Ambient / Minimal / Drone

The Caretaker returns with a long-in-the-making soundtrack to acclaimed filmmaker Grant Gee's documentary about German writer WG Sebald. 'Patience (After Sebald)' is a multi-layered film essay on landscape, art, history, life and loss - an exploration of the work and influence of German writer WG Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book 'The Rings Of Saturn'. The source material for 'Patience' was sourced from Franz Schubert's 1827 piece 'Winterreise' and subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear.

Bastian Epple makes an eagerly anticipated return to marionette under his elusive MinaeMinae guise that imagines rich sonic architectures for the journeying spirit to voyage to. Räumlichkeit is Epple’s debut album and third release to date following Gestrüpp from 2020, venturing further into melodic electronic nostalgia and percussive beat oriented soundscapes. Spanning fifteen vignettes that trapeze through uncharted winding trails and familiar spaces, the album’s recordings evoke a scenic state of mind. The tracks simulate a room or nested rooms where the breathtaking views of nature and contrasting brutalist structures are explored with an equal sense of curiosity and wonder. Taking the listener down unpredictable paths that are rooted within the music itself, Epple is as much present in the creation as the listening experience which gives the recordings an immediacy and a live element of unfolding before your ears, unfamiliar each time. This novel viewpoint is very much at the core of Räumlichkeit, poetically contemplating the concept of spatiality and how that, in turn, influences the receiving of those fleeting moments. Apart from the world building qualities of the recordings, it's the speed of travel that also impacts the perception of the journey, and Epple tends to manipulate time at a fully immersive rate that grips the mind and body.

With ‘Terrain,’ Joachim Spieth presents the fourth long player on his Affin imprint. The follow-up album to ‘Ousia’ (2021), ‘Terrain,’ reflects on the human relationship with nature. The album title is a reference to a musical language that layers Spieth’s music production practices and intimacy with nature. ‘Terrain’ was forged in deep solitude.“ It’s an interplay of euphoric flashes and introspection” – says Spieth. The eight compositions take the listener into a captivating cascade of sonic textures resembling internal states fluctuations and emotional release. The tension between the organic warmth and static curves broads tones into liquified roars and empty spaces. Unlike Spieth’s previous albums, ‘Terrain’ holds more intimate gestures and emotional sensibility. Soothing frequencies here are intended to create a state of awareness in the listener. It is a work of conceptual and emotional beauty, evoking a form of spatial imagery that is as grounding as elevating.

On "Decades On Divided Stars" Brock Van Wey, aka bvdub, presents his first album on Affin, each of its tracks spanning his trademark Odyssean length, with a sonic and emotional density second to none. You are lost... losing your sense of time... of self. Yet finding your inner existence in its inwardly-folding galaxies. Your thoughts and emotions revolve, as planets caught in gravitational pull, before you suddenly awake, as if from a dream, unaware of how much time has passed. Only the stars will tell...

Max Würden returns with his second album on A Strangely Isolated Place after 2019’s ‘Format’, experimenting with a new style of music creation on ‘Landmark’. Landmark sees Max Würden combine and integrate various external forces into his usual studio production process. Inspired by many paintings of powerful landscapes found in thrift stores throughout his hometown of Cologne, Max set out to bring various elements together as one whole over time - allowing an organic process of experimentation and collage. Short phrases of music and field recordings that weren’t originally meant for each other were realized in isolation, such as sounds from his Klangkiste (sound box) built by Max himself, guitars, an old out-of-tune Schimmel piano, and samples of early jazz and classical music. These separate elements eventually, over time, connected and came together as Landmark - a recognizable moment and formation. The collage of elements found throughout ‘Landmark’, expresses a number of different vantage points from which to gaze and focus your attention. From the more storied and instrumental-based ‘Reprise’ and ‘Range’, to the wide-scape visions of ‘Summiteer’, or the off-world portrayals in ‘Stereo A’ and ‘Stereo B’. Max can be found depicting a montage of intricately detailed moments that invite you to stand and ponder their storied creation, be it emerging from found sound, synthesizers, guitars, samples, or simply his own production sorcery. Landmark is available on gatefold 2LP gold vinyl and digital, mastered by Rafael Anton Iirsarri and featuring original photography by Max Würden, and artwork by Noah M / Keep Adding. There will also be a very special limited framed painting edition (10), created by Max, available to purchase on the ASIP website.

