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This is a must-listen work with a number of spiritual, deep, afro and ambient spiritual organic grooves!
Spiritual Afro, NEW WAVE, Ambient Dance Music! A number of miraculous sound sources that include African music, contemporary music, natural sounds from NEW WAVE and field recording, and even jazz and folklore tastes from Spain. It seems that he was influenced by many music genres, but the music is a beautiful combination of ambient and spiritual extracts, and the track with the synthesizer has a new age that is similar to that of IASOS! Great content that would not have been possible without an aesthetic eye for sharp music. 16P booklet included. Commentary posted in Spanish / English / Japanese.
This is a must-listen work with a number of spiritual, deep, afro and ambient spiritual organic grooves!
Spiritual Afro, NEW WAVE, Ambient Dance Music! A number of miraculous sound sources that include African music, contemporary music, natural sounds from NEW WAVE and field recording, and even jazz and folklore tastes from Spain. It seems that he was influenced by many music genres, but the music is a beautiful combination of ambient and spiritual extracts, and the track with the synthesizer has a new age that is similar to that of IASOS! Great content that would not have been possible without an aesthetic eye for sharp music. 16P booklet included. Commentary posted in Spanish / English / Japanese.
* "Africae" is an old name for "Africa" in Europe based on Latin, and adding "finis" creates nuances such as the farthest land and unknown places.
+ Japanese / English publication
+ CD version: Paper jacket, liner included
+ LP version: Liner included
* "Africae" is an old name for "Africa" in Europe based on Latin, and adding "finis" creates nuances such as the farthest land and unknown places.
+ Japanese / English publication
+ CD version: Paper jacket, liner included
+ LP version: Liner included
The second installment of Finis Africae is finally the appearance of the Anno song! A 6-track mini-album titled "El Secreto de las Doss (The Secret of Midnight)", a Balearic classic that has been played since the 1980s! There is no duplication of content with the previous work "A Last Discovery"! !!
"El Secreto" is a song from Finis Africae's 1st album released in 1984, by Jose Padilla, DJ of the cafe "Cafe del Mar (Sea Cafe)" in Ibiza, Balearis Islands. I fell in love with it and quickly defined it as a "chill-out" tune. It is a chill-out classic that has been recorded on mixtapes that he has been selling for a long time, and has been established as an organic groove classic beyond the ambient techno / house era.
It seems that only "El Secreto" is recognized in the DJ world, but Finis Africae is a unit that has crossed over various sounds independently with an experimental feeling since NEW WAVE (leader Huang Alberto). There are many songs that have the same impact as "El Secreto" (also famous for musical instrument nerds), and there are also fans who love the essence. In this album, Finis Africae's "Ambient" degree is deeply cut, and works comparable to "El Secreto" are compiled from the 1st / 2nd / 3rd album. There is no dance music, only deep listening is supported. The deepest part of Finis Africa, dense 32 minutes! (It is also an ant to play as ambient music)
+ 48khz / 24bit latest remaster. CD and LP versions are separate masters
ring.
+ LP version: Enclosed in a single-sided perforated sleeve.
+ CD version: Maxi case included.
Chicago-based experimental musician Fire-Toolz (Angel Marcloid)—who has garnered attention for her genre-spanning style that contrasts tranquility with intensity, ranging from braindance, jazz fusion, ambient, grind, vaporwave, to extreme metal—has signed with Warp and released her latest album, *Lavender Networks*!
*Lavender Networks* marks the Warp Records debut for Nu Age pioneer Fire-Toolz. Born in Maryland and based in Chicago, she also produces and engineers for other artists, having contributed to No Joy’s latest album *Bug Land*, which garnered attention after being selected for Pitchfork’s Best New Music.
The album features contributions from Zola Jesus, Brothertiger, Nailah Hunter, Lipsticism, Jennifer Holm, and Sling Beam. It depicts a cybernetic journey racing at the speed of fiber optics, exploring themes of the logic of dreams, laughter through tears, and the truth of emotions through absurdity.
