Ambient / Minimal / Drone

To get a good handle on ‘Aslope’ look no further than the intricate ‘Scattered sprinkle, no turn’, a 12+ minute collage of moonlit organ vamps, stifled voices and disembodied, robotic poems. Heaving from smeary abstraction to penetrable drama almost imperceptibly, featherlight rhythms are cut short by uncanny voices: “stop, turning, a page,” like some rogue navigation assistant, slicing into ticking clocks and xerox noise. It’s like listening to a film without access to the visuals - all the foley sound remains (car blinkers, trains passing, conversations) and we’re left puzzling over what may or may not be happening. The only context provided is from Nika Son herself, who says that although the album doesn’t have a consistent theme, the link is that each piece is inspired by the night’s “capability to shift our perception and memory”. It comes off like a crepuscular sketchbook of ideas and themes that coalesce into a bumpy, endlessly rewarding sonic landscape. Son’s more bite-sized compositions are just as mind-altering. ‘Trinsar Gobble’ is one of the record’s more twitchy tracks, replete with thrumming, inhuman polyrhythms that skitter around booming thuds, French voices and oscillating, filtered synths. It’s music that defies simple categorisation - Son doesn’t tie herself to any particular type of identifiable expression or another. The music sounds as if it’s evolved outside expected contemporary influences: there are no knowing nods to early electronic innovators. Rather, Son follow her own nose, using the sonic characteristics of each element to draw us into an elusive personal narrative. On ‘It’s just a cucumber’, environmental recordings are edited just enough to enhance the illusion, before voices curl and decompress into rousing bass womps and unmetered rhythms prickle around punkish shouts. The use of voices is omnipresent throughout, even when they’re not there, they sound close: on ‘La nuit tombe’, they’re muffled behind echoing footsteps and creepy synth wails, and on ‘Gelbes Feld’, incomprehensible chatter envelopes cricket chirps and b-movie arpeggios. Many artists have tried to map out the dreamworld using sound, but Nika Son manages to make music that genuinely feels in-between worlds, capturing those seconds before vivid memories slip away from the mind’s eye.

Yoshi Wada's Lament For The Rise And Fall Of The Elephantine Crocodile, originally released in 1982 on India Navigation, remains one of the most remarkable flowers to grow in the rarefied air of American minimalism – akin to Terry Riley's Reed Streams and Pauline Oliveros' Accordion & Voice, yet with a wild, liberated energy all of its own. After graduating from Kyoto University of Fine Arts with a degree in sculpture, Wada moved to New York City in 1967 and quickly fell in with the community of artists known as Fluxus. In the early '70s, he began building his own instruments and writing musical compositions, studying with La Monte Young and Hindustani singer Pandit Pran Nath. Recorded during an epic three-day session in an empty swimming pool in upstate New York, Wada's first album brings together two of the oldest drone instruments – the human voice and bagpipes – to simple and glorious effect. A visit to the Scottish Highlands spurred Wada's interest in bagpipes, which the composer integrated into these sparse, otherworldly sounds heard on Lament. "That swimming pool was quite hallucinatory," recalls Wada. “It was another world. I felt it in terms of resonance. I slept in the pool, and whenever I moved, I woke up because of the reverberations.... The piece itself is an experiment with reeds and improvisational singing within the modal structure." This first-time vinyl reissue is limited to 750 numbered copies. Comes with poster.

featuring Ulrich Schnauss, Carlos Niño, Matthewdavid ’s Mindflight, Susumu Yokota, new age legends Laraaji and Iasos, Abul Mogard and Teleplasmiste (includes Coil member Michael J York), 'new wave of new age ’ icons I. JORDAN and Yamaneko, Lo Recordings head Jon Tye, Blackwater, Private Agenda, MJ Lallo, D.K. (Antinote), Andras Fox, Cathy Lucas (Vanishing Twin) & Seahawks. Spaciousness is the first volume in a series of releases that seeks to explore the connections, the overlaps, the roots and the future of a music variously referred to as ambient, deep listening, new age and even post classical.

