Electronic / Experimental

Fans of P.S.F. Records and ESP-Disk will love this gruesome attic avant blues. Loren Connors, a lone American experimentalist who has performed with Keiji Haino and Jim O'Rourke, has released a miraculous analog version of his 1979 tape recording in the attic of his house in New Haven, Connecticut. The strange and disintegrating melodic arcs are reminiscent of Eugene Chadbourne's solo improvisations from his Parachute days, and can be said to represent a new frontier in free music.

"In 1996, at the beginning of an important chapter in Richie Hawtin's recording career, when he was not allowed to enter the United States, he made this masterpiece in solitude. The album is a compilation of gorgeous tracks from the conceptual series "Concept 1", which released one 12-inch album per month for a total of 12 albums, and includes additional bonus tracks. Pressed by Deepgrooves on eco-friendly vinyl.

Amapiano" is the latest movement born in South Africa, where homegrown jazz, boogie, Afro-house, kwaito and other genres are rapidly being revived. This is another noteworthy release from the "Amapiano" series of current artists that Awesome Tapes From Africa has been heavily promoting recently. Born free" refers to the generation of people born after the democratization of South Africa who did not experience apartheid, and "ma 2000" refers to young people born after the year 2000. This is the highly anticipated debut album by the up-and-coming duo leading the music scene of this generation, which is often looked down upon in comparison to the generation that experienced the socioeconomic adversity of apartheid. They produce diverse styles of music from hip-hop to various types of house music. The album also focuses on Amapiano, who was beginning to make a splash in both the mainstream and underground music scenes in South Africa. This is an ambitious work that embodies the music of his native South Africa with old school kwaito, trip hop, and even globalized house!

In the late 1950s, Eliane Radigue began creating electronic music under the tutelage of Pierre Schaeffer, the founder of Music Concrete, and Pierre Henry. Eliane Radigue, the drone master who united Tibetan and electronic music, has released the latest in a series of works entitled "Occam Ocean" over the past four years. Includes a 32-page booklet.

The compilation that started the renaissance. In 2002 Audika Records entered into an exclusive licensing agreement with the estate of Arthur Russell to compile and issue previously unreleased and out of print material from Arthur’s vast archive. This first album Calling Out Of Context, features 12 previously unreleased tracks of Buddhist Bubblegum Alt Disco Pop recorded during Arthur’s prime years 1985-90.

From Mille Plateaux to Leaf, Staubgold, and Raster-Noton, ~scape, among others, or on his own label Ripatti, the Finnish artist Sasu Ripatti, aka Vladislav Delay, has been exploring various iterations of the "dub culture vs. electronica", since 1997. His sonic crafts and unique signature sound have been sought after by an eclectic range of bands and artists, ranging from Massive Attack, Hauschka, Black Dice, Autopoieses, Animal Collective, or AGF. Vladislav Delay met Sly Dunbar and Robbie Shakespeare (the most prolific Jamaican rhythm section and production duo) thanks to a series of jam sessions. Trumpet player Nils-Petter Molvaer had been asked by the Jamaicans to join them and he invited Delay alongside guitar player Eivind Aarset to tag along, which eventually turned into the Nordub project. The result of these jam sessions turned into an album, mixed and mostly produced by Vladislav Delay, released on the label Okeh. It was also followed by an extensive series of live dates. This one-shot reunion was the beginning of another story: a trio composed by Delay, Dunbar, and Shakespeare. In January 2019, Vladislav Delay went to Kingston and spent some days at The Anchor studios, to record drums and bass with S&R, some voice takes and a series of atmospheric field recordings. Back to Finland, Delay started to experiment with this precious material, mixing, and overdubbing, in the comfort and quiet of his studio, based on the island of Hailuoto, Baltic Sea, Northern Finland, giving another feeling to the Jamaican trip. This became a tribute to the "dub spirit", but in a very personal way, far beyond any influence or "the obvious". 500-Push-Up is two worlds collapsing, merging, also showing some intriguing approach of the Jamaican groove, used as a filigree, like the echo or the ghost of reggae, converging and conversing with a post-industrial and experimental approach. To file beside experiments -- for instance -- such as Lee Perry's Scientist Rids The World Of The Evil Curse Of The Vampires (1981) or the On U-Sound productions. Somewhere between the old-school electronica culture, the soundscaping, the experimental paths of Lee Perry and Adrian Sherwood, ghostly clubbing anthems, minimalism, pop, jazz, without being influenced, Vladislav Delay is building a drifting and coherent sound enigma. Personnel: Vladislav Delay - electronics, sampling, percussion; Sly Dunbar - drums; Robbie Shakespeare - bass.