フィラデルフィア・ソウルの名門〈Salsoul〉より、Ron Hardyによる伝説のリエディットが正規復刻。ディスコ〜ハウスを越境して愛され続けるFirst Choiceのクラシック「Let No Man Put Asunder」を、シカゴ・ハウスの先駆者Ron Hardyがよりフロア志向に再構築！ミニマルなループとグルーヴの増幅によって、原曲のエモーショナルなソウルが陶酔的なダンス・ナラティヴへと変貌。ディスコ史とハウスの系譜を繋ぐ重要盤です。〈Salsoul〉による正規12インチ復刻。
Recorded in a single day at Element Studio, Gothenburg, A Guidance unites Joachim Nordwall’s processed grand piano with Leif Elggren’s prepared texts, guided by producer Linus Andersson. The trio—two citizens of the Kingdoms of Elgaland-Vargaland—followed instinct rather than plan, channelling a volatile energy that sits somewhere between John Duncan, late Scott Walker, and Ghédalia Tazartès.
Across four pieces, Nordwall’s resonant, decaying piano tones and Elggren’s cracked, ritualistic voice conjure an atmosphere of creeping tension and psychic exposure. ‘Evil Moisture’ sets the scene with funereal space and operatic dread; ‘Opening of the Grave’ pushes intensity to breaking point; ‘To Return’ festers into uneasy stillness before collapsing in the closing ‘Forever in the Ever and Never’.
As Nordwall recalls, “Sometimes the music is just there, and you only have to let it flow.” A Guidance documents that rare moment of total surrender—where sound, text, and impulse converge into something raw, strange, and utterly possessed.
Some 30 years after they first met in the DJ booth of Tokyo's Spacelab Yellow nightclub, close friends François Kevorkian and Dimitri From Paris have finally joined forces in the studio. The result is The Nassau Excursion, a dazzlingly good three-track EP inspired by their joint love of disco and boogie-era dance records made at Island Records' Compass Point Studio in the Bahamas. Featuring Dimitri's regular collaborator DJ Rocca, its is an expressive and fiendishly dubbed-out exploration of this distinctive sound - think echo-laden vocal snippets, thickset synth bass. D-Train style echoing keyboard motifs, jazz-funk flecked Wally Badarou riffs, colourful chords, dubbed-out congas and punchy drum machine beats, expertly arranged to include the kind of stylistic mixing traits and dancefloor dub tropes liberally employed by François and Dimitri over the course of their careers.
Flaming Tunes' sole release is perhaps the finest elegy to the '80s home recording ethos that you've never heard. Originally released in 1985 on cassette (with individually hand-colored covers), this self-titled album grew out of the collaboration between childhood friends Gareth Williams and Mary Currie.
Williams is best known as a member of English art-rock band This Heat. After leaving the group in the early '80s, he travelled to India where he studied classical Kathakali dance – an experience that would profoundly shape the music of Flaming Tunes.
In an old Victorian house in South London, the duo recorded during the day while Currie's young son attended school and Williams conducted tape treatments at night. They were joined by various guests including This Heat guitarist Charles Bullen as well as long-term collaborators Martin Harrison and Rick Wilson.
Using whatever instruments they had on hand (clarinet, piano, bells, etc.), Flaming Tunes create lo-fi melodies around simple arrangements, oblique rhythms and densely layered natural sounds. The results are a mesmeric collage of instrumental daydreams and sideways pop songs, floating into one another in a hazy confluence of late '60s Canterbury psych-folk and early Residents experimentation.
All of these beguiling elements converge in a personal manner, quietly insistent in listeners' ears like the blood pulsing in one's veins on a warm summer day.