The earliest musical memories of young Prince Istari are of his mother beautifying the home with her piano playing. She would repeatedly play the tranquil pieces of Erik Satie. Skipping school and sitting in the sun, young Prince would listen to these catchy, calm compositions. In the first week of 2024, the older Prince Istari rediscovered himself and found a box containing his mother's old sheet music. He transferred them to his computer and began spinning dub versions from them. It became a tapestry. As his mother used to say: "To weave a net, one must first spin." The form of the pieces dictated the direction each would take. The heavy dub transforms here into a light weightiness until it dissolves into a pure piano piece accompanied by a synthesizer. However, the last piece is much older, from the time when Prince was still known as Istari Lasterfahrer. The ending includes a distorted recording of Huberta, Prince's mother, playing a Gnossienne by Satie. At the end, she turns the sheet music, and the record can be turned back to the beginning. In the essence of its material, this record rejects the Loudness War. The originality of the compositions guided the dub within their tracks, thereby imparting to each a form descriptive of its essence. record release of 200 copies, printed sleave, numbered.

Abul Mogard and Rafael Anton Irisarri’s partnership unfolded serendipitously at the sold-out opening of the SoundSet Series at Madrid's Condeduque cultural center in 2023 - a program that featured performances by legends such as Autechre and younger artists like Caterina Barbieri and KMRU. The duo's encore that evening, recorded for Spain's Radio 3, resonated deeply with the audience, igniting a creative spark that propelled them to work remotely in their respective studios. At the heart of their effort lies a delicate balance of restraint and innovation, evident in the live concert track "Waking Up Dizzy on a Bastion." This piece, inspired by their musical sensibilities, serves as a testament to their shared vision and mutual respect. Utilizing a familiar parallel chord progression, the track builds from a simple melodic motif played live on synths that transforms into a call-and-response interplay between Mogard's synth lines and Irisarri's bowed guitar loops, creating a dialogue-like interaction between the musicians. As the piece moves forward, we are greeted by melting guitar patterns (recalling Kevin Shields most lysergic moments on Loveless), followed by an intense subsonic full body massage - the visceral physicality of the Ampeg bass amps and cabinets stacks on full display. Building upon the energy of that live performance, Mogard and Irisarri crafted "Place of Forever," a companion piece that combines Mogard's Farfisa organ and modular synthesizers with Irisarri's signature guitar tones and looping techniques at his Black Knoll studio in New York. Starting with a somber and minimal tone, the track gradually evolves, unfurling layers of deep bass tonalities draped in blissful gauze as it progresses during its 17-plus minute duration. The resulting album exudes a profound sense of alchemy, effortlessly weaving intricate soundscapes that feel simultaneously faraway and intimate. The cover artwork, by Marja de Sanctis, depicts a vase sculpture made of unfired clay. Created and photographed by herself, it reflects lights and shadows of fragility. The rawness of the material mirrors the purity and the delicate nature of the improvised duet’s performance. Daniel Castrejón’s design responds to the image transforming the shape of the vase into lines and empty spaces. His typography on the vinyl jacket features a spot varnish, creating a tactile reflection. Through these joint pieces, Mogard and Irisarri have created a work that encapsulates the dichotomy inherent in its title: impossibly distant, impossibly close.

The final studio recording of the late, great Tony Conrad, and the first duo release with Jennifer Walshe. A wild, improvisatory flaying of song; the sheer sonic force recalls the ecstatic charge of Conrad’s Slapping Pythagoras, with Walshe’s clarion voice at the heart of it. A one-of-a-kind concoction whipped up by two fearless and often peerless souls. It’s a joy to hear their manifest mutual regard and commitment to busting a gut.