William Burroughs was in and out of London from the mid-50s to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works. The work here is in two sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash. The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation. This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves are also cut-ups of words on the page. The first section of the tape uses further processing by means of a second tape recorder. Recorded in Duke Street in 1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of an hypnotic and meditative recording that examines the hidden power of words. Closer to work of sound poetry than anything literary. The album includes a 12"x12" insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP Call Me Burroughs LP (1965). Pressed at Optimal on transparent vinyl. Edition of 500 (numbered).

Cauldron is the legendary psychedelic jazzy rock & electronic album by Californian band Fifty Foot Hose. First-time official vinyl reissue since its release in 1967 on the Limelight label. 

Fifty Foot Hose formed in San Francisco in 1967. Like few other acts of their time they consciously tried to combine the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas. They were one of the most radical groups of the psychedelic era, and their experimentalism still has the power to shock and surprise even now.

What set them apart were the pioneering experiments in electronic music, like the band they are often compared to, The United States of America. Incorporating theremin, siren, audio generators, and other various electronic effects as Cork Marcheschi, the band's original bass player had developed an acute interest in the dadaist/futurist experiments of composers like John Cage and Edgar Varese. David and Nancy Blossom brought both psychedelic and jazz influences to the band. Cauldron, their only album, was released in December 1967, including "Fantasy”, “Red the Sign Post” and “God Bless the Child”, a Billie Holiday cover. An intriguing mix of jazzy psychedelic rock tunes with fierce and advanced electronic sound effects. These sound experiments differentiated them from their contemporaries and most audiences didn't quite know what to make of them.

Saturations is a composition by Danish multidisciplinary artist Niels Lyhne Løkkegaard, and features a clarinet choir consisting of 19 clarinet players. Cut at Golden and pressed at RTI for maximum fidelity. Edition of 300. Niels Lyhne Løkkegaard (b. 1979) considers his work to be a basic research in realities working within the domains of imaginary & physical sound as well as other non-sonic media. Since 2012 Niels Lyhne Løkkegaard has experimented with creating music that lets the instruments transcend their inherent sonic norms and reappear in another form by way of multiplication of sound. His work with multiplication of sound has led to numerous compositions in which one instrument is multiplied a number of times. His work includes a composition for 9 pianos, another for 10 hi-hats and yet another for countless triangles and so on.... The multiplication brings out bodily timbral phenomena, interference of sound waves and vibrations, evoking what Niels Lyhne Løkkegaard calls the sound’s "potential of transformation." He describes this as the quality in a musical piece when you no longer hear recognizable instruments and the individual sound, as well as the individual musician, is dissolved into the whole. A sonic as well as human synthesis. He explains the concept of this sound as follows: “Imagine you enter a room with vibrant acoustics, such as a cafe full of people having conversations, and when you’re close to those conversations you hear the language and understand the words. If you step away from the tables, however, and stand in the doorway, you begin to lose the ability to distinguish the words from one another. Now instead of hearing the individual conversations, multiplication melts all the conversations and transforms them into one new sound. A sound of people without words and language. Just as when you hear a group of geese squawk, or the wind in treetops, a kind of nature-given sound of people. Once the language is dissolved and the words stop making sense, what is left, is the sound." The work of NLL has been presented at a variety of different venues and museums such as MoMA (NY - as a part of the René Magritte exhibition The Mystery of the Ordinary, 2013), Imaginary West Indies (Overgaden Copenhagen, 2017), ISCM (Vancouver, 2017), Radiophrenia (Glasgow’s Centre for Contemporary Arts, 2017), CPH:DOX (Copenhagen, 2017), Roskilde Festival (2017), Harpa (Reykjavik, 2017), G((o))ng Tomorrow Festival (Copenhagen 2016, 2018), Nordic Music Days (Norway, 2019), Akusmata (SF, 2020) and his works has been released on labels such as Topos (DK), Archive Officielle (CA) and Important Records (US). NLL is associate professor at RMC in Copenhagen, and has given lectures at the California Institute of the Arts (CalArts), Goldsmiths University of London a.o.p. NLL has been awarded with several prizes a.o. from the Danish Art Foundation and the Sonning Foundation.