Dennis White, Charlie May, and Dave Gardner return with their second outing as Quiet Places on A Strangely Isolated Place, expanding upon their deep and suitably hypnotic long-form compositions across four continuous sides of wax. Minimal in context and retaining the untitled track approach, the trio of producers, well versed in a variety of music styles between them, leave the music and the subliminal messages contained within as the descriptor. Finding moments of melody amongst the wide landscape of abstract sounds and samples is the only glimpse of reality you’ll find down here. Quiet Places Volume 2 is available on limited edition gatefold 2LP pressed on marbled vinyl, mastered and lacquer cut by Andreas Lupo Lubich and featuring artwork by Noah M / Keep Adding.

Having crested the west coast modular-ambient wave in just a few releases- including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records- Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive hanges the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable- or as the album's creator puts it- "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa- using true-to-period gear no less. Even given it's referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds it's parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

As one of the very few true 'Godfathers' of Ambient Music, Laraaji has forged a unique path forward (always, always forward) since his groundbreaking 1980 LP for Eno's Ambient label, "DAY OF RADIANCE'. It remains one of the eternal pillars of the genre. His extraordinary contributions to modern music over the course of four decades highlight his lifelong dedication to the belief that Peace can be achieved through audio serenity. Kramer's work in Ambient Music is less universally known, but no less pioneering. His most recent Shimmy-Disc LP, 'Music For Films Edited by Moths', suggests that his immersion in the genre is now complete. Cerebral yet simple, intoxicating yet tranquil, Kramer's newest and more elusive body of work gently heralds what lies ahead. His commitment to quiet music is complete. LARAAJI & KRAMER - "AMBIENT SYMPHONY #1" is the first window into their collective muse - a collaborative LP of shimmering clarity and vision, defying all expectations for the fans of each of these two diversely pioneering artists. Containing three 'Movements' (along with an additional 4th Movement on the digital release), this first Ambient Symphony is a beatific exercise in the sublime, unfolding dreams to waking life. Quiet music has never been so colorfully detailed, or so nakedly honest. Ambient Music has a new beginning.

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.
The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.

“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.

Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’s new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

-Andy Beta 

Kate NV’s WOW offers listeners a prismatic shift in perspective and scale, a parallel dimension in which the mundane becomes funny, unfamiliar, and altogether sensational. Turning the contents of her 2020 album Room for the Moon upside down and spilling it across a floor checkered with intrigue and surprise, Kate places sound, object, and ritual under the microscope to magnify the delight hidden in plain sight of everyday life.

XKatedral proudly presents the split full-length album Four Works by Stockholm based composers Linus Hillborg and Theodor Kentros. Four Works consists of two pieces by each composer with music written and recorded during 2019-2021. Two pieces for organ and electronics, a piece for violin and electronics and a piece for bass clarinet and electronics. Since both composers on this release mainly operate within the field of electroacoustic music these four pieces deviate from the composer's ordinary practice to a certain extent. However, they still retain an imprint shared with both composers' larger body of work.

Limited edition box set of Kali Malone's Does Spring Hide Its Joy featuring Stephen O'Malley & Lucy Railton. 

The box includes three C65 tapes with full-color jcards, paper box, and clear shell transparent tapes with white body printing. 

Does Spring Hide Its Joy is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention. 

This record follows Malone’s critically acclaimed records The Sacrificial Code [Ideal Recordings, 2019] & Living Torch [Portraits GRM, 2022]. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley & Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley & Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music. Does Spring Hide Its Joy is a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar's saturation timbre blends with the cello's rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience.