“A sultry haze of shimmering ambient electronics and sparkling, effects-heavy guitar. Just what the ambient doctor ordered." - Electronic Sound

"Consumed in its entirety Late Spring is a soothing breeze, teleporting you directly to a grassy field in the sunshine – as transfixing as any record released thus far in 2021." - The Vinyl Factory

"The record sounds exactly like what you would expect with a name like Late Spring; it is a meditative, hypnotic look at the human condition and its emotional spectrum, as it attempts to grasp undefinable." - Far Out Magazine

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Japanese musician Chihei Hatakeyama is set to release his new album ‘Late Spring’ on 9th April 2021. An album of a humble nature, ‘Late Spring’ gently unfolds as a shared journeying experience through a series of rich and outstanding encounters.

An extract from the liner notes by Nick Luscombe:

"For an artist who typically works quickly, Hatakeyama considers Late Spring to be one of the more time-intensive records of his career – he started working on it in 2018, and completed it towards the end of 2020. For Late Spring, Hatakeyama re-examined his approach to musical performance, using a new amplifier and microphone set-up to playback and record his guitar and synthesisers. From the cathedral organ-like opener Breaking Dawn with its sub-aqua resonances, to the subtle drift of the closing track Twilight Sea, this record is a masterpiece of dense and beatific melodies. Drawn from evolving synthesised sounds and shimmering slow motion guitars, it combines these with occasional sonic elements that are best described as evoking computer code running through the veins of the machines like artificial blood."

Chihei Hatakeyama is a sound artist, mastering engineer, and record label founder who was born in 1978 and lives in Tokyo. He has performed for years under his given name and also as one half of the electroacoustic duo Opitope alongside Tomoyoshi Date. From his first full-length album ‘Minima Moralia’ (“Excellent” 8.1 Pitchfork) in 2006, through the subsequent 70+ albums that followed, Hatakeyama has created a mighty canon of work. His catalogue is spread across a number of highly-regarded labels, including Kranky, Room40 and his own White Paddy Mountain imprint. His release rate is unquestionably impressive, but what is even more striking is the continual high quality of each alluring album.

A live performance of four early works by Steve Reich: “Four Organs”, “My Name Is”, “Piano Phase” and “Phase Patterns.” This performance marked an important moment in San Francisco bay area new music history with the triumphant return to the east bay by Reich, who studied at Mills College with Luciano Berio, and who performed the 1964 world premiere of Terry Riley’s seminal work, “In C”, at the San Francisco Tape Music Center. The resonant acoustics of the University of California at Berkeley Museum’s concrete interior were especially appropriate for “Four Organs”, with its long additive sustained chords over a maraca pulse. Repressed in a limited edition of 500 copies on transparent vinyl.

A more conceptual Mallsoft work that combines a unique mellowness with a psychedelic, surreal atmosphere, digital psychedelia, and nostalgic sentimentality to create a bittersweet, mysterious worldview.

Great 2017 album by New York legends, 식료품groceries, who have supported the development of vaporwave while traversing subgenres such as Mallsoft and Utopian Virtual.

Volume 8 in the ongoing FRKWYS series on RVNG Intl. is a double album-length collaboration between Blues Control and Laraaji.

Following the "fodder first" tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and Russ Waterhouse and Lea Cho of Blues Control. Blues Control's evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraaji's name came up early in that conversation and felt intrinsic to Waterhouse and Cho's own musical calling.

After learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraaji's 1979 album Celestial Vibration (recorded as Edward Larry Gordon) places the stringed instrument at the forefront on two side-length excursions in rhythmic ambiance. The 1980 album Ambient 3: Day of Radiance, produced by Brian Eno for his ambient record series, further documented Laraaji's zither explorations alongside Eno's soundscaping. Laraaji continues to pursue music both in its recorded form and as a healing tool.

Blues Control and Laraaji convened at Black Dirt Studio in upstate New York on December 9th, 2010. Over the course of a single studio day, the three musicians (accompanied on certain jams by Laraaji's "musical friend" Arji Cakouros) improvised on several themes, providing nearly four hours of material and the basis for FRKWYS Vol. 8. After meticulous note taking, sharing, and rough edits among Blues Control and Laraaji, the album was fully fleshed out.

