installment of the Acid Trax EP series. Featuring a remix cut from the 2024 album Acid Trax, this release also includes a new co-produced track with iconic deep house figure DJ Sprinkles a.k.a. Terre Thaemlitz. The A-side delivers a sharp and emotionally nuanced production built on the relentless interplay of 909s and 303s, while the B-side shines with Sprinkles’ signature spatial sensitivity and mellow atmospheres. This is intelligent, immersive dance music that subtly reimagines the acid house format from within—a quiet document of aesthetic clarity, perfectly suited for the after-hours floor. Mastered and cut by Rashad Becker.

Consummate selector and veteran of a pair of mixtape percies for The Trilogy Tapes, DJ Sundae racks up the rarities for a killer new edition for Good Morning Tapes, a recording of his set for Alexis Le Tan’s Oddity Radio, Paris. Sundae’s selection skills are already a thing of low-key legend and on this new one he picks an arc from sylvan synth glydes to punky reggae dub via ample armfuls of spirited music, each cut a stepping stone to the next in a proper example of DJ as storyteller. Aye, you can forget about any easily identifiable gear and expect to snag the attentions of earnest spotters licking their nibs for hits of rustic folk, proggy psych, druggy grunge and punk hymns that give way to brooding bass music and stepping post-punk.

At only 19 years old, Dar Es Salaam's DJ Travella represents a new wave of singeli producers who are driving Tanzania's breakneck dance sound into fresh, innovative spaces. Unaffiliated with any of the well-known studios like Sisso and Pamoja, Hamadi Hassani's music points singeli's fusion of taraab and techno towards the stars, locating a cyber-singeli style that's dense, kinetic and unashamedly sexy. Hassani started producing at 15, and a few years later his debut is a jagged set of hi-nrg dance music that pulls influence from across the globe, folding together elements of dembow, rave, R&B, and trap. But nothing's straightforward: opening track 'Crazy Beat Music Umeme 2' juxtaposes grinding 200bpm rhythmic intensity with urgent plucked strings, sounding like Timbaland conjuring a Thunderdome soundtrack for a Tanzanian street party. 'Crazy Beat Music Umeme 4' is even more barbed, with neon rave synths and hand-jammed percussion that's one part 808 Mafia and one part DJ Diaki. On 'London Bandcamp', Travella meshes hi-speed singeli backbeats with downtempo dembow kicks, squeezing out unexpected sleaze in the process, while on 'London Uwoteeee' there's an almost romantic sparkle, with ethereal vocals draped across woodblock cracks and whistles. But Travella sounds most nimble when giving the nod to Atlanta, and his merging of earworm synth hooks and neck-snapping East African rhythms on tracks like 'London Jomon Beat' will leave no doubt that the young producer is capable of bending singeli completely to his will.

Hailing from Tanzania's bustling cultural hub Dar Es Salaam - the biggest city in East Africa - young beatmaker DJ Travella is setting the breakneck pace for its musical evolution. He's been producing since he was just 10 years old and has already bent singeli into surprising new shapes, welding euphoric EDM breakdowns and earworm-y R&B riffs to the Tanzanian genre's frenetic rhythms. 'Twende' is a straight-to-the-point set of the producer's most requested secret weapons - four hyper-melodic floor fillers that were developed shortly after releasing his acclaimed debut album 'Mr Mixondo'. Featured on his popular Boiler Room performance, these tracks will be familiar to anyone who's managed to catch one of his sets.

Starting things out right with 'Trust', a wonky, festival-ready 170BPM ass shaker that shuffles a familiar singeli beat around wormy synths, Travella keeps things moving with the blink-and-you'll-miss-it 'Believe', a minute and a half of brassy pop fanfares and buzzing rhythms. On 'Mchakamchaka' he introduces quivering soukous guitar phrases into the mix, keeping up the momentum with crowd noise and pneumatic sound design vamps, and 'Vumbi Vumbi' slows things down, just a bit, splaying plasticky, acidic leads over blown-out syncopated beats. It's one for the feet, no doubt.