Already sold out at the publisher. The long-awaited LP work by the British artist Aboutface has appeared.It's like the missing link between The Automatic Group's "Summer Mix", Torn Hawk, and Visible Cloaks, and it's nostalgic and otherworldly. Show off the finest ambient / techno in a different world!

Eliane Radigue's Adnos trilogy was composed between 1973 and 1980 and is among her finest compositions. Adnos is a deeply meditative work of infinite depth and sensitivity; one of the high points of modern minimal electronic composition. Packaged in a heavy duty 3CD jacket much like the recent Eleh releases and containing extensive archival materials.

Transamorem - Transmortem (1973)
ARP Synthesizer

“Before the greatest achievement
Before the greatest detachment.
At the limit of the frontier space of the unconscious - tuned waves - "consonant things vibrate together".
Where does the change happen? In the inner field of perception or the exterior reality of moving things in the course of becoming.
"And time is no longer an obstacle, but the means by which the possible is achieved".

Eliane Radigue - June 20, 1973

"Transamorem - Transmortem" was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, "Transamorem - Transmortem" was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way.

In their original form, Eliane Radigue's works are magnetic tapes. After being played a few times in public, the tape disappears to its case until a release proposal makes it available again through a disc.

During this period Eliane Radigue's compositions became fairly long, some lasting over an hour. Because the tracks could not be edited for some obvious reasons, a vinyl release was unthinkable. It was only in the 90's, with the advent of the CD format, that the long compositions of Eliane Radigue were made available (with the exception of the "Song of Milarepa" LP on Lovely Music, a work already divided into multiple movements and thus able to be fit onto two sides of an LP). For these reasons, the work of Eliane Radigue remained virtually unknown for twenty years - from the 70's to the 90's.

It was in 2004, when she accepted my aid in digitizing her archives, along with Lionel Marchetti, that I discovered "Transamoren - Transmortem." Immediately, I was awed by the majestic grace of this very long tangle of frequencies, this set of seemingly unchanging tones, whose variations are of a delicate subtlety. "Transamoren - Transmorten" is recognizable as one of the most radical of Radigue's compositions, comparable to the first "Adnos," the work that follows "Transamoren - Transmortem" chronologically. Very few transformations, an apparent formal aridity that is then contradicted by the physical play of the frequencies as the listener turns her head gently from right to left, or better yet as the listener moves slowly throughout the music space. Moving through zones of specific frequencies, the listener's body experiences localized zones of low, medium and treble frequencies which vary according to the acoustic properties of the space. As Radigue wrote of "Adnos": "to displace stones in the bed of a river does not affect the course of water, but rather modifies the way the water flows." Here, we find the same meditative tension proposing a peaceful movement through the spaces created by the different frequencies that compose "Transamoren - Transmortem."

Very well-organized, Eliane Radigue's archives are a pleasure to explore, and "Transamorem - Transmortem"'s case contained a mine of information. What excited me most was the short text entitled "Inner Space", which described the ideal conditions under which "Transamorem - Transmortem" should be presented. That is to say as a sound installation.


"Inner Space -
This monophonic tape should be played on 4 speakers placed in the four corners of an empty room. Carpet on the floor. The impression of different points of origin of the sound is produced by the localization of the various zones of frequencies, and by the displacements produced by simple movements of the head within the acoustic space of the room. A low point of light on the ceiling, in the center of the room, produced by indirect lighting. Several white light projectors of very weak intensity whose rays, coming from different angles, meet at a single point".
Eliane Radigue - 1973

I immediately felt that it was necessary to make "Transamoren-Transmorten" available once again, and this time in its ideal form, in trying to follow Radigue's recommendations word for word. It was with this idea in mind that the Cumulus collective (also responsible for the contemporary music festival Why Note) organized the Continuum festival in Dijon along with the art space Le Consortium (one of the founders of which had persuaded the goup Circle X to record their first, mythic EP in Dijon in 1979 - but that's another story!).
The goal was to correctly present some of Eliane Radigue's sound installations, an aspect of her work now completely forgotten. And yet, between 1967 and 1971 her work was often exhibited in galleries of contemporary art, mostly in Paris (Lara Vincy, Yvon Lambert ... ), a reflection of the fact that French people have had a harder time than Americans placing the work of Radigue. She herself hesitated for quite a while to use the word "music" to describe her work, a complex that is familiar to this very generation of musicians, and which is now no longer really a problem. Who would claim that the work of Eliane Radigue is not musical? That would be strange ...