Without context, it's hard to imagine that these musicians never creatively collaborated before this juncture. The dynamic breadth (and breath) of the album feels both effortless and epic, a line usually straddled only after years of playing together. It's clear a cosmic force is at play, and that this playfulness is the creative mediator of the music.

A 14 minute solo piano piece from Terre Thaemlitz alongside an incredible 15 minute Dead End House mix from DJ Sprinkles on the second in this two-part vinyl series, proper head-melters the pair of them...  Presenting vinyl versions of the bonus reworks to his 43 minute Deproduction album track Admit It’s Killing You (And Leave), the A-side includes Terre’s haunting 14 minute Piano Solo, where he drops the unsettling backdrop of samples to leave the keys suspended in reflective space, reverberating in plangent overtones which take on a starker effect if you care to play it at 33rpm.   The B-side is Sprinkles’ uncanny, brilliant Dead End house mix, a more percussive adjunct to the House Arrest mix off EP1, framing traces of the original vocal and keys in a sumptuous, rolling and swinging deep house workout full of rustling congas and lustrous low end that marks up among her most affective, especially in its closing minutes.

Watch-Admit It's Killing You (And Leave) (Piano Solo) (Vinyl Edit)
Watch-Admit It's Killing You (And Leave) (Sprinkles' Dead End)

The return of Terre Thaemlitz / DJ Sprinkles with a first solo vinyl release in over five years, features an exclusive 17 minute vinyl edit of 'Names Have Been Changed’ from the Deproduction album and DJ Sprinkles’ incredible House Arrest mix - which totally destroys us each and every time...

Asking pertinent questions about the hypocritical nature of relations between LGBT agendas and Western Humanist notions of the nuclear family, Terre’s Deproduction sensitively yet unflinchingly broaches topics usually considered taboo by a mainstream who are all too happy to pick and choose parts of radical, fringe culture to fetishise, while swerving the bigger questions proposed by those niches.

In the vinyl edit of Names Have Been Changed, exclusive to this LP, Terre contracts the original, 43 minute blend of strings and unsettling scenes of domestic violence into a 17 minute version, beautifully suspended in the cut at 45rpm in order to best represent the work’s unique democracy of frequency - from the muffled row heard next door, to its hyperrealistic avian chirrups and modestly spare, foregrounded strings. 

On DJ Sprinkles' extended House Arrest mix on the B-Side, Terre’s ideas feel even more radical when juxtaposed with a sublime deep house production, placing them in context of what was and still can be a radical artform when done with insight and consideration. The result is one of this decade’s most sublime yet unsettling house tracks, bar none.

sample-Names Have Been Changed (Sound/Reading for Incest Porn) (Vinyl Edit)
sample-Names Have Been Changed (Sprinkles' House Arrest)

Mshukai is an improvisation group that revolves around Imao Takuma, known as a contemporary artist and percussionist Pedal.The group performs in unconventional spaces such as baseball fields or inside closets, responding playfully to the environment. This tape documents their performance in the headwaters of a river in Koga, Shiga Prefecture, where they brought equipment and played around a campfire. Additionally, recordings capture their studio session in Kanazawa, where they listened to the above recorded performance while playing with Imao's studio doors open. They also recorded a performance where Imao and Pedal interacted across a road, simulating a dialogue. This project serves as the debut album for Mshukai.

The Expanding Universe is the 1980 debut album by composer and computer music pioneer Laurie Spiegel. The original album is reissued here as a massively expanded 3LP or 2CD set, containing all four original album tracks plus an additional 15 tracks from the same period, nearly all previously unreleased and many making their first appearance on vinyl in this brand new 2018 edition. Since this album's first reissue in 2012, it has gone on to be widely established as a classic of electronic, ambient, and 20th century classical music. Some of the well-loved works included in this set are "Patchwork", the "Appalachian Grove" series, "East River Dawn" and "Kepler's Harmony of the Worlds", which was included on the Golden Record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds using the GROOVE system at Bell Laboratories during the 1970s. The 3LP vinyl edition was cut by Rashad Becker at Dubplates and Mastering, Berlin.