日本の伝説的衛星放送〈St.Giga〉から名前を取った先鋭レーベル〈CITY-2 ST. GIGA〉を主宰。〈The Trilogy Tapes〉や〈Incienso〉にも作品を残す、東京の要注目プロデューサー、DJ Trysteroによるセカンド・アルバムが〈FELT〉からリリース。ダブ・テクノの深淵を漂う全9曲を展開していく本作では、リズムは曖昧に、メロディは断片的に、音響は霧の中で揺らめき、聴く者を夢と現の狭間へと誘います。濃霧が晴れ、しおれたダブの形が浮かび上がる瞬間が印象的な"Untitled 6"など素晴らしいです。Huerco S.やCivilistjävel!を想起させる、減衰と残響の美学が光る一枚！

Tokyo based producer and City-2 St. Giga label owner DJ Trystero arrives on Incienso with his debut LP “Castillo”. Over nine tracks Trystero explores uniquely spontaneous modes of rhythm and sound - turning ambient, breakbeat, electro, techno and house into blurred sonics that expand on their own time.

A massive honor to be releasing the first in a four volume retrospective of one of Africa’s most influential musicians of the last 30 years - kuduro and tarraxinha pioneer and originator DJ Znobia. A genius of street music and the pivotal visionary of Angola’s digital musical modernism, Znobia is the inventor. Nyege Nyege Tapes went through over 700 tracks in Znobia’s archive (with double that number reputed to have been lost) to prepare a 4 Volume retrospective of his musical output from the late 90s to mid 2000s. Hailing from the musseke - or shantytown - of Barrio Do Rangel in the Angolan capital of Luanda, DJ Znobia was born Sebastião Lopes in 1979. In the late 1990s, DJ Znobia embarked on a journey to create a new genre that would capture the energy and spirit of the South West African country, the second biggest Portuguese speaking country in the world after Brazil. Znobia initially found renown as a dancer particularly fond of Michael Jackson, before teaching himself how to produce with Fruity Loops. Inspired by the fusion of traditional Angolan rhythms with electronic beats, he began experimenting with different sounds and styles. Through his tireless efforts, he eventually developed a genre that would revolutionise the Angolan music scene: kuduro. Kuduro, which means "hard ass" in Portuguese, combines elements of traditional Angolan music such as semba, kilapanga, and kazukuta with modern electronic beats, resulting in a high-energy and infectious sound. DJ Znobia's innovative use of synthesisers, drum machines, and sampled vocals gave kuduro its distinctive character, and he quickly gained recognition as the genre's pioneer and leading producer. The fact that much of his output happened while Angola was in the grip of a terrible civil war, which only ended in 2002, makes his story even more remarkable. With his groundbreaking productions, DJ Znobia paved the way for the widespread popularity of kuduro both in Angola and internationally in America and Europe. His tracks, such as “Batida 13 Horas'' became anthems of the genre, and his collaborations with local artists helped to propel kuduro into the mainstream. Kuduro has been hugely influential in Afro-diasporan communities in Portugal , and especially with the Príncipe Discos DJs and producers such as Dj Marfox, Dj Nervoso and Niggafox. In 2008, kuduro first arrived on the international scene, when British-Sri Lankan rap superstar M.I.A. collaborated with Znobia and Buraka Son Sistema on the single Sound of Kuduro which appeared on M.I.A.’s 2007 album Kala. DJ Znobia's influence as a producer, DJ, MC and public figure has had a great imprint in Angolan culture for the better part of the last three decades. He is also considered one of the pioneers of the hugely popular tarraxinha genre of music and dance; the sexy, percussive cousin of kizomba; the name means “little screw/ screwdriver”.

The second volume of Nyege Nyege's career-spanning DJ Znobia retrospective, 'Inventor Vol. 2' continues the vital story of one of Africa's most influential artists - a producer, singer and DJ who's spent three decades inking his signature onto kuduro and tarraxinha. The label combed through Znobia's vast archives to assemble the four-volume set, picking out the most essential moments from over 700 tracks written between the late 1990s and the mid 2000s; these aren't just the expected dancefloor heaters either, but a sprawling anthology that shines a spotlight on Znobia's innovation and unhinged mastery.

On 'Inventor Vol. 2', Angola-born Sebastião Lopes' light-hearted sense of humor floats visibly to the surface. He samples the viral "Baby T-Pain" YouTube clip and flips it into a hypnotic wail on 'Choro do Corno', offsetting the melodic Auto-Tune layers with his idiosyncratic slowed-down kuduro thuds. Meanwhile, on the chaotic 'Beat Cursor', Znobia raids the Windows sound library, turning eerily familiar error chimes and message alert sirens into percussion that jerks and sways around urgent hand drum rolls and neck-snapping snares. But elsewhere, the magic that led vocal breakouts like 'Marimba' to cult status is thrust into the foreground.