The 2006 Continuum festival in Dijon saved four sound installations from the dust (an expression that Radigue uses to describe her archives): "S=a=b=a+b" (1969), "Omnht" (1970), "Labyrinthe Sonore" (1970) and "Transamorem - Transmortem" (1973). The first two installations are composed with feedbacks, the two others with the sounds of the ARP 2500 synthesizer. Each one is based on a strategy of specific spatial presentation, but that's also another story ...

Now it's your turn to enjoy this enveloping electronic space ...

Eliane Radigue; feedback on magnetic tape Includes archival photographs and liner notes.

"1970 was an important year in Eliane Radigue's musical life since it was the year just before she acquired her ARP 2500 synthesizer. Since 1967, she had been using the feedback as a material; feedback from two tape recorders reworked through intensive studio techniques: slowing down, alteration, superimposition, montage.

"In 1970, the last year she dedicated to feedback, several milestone pieces saw the light of day: Omnht, a wonderful sound installation for three out-of-phase tape loops and wall-mounted loudspeakers; the theoretical setting of Labyrinthe Sonore (eventually premiered at Mills College in 1998 in collaboration with Pauline Oliveros, Maggie Payne and William Winant, among others); Opus 17, one of her first compositions in fixed duration (according to Rhys Chatham, a decisive piece that would change his own compositional career); and Vice-Versa, etc…, which appears to be her very last feedback loop composition.

"Vice-Versa, etc… was conceived as a sound installation setting similar to S=a=b=a+b. A single magnetic tape can be played at any speed, a stereo tape of which allows three playings: left channel alone, right channel alone, left and right channels together. These different channels can be overlapped/crossed over as much as possible, at any speed. Thus the piece reveals itself in its whole dimension, its infinite grace.

"In its content, the piece is the most minimal that Eliane Radigue has ever composed. Feedback is horizontally sustained, time is suspended, vibrating with organic and subtle pulsations. The fastest playthrough, in just 2:42, weaves a graceful continuum of uncanny depth, somewhere between the sonority of feedback and a glass harmonica. Played slowly, at 13:41, it takes us into an universe of low frequency vibrations felt as much by the guts, the ribcage and the whole body as by the eardrum: the signature sound of Eliane Radigue. Between these two extremes, many delicate shadings/variations appear simply through speed modulation. What is striking about this work, which may arguably be one of Radigue's most important compositions, is the extraordinary quality of the tones obtained from such a rudimentary material. It is hard to believe that the composer was yet to begin working on her ARP, since the sonorities heard on Vice-Versa, etc… are surprisingly similar to those she would go on to produce with her synthesizer.

"Vice-Versa, etc… is a minimal work which possesses an infinity of possible variations, a secret object containing the seeds of the oeuvre to come, and a discreet turning point linking the composer's two important working phases, an extremely subtle cross-fade between her feedback loop period to her ARP period.

"Originally, only ten signed and numbered copies of this little boxset containing a magnetic tape and a handwritten note were released - needless to say this is a work that has been nearly forgotten! We have decided to reissue this object as a double CD, with the tape played respectively forwards and backwards, at four different speeds, corresponding to the standards of the tape recorders of the time. This will allow dedicated listeners to experiment with simultaneous playback of the work's different versions, recreating the conditions of the original installation. For lazier listeners, a simple play through provides complete satisfaction, a listening experience that loses itself in the ineffable and discreet beauty of these four variations." ~ Manu Holterbach (translated by Maxime Guitton)

.

Else Marie Pade's Electronic Works 1958-1995 is a heavy duty three LP set which was restored, mastered and cut at Dubplates in Berlin under the watchful ears of curator Jacob Kirkegaard. These monumental works are presented, for the first time, pressed on audiophile grade heavy duty vinyl where they belong. Audiophile grade 3LP is pressed in an edition of 500 copies.