Kali Malone : Composition & Synthesis
Stephen O’Malley : Electric guitar
Lucy Railton : Cello

DSHIJ v1 - Recorded by Rodrigo Stambuk at MONOM in Berlin 2020
DSHIJ v2 & v3 - Recorded by Jonny Zoum at Berlin Funkhaus Saals 1 & 2 in Berlin 2020
Music Mix by Tristan Mazire & François-Xavier Delaby at Studio Garage in Paris
Music Edit & Mastering by Stephan Mathieu at Schwebung Mastering
Artwork by Nika Milano, graphic design by Stephen O'Malley.

Published by Mute Song
Made with the support of Kulturrådet, XKatedral, Ideologic Organ and MONOM

From the viscerally punishing and nerve wrecking, to the wistfully sublime, Kevin Drumm‘s work often yield a ferocious intensity through the timbres of minute details. On ‘Battering Rams’, sinister forces interlope with sanguine glimmers of respite and contemplation, while recurring drones ceaselessly crescendo to near paralysing effect, only for the album's final moments to offer a lofty reprise of boundless oscillation, dispelling all the pent-up tension into a sanguine state of bliss. Once again, underpinning Kevin Drumms’ genius of transforming seemingly trivial sounds into elongated microtonal worlds that stay etched deeply in your conscious, often long after the work's final reverberations have subsided. Now, throughout this series of archival works dating from 2000 to 2022, his mastery is once again on full display and available via two new remastered formats.

EMERALD TABLET" and "Echoes" were recorded in 1978 at NHK's Electronic Music Studio by Sohmei Sato, a master of Japanese contemporary music history, and released on Kojima's ALM Records. This is an analogue reissue on one LP from WRWTFWW Records! "EMERALD TABLET" was created by overdubbing harmonics of sounds composed of tubular bells, cymbals and Buddhist bells. EMERALD TABLET" was created by overdubbing harmonics consisting of tubular bells, cymbals, and Buddhist bells. It is Sato's unique fusion of tape music and music concretes. "Echoes" was composed for an event held by the Kawaji Onsen Tourism Association in Tochigi Prefecture from May 20 to 29, 1981. Eight huge loudspeakers were set up on a hill surrounding a stream, and the music was played on an eight-channel tape system, with cables connected to the loudspeakers extending over a kilometer! Limited to 600 copies

Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician and Cro-Magnon keyboard player Takumi Kaneko.

Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”.

A couple of two-track 7"s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. It certainly soundtracked many a Be With BBQ in 2019.

The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. A lush, beatless wonder. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle balearic chug. The result is a percussive gem.

“Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. An elegant boom-bap.

A pair of insistent tunes of the deeply balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. A classy duo.

The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centrepiece. Ten minutes of casually propulsive slapped bass, steel pans and slick 80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions us on with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade.

As former Test Pressing scribe Dr. Rob observed on his ever-reliable Ban Ban Ton Ton blog, the Coastlines fusion is very much in conversation with their 80s counterparts, both at home and along the coastlines of different continents. So among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. We couldn’t put it better ourselves.

Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited vinyl version a few months later for Japanese Record Store Day. But this music is just too good, so when Be With was asked via Ken Hidaka to take care of a vinyl version for the whole world it wasn’t a tough decision.

Mastered by Simon Francis and cut by Pete Norman, this magnificent double LP has been pressed by the good people at Record Industry.