US-born, Norwegian-Mexican artist and producer Carmen Villain's fourth album Only Love From Now On is out February 25th, 2022 on Smalltown Supersound. The culmination of a build-up that began with a turn in sound evident on 2019's Both Lines Will Be Blue, Only Love From Now On presents Villain’s aesthetic blossoming into something unexpected, benevolent in its composure and altogether luxuriant in its sensuality.If her themes are wide, philosophical, and occasionally abstract, the emotional tenor of Hillestad's music is clear and purposeful. Makes sense that her key musical touchstones are dub, ambient, and cosmic jazz – flexible vehicles for tranquil wonder.Listening to Only Love From Now On is simultaneously comforting and alluringly strange. Partly it’s the contributions of guests Arve Henriksen (trumpet, electronics) and Johanna Scheie Orellana (flutes). Partly it’s the fluidity between instruments – such as clarinets – field recordings, the studio, jam, and careful composition. She calls the process a conversation with sound that occurs in her deliberate attempts to experiment with new methods, like granular synthesis, for her music-making.Only Love From Now On is fueled by the sense of scale in feeling small in the face of things so large, the contemplation of how the biggest impact we can have is in the people close to us, the attempt to make sure that impact is a positive one, and the choice to try to focus on love instead of fear. Hillestad describes it as "wishing to maintain a sense of careful optimism for the future, while on the cusp of something unknown."

Like a perennial that returns with each new spring, the Mort Garson archives (Plantasia, Ataraxia, Lucifer) have brought to bear yet another awe-inspiring bloom. Journey to the Moon and Beyond finds even more new facets to the man’s sound. There’s the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson), some previously unreleased and newly unearthed music for advertising. Just as regal is “Zoos of the World,” where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name. The mind reels at just what project would have yielded a scintillating title like “Western Dragon,” but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson’s soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That’s one small step for man, one giant leap for Moogkind. For decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive. So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort’s many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Moritz von Oswald's latest solo album is his most startling, time-bending material since the Basic Channel days, a collaboration with a 16-voice choir that refracts techno and choral music into dizzying psychedelic traces, exploiting mind-altering xenharmonic synth tones, Ligeti-like operatic phrases and abyssal kicks with a veteran's cunning. We've been knocked sideways by this one - trans-dimensional afters music at its absolute best. We realise that there's been a lot of electronic music released recently saddled with these buzzwords. Choirs, unusual tunings, deconstructions of early music - elements almost mandatory for artists eyeing the lucrative Euro festival circuit. But to our mind that's what makes von Oswald's latest all the more astonishing. He's stepped in with an album that's so definitive, it reminds us just how foundational and game-changing his early material was, and how less can so often amount to more. Opening track 'Silencio' is a dazzling proof of concept that winds lilting, oddly-tuned synth tones around the barest percussion. There are no vocals on this one, instead the traces of early Detroit techno hang heavy around its frayed edges. Working like a scientist with the stereo field, von Oswald introduces familiar elements into the mix in unexpected places. Wormy,cascading synth tones are met by driving whirrs, and the kickdrum sounds so submerged that it's almost an illusion. When he does introduce noisier sounds, they color the track like drybrushed highlights, and he saves the best until the final moments, energising the mood with monumental Millsian stabs that reference the past without retreading churned mud. It sets us up for the album's biggest tonal shift, when Oswald presents the choir on 'Luminoso'. He's worked extensively with ensembles in the last few years, his own - the constantly-shifting Moritz von Oswald Trio - the Deutsches Symphonie-Orchester and Kyrgyz ensemble Ordo Sakhna, and the experience has furnished him with the ability to treat the choir with just the right amount of reverence and distance. Here, the Berlin singers' voices swirl into ghosted tones, nestling beneath a layer of mixing desk noise that feels like von Oswald's little wink to the camera, an acknowledgement of past glories. Moritz also provides a more abstracted rework of the track (along with three other versions of the choral compositions) that deepens the narrative. Losing the vocals completely, this take references the original's framework while adding impalpable, off-grid beats and cottony, rumbling textures that pirouette between the speakers. The synths and voices meet somewhere in the middle on 'Infinito', and von Oswald's remix shuttles them further into outer space, fogging them into spectral impressions and building a lithe rhythm over the top that hiccups and stutters with poise and momentum. 'Colpo' is even more impressive, offsetting the suggestive chorals with mechanical oscillations and thunderous sub bass tones. Like the earliest Detroit experiments, it's material that positions electronic music as a way to speculate about the past's relationship with the future. Von Oswald has formulated a minimalist masterpiece that interrogates not just technology, but the conceptual technologies of cultural invention. It's a highly rewarding, engrossing listen, certain to become a classic for the most adventurous after-hours listeners.