Lopes' slippery, robotic voice curls through syrupy beats and FL Studio-powered electronic harp plucks on 'Sofre', mimics an early Talkbox on the electro-powered 'Dance Da Ma Ju' and shimmers into a soft, romantic coo on 'Monandengue'. Each track highlights the Angolan original's voracious appetite for experimentation, and expresses the parallels between Znobia's kuduro and tarraxinha innovations, and similar future-facing Afro-diasporic moves made in grime, early techno or Brazilian funk. Just check the wheezing synths, haunted flutes and hollow, driving percussion on 'Kuduro ou Hunderground', or the pizzicato blasts and garbled oscillations that shadow Os Bonitos' elastic rhymes on stand-out 'Wo Adji Wo'.

From humble beginnings, learning to mix with just a couple of semba LPs, DJ Znobia took his cues from local traditional sounds and used their groove to power a new musical movement. And with 'Inventor Vol. 2' we're provided with another piece of the puzzle, a sequence of visions that have provided the wider world with modernism, eccentricity and vision. We're still feeling the shockwaves, decades later.

Espontaneamente se Tenta: Aventuras Sonoras de Djalma Corrêa is an album of deeply exploratory pieces by legendary percussionist and composer Djalma Corrêa. This double-LP set features previously unreleased recordings that cover a wide range of sonic experiments, revealing an unknown side of the prolific and groundbreaking Brazilian artist. Most of the tracks on this album were digitized for the first time – directly from the original tapes – and were compiled in collaboration with Corrêa just before he passed. The result is a wild and unsettling collage that shows us just how original and intense Corrêa could be: from the unorthodox electroacoustic piece Evolução (Para Fita e Filme), which channels ancestral African inspirations to create a sonic cosmogonical narrative, to the proto-mixtape Exemplo de Sintetizadores, in which he transitions from transcendental drones to astral cha-cha-chas. While the compilation might seem disjointed at first listen, it is in fact the most accurate translation or representation of his central concept: spontaneous music. Djalma's relationship with sound was always guided by his fearless approach to listening, and by his audacious and dynamic interaction with both musicians and equipment, which enabled him to work across a wide array of genres: from jazz to completely abstract music, always through a personal DIY ethic. Corrêa developed a strong bond with experimentalist and inventor Walter Smetak, with whom he shared a studio during his formative years at Universidade Federal da Bahia. Suite Contagotas, featured in this collection, is no less than a sonic materialization of that bond: an experiment revolving around dripping water and its randomness – a tentative exploration of the ideas and possibilities envisioned by Smetak for his audacious, albeit unrealized, Estúdio OVO. Djalma, however, is best known for his studio work in historical albums, including many by Caetano Veloso, Gilberto Gil and Jorge Ben, and for his own polyrhythmic opus Baiafro. The last track is an early recording called Bossa 2000 dC, first performed by Djalma at the 1964 Nós, Por Exemplo concert, an event which is often cited as marking the beginning of the Tropicalia movement. At the time, he was the only artist in the lineup using electronic devices to create sounds, e.g. medical oscillators and contact mics to augment his percussive palette. The artwork is an amalgamation of material found in the Djalma Corrêa Archive (currently managed by his son Caetano Corrêa) and other material created during the period in which the record was being put together. The intention is to guide the listeners through this possibly tempestuous soundscape, giving them additional resources so that they may draw their own meanings and make their own sense of this extremely immersive and original experience – which is like nothing we've ever heard before.

“Without doubt one of the most beautiful and soulful recordings I have ever heard” Brian Eno

“It sounds for all intents like music from another world” Los Angeles Times

A widely acknowledged classic by the undisputed master of the duduk, a traditional woodwind instrument from Armenia. A double-reed instrument of ancient origin and noted for its unique, mournful sound. Originally released in the Soviet Union in 1983, Eno came across the musician during a visit to Moscow in the late 1980s and subsequently introduced the record to Western audiences via a reissue on his Opal label.

Available on vinyl for the first time in 33 years, restoring the original 1983 artwork to its former glory, this is a unique and powerful musical statement that has had a lasting cultural impact.

“Gasparyan's playing produces an equal amount of sadness and sweetness in every note, every phrase, and every song. Simply graceful.” All Music

First ever vinyl edition of Djivan Gasparyan’s exquisite second album recorded in 1993, a decade after his classic debut album I Will Not Be Sad In This World. Produced by Michael Brook.