The collaboration between Klara Lewis and Nik Colk Void somehow seemed inevitable. Both artists having seen their releases published by Editions Mego, individually carving out idiosyncratic voices in the worlds of extreme, abstract electronic music. With Full-On, Lewis and Void explore and assimilate the very edge of their individual practice where a unique collaborative interface allows two voices to combine and morph into a third voice. Lewis and Void play ping pong with the conversation of sounds, generating ideas and bouncing them off each other, simultaneously encouraging the other to go further with their ideas opening up an opportunity to engage with previously unexplored terrain. Guitars, synths, euro rack modular systems, voice, sampling and outboard processing are folded in a playful unification with a propensity to tease, explore and extract new ideas and shapes, sometimes brutal, sometimes playful. Trust was also a compositional tool allowing instinct to freely move on any aspect of the sound and space. This sound/feeling/instinct/association let this wild and wonderful material grow organically into something new. The result of this exploratory interplay are 17 intense miniatures reveling in the process of unadulterated experimentation and whimsical interplay, not just between the humans, but the machines themselves. United in an endless series of sonic U-turns, this daring duo intertwine pop and noise whilst also bringing together visions of tender techno and forthright ambient. The various zones manifest from all this reveals vocals shifting in mysterious ways, dust drenched beats churning limpidly and devilish string loops navigating a disorientating domain. The experience of listening to Full-On is to be confronted with a range of ideas resulting in a platter of emotions. A place where beauty and the beast collide with the impulsive and outright weird. What a wonderful world.

“Blue” Gene Tyranny’s debut album Out of the Blue — newly remastered with original cover art — which was among the first to releases on Lovely Music in 1978 alongside Robert Ashley Private Parts, David Behrman On the Other Ocean, Jon Hassell Vernal Equinox, Meredith Monk Key, and Peter Gordon Star Jaws. Disarmingly direct, funky, and profound, Out of the Blue is an equanimous, wide-open exploration of Tyranny’s musical world: equal parts song cycle, tone poem, keyboard fantasia, and avant-garde pop record. Recorded and mixed by Tyranny at Mills College, this album emerged following the legendary 1976 Trust in Rock concerts, where Tyranny and collaborator Peter Gordon presented New Music for rock band. “Next Time Might Be Your Time” and “For David K.” were co-produced by Gordon, and also feature Mills’s Maggi Payne on flute as well as Oingo Boingo’s Steve Bartek on guitar; “Leading a Double Life” is sung by Lynne Morrow and Jane Sharp, accompanied by Tyranny on piano and polyMoog synthesizer; “A Letter from Home” is a half-hour electro-acoustic narrative meditation on “the Doppler effect as a metaphor for the development of consciousness.” Out of the Blue lives up to its name: it is both surprising and familiar, revealing for the first time something that was always already there.

Not Waving explores grief, gratitude, and new beginnings on "The Place I've Been Missing" Renowned Italian musician Alessio Natalizia, AKA Not Waving, reaches new heights with his latest album, "The Place I've Been Missing." This deeply personal and introspective collection of songs delves into themes of grief, the fragility of existence, and the profound process of learning to bid farewell. "The Place I've Been Missing" is a poignant journey, written and recorded by Natalizia, with captivating guest appearances from long time collaborator and friend Marie Davidson alongside Ecstatic label mates Spivak, more eaze, and Romance. Unrestrained by conventional notions, Not Waving's sound defies easy categorisation. From enigmatic electronic soundscapes to dissonant symphonies, from syncopated beats to soothing melodic interludes, these 10 fragmented compositions are a testament to Natalizia's creative fearlessness. Over the span of 10 years, Not Waving's music has undergone a restless evolution, defying easy categorization. The soundscapes within "The Place I've Been Missing" traverse genres, featuring elements of crepuscular synth-pop, slowed-down strings, baroque guitars, shot through with layers of harmonic noise and hazy ambiance. "The Place I've Been Missing" is an audacious endeavor, straddling the fragile line between chaos and harmony, listeners are transported to an ethereal dimension, delving deep into realms of introspection.