牧歌的ニューエイジ・フォーク大傑作『Pentimento and others』を残した人物であり、サンフランシスコ拠点のフォークロック・バンド、Citayのメンバーとしても知られるニューヨークを拠点とするギタリスト/作曲家のEzra Feinbergによる最新アルバム『Soft Power』が〈Tonal Union〉からアナログ・リリース。当店お馴染みの名ハーピストMary Lattimoreに、シューゲイズ・ドローン/アンビエント名手Jefre Cantu-Ledesma、マルチ奏者のRobbie Leeといった面々と共に精巧に作り上げた親密でゆとりのある珠玉のアンビエント・フォーク作品！限定300部。

'Imerro' is a collection of song odes to both heat and desire, closely felt. Its title literally presented itself to Diab from a random page contained in a poem by Ezra Pound found in the book ‘The Imagist Poem’. Searching for its meaning, Diab discovered that Imerro is “a Greek word for ‘desire for, I desire you’, yet nothing could substantiate its truth. “It made sense, almost like it had chosen me. An obscure word for Desire, one that might not even exist, or is so ancient that nobody really remembers it meaning anything. It's just a sound, like an album.” Imerro finds Caton at his most expressive and free-spirited. Inviting the music to find him, almost by osmosis, foregoing any preconceptions of playing any instrument he is unfamiliar with or regrets not learning during adolescence. This is music for wide screens: the result is an undeniably evocative, moving and mysterious voyage. Imerro was recorded in late July and August of 2021 at Risque Disque Studio in Cedar, BC, during the summer’s unprecedented second “heat dome”, which saw temperatures soaring to over 40 degrees. Recorded with regular collaborator and engineer Jonathan Paul Stewart, the pair journeyed by boat to the studio to a place with minimal distraction with a plan of “simple ecstatic improvisation.” Diab explains: “I wanted to place myself in a space for creation with little thematic pretence, with the belief that music ‘shows its face’ as you move along. I would pick up an instrument, whether I had experience playing it or not, and make a sound. If it wanted to be played, it would play.” ‘Ourselves At Least’, the rhythmic album opener gracefully leaps and bounds with a human-like metronome at its core, capturing a rush of elatedness felt by Diab over the course of its late night creation. ‘Lunar Barge’ bursts into life with tone-bending bow strikes that glide across Diab’s guitar towards a climatic peak before the track drops into an electronic/acoustic trance. Inspired in part by the rhythmical works of Huun-Huur-Tu and the animated cello play remindful of Arthur Russell. “Lunar Barge is a track for a dry, hot night in the forest (which it quite literally was.). I roamed around the floors of the studio picking up any instrument standing out in the moment, and tried to see if it had anything to say.” ‘The Excuse of Fiction’ sees Diab return to free-flowing guitar play, the chosen instrument of his youth. He loops layers to form an ethereal backbone before plucking further melodies from the air on top. The result is a cinematic guitar-laden expanse brimming with optimism and nostalgia. The title references a quote by Zizek: “We need the excuse of a fiction to stage what we really are.” Themes of remembrance, yearning and desire pervade the album's 9-tracks with a palpable presence as we reach ‘Quatsino Sound’, named after an inlet on Northern Vancouver Island where Diab grew up. It features hoopoe birdcalls which were sampled from a found cassette tape of African sounds before being randomized until it became rhythmic, then embellished with synth lines, bass drops, and bowed layovers. The album centres around the nocturnal ‘Crypsis’ with Diab sleepily playing notes on a switched-off Wurlitzer before dampened piano chords, bow scrapes, and noisy glitches reverberate. ‘Erratum’ erupts with untamed force from a war cry of screaming saxophone layers reminiscent of Colin Stetson. Its visceral thirst and energy seem to be a response to the heat of the night and Diab’s urge to play the instrument he loved but had yet learnt. ‘Tiny Umbrellas’, an improvised pass of banjo, bowed guitar and ethereal modular synths breathes a contemplative pause before ‘Surge Savard’ chimes in. This whirlwind closer started life as a longform jam under the influence of psychedelics; its modular synth, air organ, guitar and sax lines were initially improvised with final touches made at Watch Yer Head studio.