Despite their Michigan roots, but with their hearts anchored in the golden age of 1970s German Krautrock, Fling ii celebrate the sound of that sensational season of experimentation. In the chords of the band dwell the typical motorik style of Neu, the percussive obsessions of Can, as much as the pulsing, hypnotic electronic textures of Cluster and Kraftwerk. The absolute protagonist of this adventure back in time is the legendary Boss Super Phaser PH-2, the dual-circuit modulation pedal that shines through the entire development of all the tracks; it's the main demiurge of deep resonances, of impulsive intergalactic excursions, of dust and mists in perpetual motion. The sound is as dreamy and cosmic as ever, revealing such instrumental rigour in which the strongly emotional blend of the original sources of inspiration finds a perfect balance between rhythm and dynamics.
Sam Shepherd aka Floating Points has shared a new single, 'Birth4000', which is out now via Ninja Tune.
'Birth4000' couldn't be more different sonically to these pursuits in its crunchy, gnarled, all-out energy. Officially out now, the track has already had a lasting impact on the summer's dancefloors having been played out by Four Tet at his Finsbury Park headline show as well as gracing Arcadia’s industrial spider when played by Shepherd and Caribou b2b at this year’s Glastonbury, also appearing in festival sets from Peggy Gou, Ben UFO, Call Super, Palms Trax and more, as well as being the highlight of Shepherd's secret headline slot at this year's NTS summer party.
The track's artwork comes from Tokyo based artist Akiko Nakayama. Nakayama is a painter who depicts the beauty of conveying energy metamorphosis through media such as installation, videos, and performance. She brings painting to life by combining the energy of movement and the vibrance of colours, called "Alive Painting".
Japan exclusive Purple vinyl, Limited 400 copies. Sam Shepherd aka Floating Points has announced his new album Crush will be released on 18 October on Ninja Tune. Along with the announcement he has shared new track 'Last Bloom' along with accompanying video by Hamill Industries and announced details of a new live show with dates including London's Printworks, his biggest headline live show to date.
The best musical mavericks never sit still for long. They mutate and morph into new shapes, refusing to be boxed in. Floating Points has so many guises that it’s not easy to pin him down. There’s the composer whose 2015 debut album Elaenia was met with rave reviews – including being named Pitchfork’s ‘Best New Music’ and Resident Advisor’s ‘Album of the Year’ – and took him from dancefloors to festival stages worldwide. The curator whose record labels have brought soulful new sounds into the club, and, on his esteemed imprint Melodies International, reinstated old ones. The classicist, the disco guy that makes machine music, the digger always searching for untapped gems to re-release. And then there’s the DJ whose liberal approach to genre saw him once drop a 20-minute instrumental by spiritual saxophonist Pharoah Sanders in Berghain.
Fresh from the release earlier this year of his compilation of lambent, analogous ambient and atmospheric music for the esteemed Late Night Tales compilation series, Floating Points’ first album in four years, Crush, twists whatever you think you know about him on its head again. A tempestuous blast of electronic experimentalism whose title alludes to the pressure-cooker of the current environment we find ourselves in. As a result, Shepherd has made some of his heaviest, most propulsive tracks yet, nodding to the UK bass scene he emerged from in the late 2000s, such as the dystopian low-end bounce of previously shared striking lead single ‘LesAlpx’ (Pitchfork’s ‘Best New Track’), but there are also some of his most expressive songs on Crush: his signature melancholia is there in the album’s sublime mellower moments or in the Buchla synthesizer, whose eerie modulation haunts the album.
Whereas Elaenia was a five-year process, Crush was made during an intense five-week period, inspired by the invigorating improvisation of his shows supporting The xx in 2017. He had just finished touring with his own live ensemble, culminating in a Coachella appearance, when he suddenly became a one-man band, just him and his trusty Buchla opening up for half an hour every night. He thought what he’d come out with would "be really melodic and slow- building" to suit the mood of the headliners, but what he ended up playing was "some of the most obtuse and aggressive music I've ever made, in front of 20,000 people every night," he says. "It was liberating."