The Kyoto-based musician Yusaku Arai is known for his production work in the avant-garde scenes of Japanese hip-hop and R&B. On this solo album, though, he offers more lengthy, piano-centric meditations that use the techniques of musique concrète. Arai’s compositions on the A-side emerged out of a reflection on the corporeal and interwoven relationship between his own body and things he encountered in the world—the ocean, a flower petal, a plastic sheet, a hand. His intent is to represent a process in which colors gently well up in inside of an object, pass through its entirety—and eventually permeate into the body itself. The B-side consists mostly of a long composition, which is about an unavoidable surplus that crops up in communication, whether of gestures or of language. This narrative work describes humans as beings torn between enthusiasm and emptiness. ***The titles on jacket and label are intentionally different by artist's will. The album’s artwork is by photographer Azusa Yamaguchi and designer Heijiro Yagi. Mastering by Sean McCann of Recital. A 18x24 inch poster is included.

Tropical boogie meets mellow house on Space Ghost’s new album Aquarium Nightclub: An homage to the natural world set against the richly-diverse backdrop of Oakland.. After Space Ghost’s first album Endless Light took to international airwaves and echoed out of cities from London to Los Angeles, his forthcoming release Aquarium Nightclub brings back his signature lo-fi aesthetics with a fresh hit of inspiration from the natural world. Melding irresistible vintage synths with a meditative groove, Aquarium Nightclub is a journey of sorts. Taking listeners on a tropical tour through 80s house drums, lush synth landscapes, and deep bass melodies, the thirteen-track LP is as adventurous as it is restrained. “I was watching nature documentaries while I was making the tracks, sampling some of the audio. I was imagining living in that world, diving underwater with fish, or swimming alongside a shark in shallow waters. It brought the tracks to life and pushed them further,” he says. Growing up in a small town a few hours from California’s East Bay area, Space Ghost (Sudi Wachspress) moved to Oakland ten years ago to study at the California College of the Arts. In a city known for its vibrant cultural fabric and its experimental music scene, Space Ghost represents a new generation of young artists. His DJ collective Late Feelings, launched in 2013, has allowed him to find his own groove amongst monthly all-vinyl dance parties, where he plucks influences from various corners of the world. “I became obsessed with the feeling I got from today’s Italian sound. Other styles like Burrell Brothers’ underground house or Larry Heard’s smooth pads mixed in with bubblegum pop and African boogie while making the record. Aquarium Nightclub is relatable but still different.” More complex than last year’s release, Aquarium Nightclub shows off Space Ghost’s artistic hunger and unique sonic signature. Kicking off with “Sea Snake Island,” a track that is best described as late 80s house melancholia is a beautiful dance of shimmering keys, drum machines, and sounds of the jungle. The single “Sim City” ft. Morgan is a classic Chicago house beast; dark but uplifting with heavy bass undertones, fuzzy drum pulse, and plenty of mysterious synth melodies. Other tracks like “Ocean Odyssey,” “Night Dive” and “Aquarium Nightclub” plunge into an ambient world of slow 80s funk, though always rooted in the Bay Area sound. “These are not your typical dance tracks,” Space Ghost says. “With the song ‘Aquarium Nightclub,’ I imagined what it would be like inside that club, with everyone dancing to a slow watery song in a mellow peaceful groove.” A product of record-collecting and dance party hosting, Aquarium Nightclub is a glittering postcard from Atlantis. Profound yet undeniably groovy, its mesmerizing tropical undertones promise a safe journey back to the endless days of summer. The album artwork is designed by Space Ghost himself and the LP comes as a limited edition version printed on a silver laminated sleeve. The first 100 LP copies further include an album poster designed and risograph printed by Space Ghost.