Following its release in the winter of 2018, "Landmarks", a collaboration between veteran ambient artists Celer and Forest Management, initially drew quiet accolades and a steadfast listenership that has since swelled to unimagined proportions (~20 Mil. streams), resonating with listeners perhaps now more than ever and cementing its status as an experimental classic. Inspired by Paul Theroux's novel "The Mosquito Coast" and Peter Weir's 1986 film adaptation of that book, "Landmarks" sets out 14 tracks in a "stunning hour of music" (The Quietus) that creates a "general sense of foreboding, critique of romantic retreat into individualism and colonialism" (A Closer Listen). The album is now offered on vinyl for the first time (originally out on cassette tape), newly remastered by Stephan Mathieu to enhance the depth and richness of this oneiric soundscape. Both Americans, Celer (Will Long) resides in Tokyo, Japan and Forest Management (John Daniel) in Chicago, USA. "Landmarks" was born of their months-long collaboration, trading music back and forth and reshaping each other's work using a series of patches, tape looping, and electronic manipulation. As a throughline in each piece we hear their distinct voices and cultural contexts blend to unique, often otherworldly effect, conjuring a dreamlike tension that refuses easy resolution. We are hooked by a mood that captured listeners back in 2018 and continues to hold us today in the context of current events, related disquietudes, and a nostalgic longing for solutions that may be more imaginary than real.

Klara Lewis and Yuki Tsuji's collaboration builds on Tsuji's singular guitar playing and Lewis's resolutely explorative soundscapes. Salt Water is their debut album. Klara Lewis is a sound sculptor and loop finder. She has spent the last decade creating albums equally tender and brutal for Editions Mego as well as in collaborations with Nik Colk Void, Peder Mannerfelt and now Yuki Tsujii. Lewis has presented her audiovisual work at festivals such as Sonar, Mutek, Dark Mofo and Atonal. Yuki Tsujii is a guitarist from Japan-via-London, now based in Stockholm. In the last 15 years, as a member of Bo Ningen, Tsujii has performed extensively across the world in festivals such as Coachella, Glastonbury, and Yoko Ono’s Meltdown and collaborated with artists across different disciplines such as Faust, Lydia Lunch, Keiji Haino, Alexander McQueen and Juergen Teller.

It is highly recommended from electronic music fans to New Age !! The editing board that recorded the first recording (with Takehisa Kosugi) made in the 1980s by David Behrman, the most important experimental electronic musician in the United States, who is familiar with our long-selling store, is Italy. Announced by Alga Marghen, the prestigious musician!