"The sounds outside became concrete music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music." Else Marie Pade

Else Marie Pade (born 1924 in Aarhus, Denmark; currently living in Copenhagen) is a precious golden gem in the world of contemporary electro-acoustic music. She is a true pioneer of Musique Concrete and electronic music recorded on tape. She is Denmarks first lady of electronic music and her piece Syc Cirkler (Seven Circles) became Denmark's first electronic piece to be performed on the radio.

EMP's search for sound began in early childhood when she was isolated in her bed for long periods of time due to illness. There she would lie and listen to the sounds around her just as she did years later when she was imprisoned for spying on Nazi compounds in Arhus. Once released from prison she became a piano student at the Royal Danish Conservatory in Copenhagen but chose to instead pursue the nuances of her inner sound world after hearing Pierre Schaeffer in 1952. She began studying with him not too soon thereafter. Her first electronic composition premiered in 1955.

“I have worked together with sheep before” – says Henning Christiansen – introducing the performance he did in front of the Brucknerhaus in Linz in July 1988. But this time he went beyond, building a “Concert-Castle” with hay blocks where thirty sheep could perform music. Another time the animals – Christiansen’s obsession and passion – become the musical instruments used for his compositions: “Originally most of instrumental sounds derived from animal voices or other sounds of natural phenomena. The violins, for instance: someone found out that stretched intestines, dried bowels, could produce a sound. This has simply been civilized, refined”. Schafe statt Geigen (Sheep Instead of Violins, 1988) and “Verena” Vogelzymphon (Bird Symphony, 1990) first appeared as a small CD edition issued by Galerie Bernd Klüser in 1991. Both works, each one occupying a full side of this LP edition, extend from one of Christiansen’s long standing conceptual strategies – deploying recordings of animals as stand-ins for musical instruments, sheep and birds respectively. While each work allows these source to take the natural lead, at times masquerading as field recordings, both feature subtle tonal and electronic interventions by the composer, creating strange and brilliant compositions which shift the terms and subjects of music as they were long understood. Accompanied by a twenty page booklet featuring drawings and texts by Henning Christiansen, as well as pictures of the performance by René Block. “The background, the space where music happens is what I want to put into the foreground.” 500 copies on black vinyl. Includes 20 page photographic book.

The contact between electronic sound and live instrumental sound, and the contact of the moment 'now'.

Contacte means contact. It is the contact between the electronic sound and the live player (instrumental sound), and also the contact of each moment of what Stockhausen calls the 'instant form'.
Regarding the 'momentary form,' Stockhausen said in a late-night music program on West German Radio in Cologne on January 12, 1961: "In recent years, a lot of music has been composed that is far from a form with a dramatic finale. There are no climaxes, no signs of climaxes, and no stages of development in these works. Rather, they suddenly and violently build up and try to maintain the 'peak' until the end of the work. It is always at a maximum or minimum, and the listener cannot predict how the piece will progress. It is not a moment that is part of a passage, nor is it a part of a constant duration. The concentration on the 'now' creates a vertical line that breaks the horizontal concept of time and leads us to the timeless..."
As the listener listens to the booming sounds coming from various directions, dark noises, percussion instruments, piano sounds, etc., the listener is freed from this world dominated by time flowing inexorably, and has a very dense and mysterious musical experience.
There are two versions of "Contacte": one for electronic sounds only, and the other for electronic instruments, piano, and percussion.

Clear vinyl. This is the miracle of Hawaiian lounge music! The third album "Primitiva" from 1958 by Martin Denny, the undisputed king of exotic fantasy music, is now available as an analog reissue! This is a great masterpiece by the "father of exotica" who was the first to incorporate Asian, Polynesian and Latin music into his own music and broaden the horizons of American audiences. A masterpiece of the century, Primitiva is an imaginative and fascinating space age music with dripping melancholy and exotic and fantastic moods.

LA harpist/composer Nailah Hunter has released her latest 12" EP on Leaving! It includes covers of Nan, Donovan's "Guinevere" and Radiohead's "Talk Show Host". The album is a masterpiece of unworldly beauty, blending the spirit of Alice Coltrane, alternative soul music, ambient, new age, and even acid folk! The original bonus song "The Brook" is also included on the vinyl-only version. It's a great piece of work that takes full advantage of the vibrant energy around "Leaving".