His new album feels similarly instantaneous – and vital. It’s the sound of the many sides of Floating Points finally fusing together. It draws from the "explosive" moments during his sets, the moments that usually occur when he throws together unexpected genres, for the very simple reason that he gets excited about wanting to "hear this record, really loud, now!" and then puts the needle on. It’s "just like what happens when you’re at home playing music with your friends and it's going all over the place," he says.
Today's newly announced live solo shows capture that energy too, so that the audience can see that what they’re watching isn’t just someone pressing play. Once again Shepherd has teamed up with Hamill Industries, the duo who brought their ground-breaking reactive laser technologies to his previous tours. Their vision is to create a constant dialogue between the music and the visuals. This time their visuals will zoom in on the natural world, where landscapes are responsive to the music and flowers or rainbow swirls of bubbles might move and morph to the kick of the bass drum. What you see on the screen behind Shepherd might "look like a cosmos of colour going on," says Shepherd, "but it’s actually a tiny bubble with a macro lens on it being moved by frequencies by my Buchla," which was also the process by which the LP artwork was made." It means, he adds, "putting a lot of Fairy Liquid on our tour rider".
Sam Shepherd aka Floating Points has shared a new single, 'Someone Close' which is out now via Ninja Tune.
Shepherd has also today announced that 'Someone Close' will be released on vinyl alongside the three other new tracks he's shared this year: 'Grammar', 'Vocoder' and 'Problems'. All four will be available on limited vinyl for the first time on 16 December.
'Grammar', 'Vocoder' and 'Problems' were met with widespread praise including a Best New Track from Pitchfork and a glowing review from Resident Advisor describing Shepherd as "one of electronic music's undisputed MVPs". 'Someone Close' changes track completely, something Shepherd has done effortlessly across his career, capping off a run of releases that have showcased the many strings to his bow yet still holds together seamlessly.
Following a summer of festival sets at Glastonbury, Coachella and Field Day, this Autumn/Winter Shepherd will take things back indoors. With an upcoming show on an incredible bill from The Warehouse Project he'll follow up with a marathon open-to- close set at London’s brand new 25,000 square-foot club HERE on New Year’s Day 2023.
Regardless of the confluence of events that led to this dream pairing, there’s a strong hint of clear-minded innovation to Promises. The debut collaboration LP from electronic musician Sam Shepherd aka Floating Points and legendary saxophonist Pharaoh Sanders, backed to a lavish fullness by The London Symphony Orchestra, feels like the murmurs of an entirely new language for jazz, quite distinct from either participant’s prior output — in fact, it seems to illuminate a hidden lexicon we didn’t know either artist had in the first place.
We say jazz, but Promises truly defies categorisation with its moody atmosphere and indeterminate music-like patience. The nine movements of the LP gently cradle a circular note pattern in the way of a minimalist classical piece, as a flood of synth and string drones gradually fill the empty spaces in-between. As this deep meditation progresses, Sanders recalls his adventurous past work with the Coltranes by undergoing his own inner journey, his sax flitting between conversational licks, esoteric mouth sounds and white-hot fury, bobbing against the rising tide of electronics, organs and orchestra swells.
Regardless of the confluence of events that led to this dream pairing, there’s a strong hint of clear-minded innovation to Promises. The debut collaboration LP from electronic musician Sam Shepherd aka Floating Points and legendary saxophonist Pharaoh Sanders, backed to a lavish fullness by The London Symphony Orchestra, feels like the murmurs of an entirely new language for jazz, quite distinct from either participant’s prior output — in fact, it seems to illuminate a hidden lexicon we didn’t know either artist had in the first place.
We say jazz, but Promises truly defies categorisation with its moody atmosphere and indeterminate music-like patience. The nine movements of the LP gently cradle a circular note pattern in the way of a minimalist classical piece, as a flood of synth and string drones gradually fill the empty spaces in-between. As this deep meditation progresses, Sanders recalls his adventurous past work with the Coltranes by undergoing his own inner journey, his sax flitting between conversational licks, esoteric mouth sounds and white-hot fury, bobbing against the rising tide of electronics, organs and orchestra swells.