David Behrman is also known for using "microcomputers" with "memory" used for live performances and installations, along with great figures such as Robert Ashley, Gordon Mumma, and Alvin Lucier in postwar American experimental music. A writer who occupies an important position. On the A side, Interspecies Smalltalk commissioned by John Cage and Merce Cunningham in 1984 is recorded, and it was formed as a collaboration with Takehisa Kosugi (violin) and completed as a minimalist masterpiece full of fantasy beauty.

On the B-side, starting with the early version of Leapday Night, "Circling Six," six synthesizer loop phrases were used, and German experimental writer Werner Durand was in charge of the saxophone, avant-garde jazz. It is finished in a strange minimalist refraction that crosses jazz. The final "All Thumbs" is a song for two mbiras, which George Lewis and David Behrman dedicated to the opening of the Paris Science Museum "La Villette" in the spring of 1986. The metal tip of was a sound installation that was connected to a computer music system through a sensor.

Why don't you pick up the excellent unreleased sound source of a rare writer who represents the history of American electronic music after a long time. Includes liner notes and performance photos by David Behrman. Limited to 400 copies.

«I met Simone through Dr. Richard Alpert, a professor at Columbia University who went to India to study with a Hindu guru and he himself became a guru afterwards called Baba Ram Dass. Coming back to US he brought Pandit Pran Nath with him. It was a time when everybody was experimenting. All came with a lot of orientalism because people were into timelessness, meditation and being stoned. It was in that atmosphere that I met Simone because she also knew Pran Nath. Around that time I moved from NY to California to work with electronic music at the newly invented school California Institute of the Arts. Simone was also living in LA and even though she was not officially connected to CalArts she knew many of the artists who were teaching there. It was in the halls of CalArts that Simone first approached me around the possibility to have Pran Nath invited to LA. In summer 1970 Simone was invited by Allan Kaprow (one of the Deans of CalArts) to do an evening of dance at the Pasadena Art Museum. One day she came to me and said “I’ve been given this commission to do a piece and I’d like to do it with music and I was wondering if you would want to do it with me?”. So I replied “Well why don’t you come to the electronic studio where I work and see how it goes? I’ll put on some sounds, we’ll make some space and see how you feel”. It immediately clicked!!!! So we decided to perform a duet together. In January 1971 in Pasadena we did our first “Illuminationss”. I played the piano, I sang a little bit, she moved a little bit when I was singing, I moved when I was singing. A Jewishy-kinf-of singing. Not only singing, but singing and running, singing and falling. I did all what eventually became my “Body Music”. Simone was also doing it but coming from a different tradition. All of a sudden we were doing a new kind of jamming together. Everybody in the audience loved it because it was so dreamy and they found amazing how a man and a woman can act in that strange, very dreamlike oriental way as in trance,,,,,together. This kind of collaboration between man and woman was uncommon at that time. Mostly other artists were doing very structural works while our performances were totally like we were on magicness drugs. Our performances had certain fixed elements like the piano or some electronics. It turned out we liked red lights so we started to always do it in red light. We liked to do it in a resonant spaces. It became more an approach than a piece, because there were never two Illuminations that were alike.» - Charlemagne Palestine «The aspect of Charlemagne’s music that most inspired my imagination was his melodies. Sometimes their texture of repetitions and evolving variations are so close that the term melody doesn’t seem to apply. What most determined our “Illuminations” was Charlemagne’s way of letting the elements in the music develop only very gradually. Once, just before a performance, Charlemagne sang to me, “Simoney don’t worry, you will dance and sing all right.” And of course I did as we walked arm in arm circling the wide-open space, a grand piano to one side shining black and covered with Teddy Bear deities, Charlemagne reflecting his childhood time as devotional cantor, and I, my childhood time striding along in the Tuscan hills, belting out Italian folksongs with my cousins. And sometimes when Charlemagne drew clear, high tones from his brandy snifter we would play our voices together more softly. Our recurring melodies were mostly Charlemagne’s. But I brought one too, with a song about not drifting away into the beyond.» - Simone Forti