The cult Canadian band lands on Mood Hut for an album of sunburnt It's difficult to imagine a more topical band name than Freak Heat Waves, though the Canadian duo have been using it for over a decade. A hard-to-pin-down staple of the country's eclectic DIY scene, Steven Lind and Thomas Di Ninno are as Montreal weirdo as they are Vancouver stoner. Their fifth album is their first for Mood Hut, which gives a hint as to where their heads are at these days. Cementing a gradual shift from wiry punk to vintage post-disco, Mondo Tempo finds the duo getting stuck into a style of humid machine funk that pairs samples and sequencers with live drums and distant vocals. It's a clever formula that should prove irresistible to any fan of the smoked-out sound Mood Has cultivated over the past decade, bringing the label's indie rock origins to the fore. If this is your first Freak Heat Waves release, on first listen, opener "The Time Has Come" could come off as Pender Street Steppers pastiche: dusty drums, flamboyant sax sample, semi-ironic disco guitar lick, muttered vocals. But it also sounds unusually lush and open. The reverb on Lind's ultra-baritone voice lends him a dollar-bin Barry White smoothness, and the drums fall into a funky pocket you can't get from a straight-up drum machine. Both of these elements are key to Freak Heat Waves' unusual appeal. On "Endless," Lind stretches out his vowels into hilariously exaggerated syllables—like "helpleeesss." His laconic drawl contrasts the precocious hi-hats and snares, which are panned left and right as if your head was inside the bass drum. The warmed-over quality of Mondo Tempo can might read lo-fi, but the duo create a rich and detailed word within their sepia-toned confines. Starting out sprightly and meandering from there, Mondo Tempo gets slower as it chugs along, with a particularly druggy back half. Highlights like "Off My Mind"—whose meditative beat and wailing diva samples sound like a synth funk band covering 808 State—and "Altered States" make a clear connection between Mood Hut and and the band's DIY punk past. After all, Mood Hut and the Vancouver scene built around it was started by members of rock bands who brought their instrumental chops and pop instincts to chilled-out house music. Freak Heat Waves reverse engineer that from the opposite perspective, making idiosyncratic dance jams out of off-kilter rock music. The title track is a great example, a stark climate change warning disguised as a chill-out room jam. With Lind warning about "One degree / Worldwide / Have we begun to reach the breaking," it would be painfully preachy if it weren't couched in such a seductively lazy beat—encapsulating the mix of paralyzing fear and resignation felt by so many of the world's young people. 
Lind's over-the-top baritone can make Freak Heat Waves feel like a stoner comedy sometimes. But any sense of irony falls away on album highlight "In A Moment Divine," which is the finest song ever released on Mood Hut. A collaboration with Cindy Lee, formerly of Calgary noise rock band Women, "In A Moment Divine" pulls together the band's lo-fi disco, synth pop and even progressive house into a unique torch song with a hint of breakbeat. Strings breathe in and out on the meek verses, while a sequencer somewhere between New Order and Sasha frames the more desperate choruses. When everything drops out to leave just those synths, the result is elegant and beautiful—heartbreak captured in the sputtering notes of a machine. Firing on all cylinders, here Freak Heat Waves reveal themselves as priests of a syncretic religion combining dance music and DIY punk, pointing to a future in both dance and straight-up pop. Which way, Canadian men? The beauty is that Freak Heat Waves don't have to choose, and they never have. Whether Mondo Tempo is a true fork or just a diversion, Lind and Di Ninno continue to go their own way, making a well-worn West Coast sound feel fresh all over again.

Under the production moniker of Material Things, 12th Isle co-founder Stewart Brown unveils a part debut album part compendium of musical collaborations spanning from 2015-2020. Some recordings began as long, one-take improvisations (How's Life, Peckham) spliced together and revisited years later. Others were based upon chance opportunities to record with musicians operating a long way from the parameters of 12th Isle. Cult private-press loner folk guitarist Bob Theil, whose 1982 album So Far counts as one of the Scottish greats of the era, is at the heart of 'Westway'. Synth and guitar fragments recorded by the pair in Stewart's family home one summer form a low-key conclusion to the collection, whilst London based percussionist Pike Ogilvy brings an array of drum sounds and natural percussion to 'No Direction'. Regular 12th Isle affiliate Vague Imaginaires also features heavily, contributing synth work on Grenoble and his own extended digi bonus remix of 'How's Life'. As a collection, the 8 tracks show a studious, concise vision and combine influences from minimalism, concrete and avant-garde jazz and techno yet also embrace friendship, experimentation and curiosity whilst capturing 5 years of the artists own personal life. Some of the tracks have been circulating in various versions for a number of years now, with DJ support from Bake, Ivan Smagghe, Optimo, Lena Willikens, Huntley & Palmers, Orpheu The Wizard and, of course, 12th Isle.