This is an officially licensed reissue. This is the 20th anniversary edition of the IDM masterpiece "Slow Motion Process", which Martin Haidinger, who used to run the electronica mecca Toytronic, released under the name Gimmik on Worm Interface in 2001. The album is a masterpiece of crystalline ambience and glitchy noise that crawls on the ground, reminding us of the wisdom of the golden age of electronica and IDM! The analog version includes an additional unreleased track "Typologic" from 1999.

This is a miraculous repress in a limited edition of 50 copies. Ben Vida is a famous synth player/composer from New York, who is known for his collaborations with cutting-edge artists such as Marina Rosenfeld and Rhys Chatham, as well as his participation in the famous band Joan Of Arc. In 2019, he will miraculously re-release his classic drone album, which was originally released as a USB card. This is a memory stick work that contains a single piece of work that is just over four hours long, pushing the limits of digital and analog. The recording and editing process took place between 2015 and 2019 and concludes the arc of ideas and practices that first appeared in 2016's Damaged Particulates. It's a truly immersive experience, a holy grail of drone music that compares favorably with the masterpieces of La Monte Young and Éliane Radigue. mastered by Stephan Mathieu, it's an album that's twice as good. Playable in MP3 / WAV / FLAC.

A long awaited repress of a very popular album! A sensual and innovative sound that can be called the midpoint of Batu, Farben, Lee Gamble and Isabella! Peder Mannerfelt, a talented artist from Stockholm, Sweden, who has been pushing the boundaries of left-field dance and experimentalism, released an EP on his own Peder Mannerfelt Produktion label in 2018. It's a masterpiece of modern dub techno/experimental electronic music, with a repulsive slow techno feel, a heavy but intuitive ambient tone, and even Mika Vainio's afterimage. Contains 6 tracks, 25 minutes in total. Limited edition of 500 copies.

A miraculous sequel to the 2001 Mo Wax raga/dancehall compilation "Now Thing" is now available on analog. The legendary first compilation, which became a gateway to a different dimension of dancehall sound for many people, was released by Chrome, a label run by London DJ Felix Hall, who also boasts a cult following with his mixtape cassettes for The Trilogy Tapes and Cav Empt. Just as roots reggae and dub influenced disco and post-punk in the '70s, jungle, rap, garage, and even pop and rock have all come together in the same way. From Dave Kelly to Steely & Clevie, NYC's Bobby Konders to Ward 21, only the most important cuts from the scene's leading producers are featured. Mastered by Rashad Becker, with art & design by Will Bankhead & Oliver Payne. The album was mastered by Rashad Becker, with art work & design by Will Bankhead, Oliver Payne, and liner notes by Lloyd Bradley.

This is a remix of a song by Madvillain, a very popular hip-hop duo consisting of MF Doom & Madlib, by Four Tet, one of the best diggers in the world. It was released as a promo in 2005 without a jacket and has been out of print for many years, but now it's back with a jacket! ! An exceptional electronic funk masterpiece that reconstructs the songs included in the album "MADVILLAINY"! An instrumental version is recorded on the B side.

The French label Shelter Press, run by Bartolomé Sanson and Félicia Atkinson, has released the debut album by Brooklyn-based sound designer John Also Bennett (JAB), who is also a member of RVNG. This is the 2019 debut album by Brooklyn-based sound designer John Also Bennett, aka JAB. The album was recorded independently in between collaborative projects with artists such as Forma, a Brooklyn, NY synthesist trio known for their releases on Kranky, Christina Vantzou, and Jon Gibson. It is an exercise in the fusion of the organic and the inorganic, including playing with presets adjusted for Aphex Twin's DX7, restrained by the intonation tuning system (genuine tuning). The minimalist ambient drone sound is uniquely layered with electronic synthesizers and a Chinese bamboo flute called "Dizi" that he borrowed from his father. Mastered by Rashad Becker at D+M. Mastered with D+M by Rashad Becker, design by Bartolomé Sanson, artwork by Zin Taylor. recommended if you like La Monte Young, Phill Ninblock, Takehisa Kosugi!