“Timeless minimalistic approach to composition braced by repetition and playfulness. Alberto’s music reflects calm, focus and intimacy. Ethereal and atmospheric, his pieces operate within the digital as well as the analogue realm in equal measures. Sampling, Midi sequencing and field recordings are the instrumentation used in these 15 songs recorded on a four track reel to reel tape. Highest possible recommendation for fans of Suso Saiz, Jon Hassel, Eno or Harold Budd” “Haizetxe” which stands for wind house, is the first ever record consisting of unreleased material recorded between mid 80’s and 90’s by musician Alberto Lizarralde in Zaldibia, Basque Country. One of the founders of the first school of Improvisational jazz and contemporary music (Jazzle) established in San Sebastián in the early 1990s,Alberto is a well-known figure among Basque musicians but not so much amongst the general public. In his professional curriculum we find the direction of the Plaza Festival, the Zirrara record company, his work as a producer, editor (editions 3e argitalpenak), the direction of the audiovisual installation JA Artzeren Unibertsoa, the arrangements and composition for the Iparraguirre 7 project, etc...And even so, he has managed to stay away from the spotlight. In all this time he was composing and recording music, but the right circumstances never arose for its release.Thus, it has remained stored in a drawer all these years. Finally the music of Alberto Lizarralde sees the light on Hegoa label in a limited run of 300 LPs.

Ylia—aka Susana Hernández—had a remarkably productive 2020. In addition to releasing her debut album, Dulce Rendición, on Barcelona’s Paralaxe Editions, she penned compilation tracks for Lapsus Records, Hivern Discs, and Super Utu/Stars on Earth. But professional success can be deceiving: The following year was, personally speaking, terrible. Her grandfather died. Her father died. Her cat died. And she ended a relationship. “That’s a lot of things all at once, no?” she says. Her second album, Ame Agaru, is not necessarily a record of that year, but it is, she says, a response to those life events—a record of grief. The new album is clearly a continuation of the ambient investigations of Ylia’s debut, but it differs in key ways. Where Dulce Rendición was exploratory and faintly cosmic, Ame Agaru—a Japanese phrase meaning, roughly, “the rain lifts”— captures a melancholy sense of stillness. And where her debut was largely electronic, on the new album, Ylia has folded in a number of acoustic elements, even when they are not recognizable as such. Her partner, Alejandro Lévar, lends fingerpicked acoustic guitar to the glowing dronescapes of “Todos los Cuerpos”; multi-instrumentalist and bandleader Tete Leal adds flutes, clarinet, and soprano saxophone to “Ame Agari”—or “after the rain”—which opens the album with a moment of contemplative calm, the kind that follows an extended deluge. One track, the dub techno-influenced “Flowers in June,” grew out of Ylia’s live sets, but the rest are the fruit of improvisational sessions at home in Málaga, five minutes from the beach—jamming and then refining, searching for the ideal expression of a feeling as it was first captured. Searching for the spontaneity behind the stillness. In places, Ylia even incorporates piano, an instrument she has played since she was 10, yet has never included on one of her recordings before. For the most part on Ame Agaru, she seeks ways to fuse piano with synthesizers and electronic processes. But on the closing track, “El Único Adiós Posible,” she leaves us alone with the instrument in all its stark, unadorned beauty. It is a profoundly moving conclusion to an album defined by its economy of means and purity of expression: a cycle of life counted out in the passage of storm clouds and clearing skies.