Electronic / Experimental
4136 products
Unclassifiable music from Jolie Gentiane - Autotuned/vocoderized vocals, 4th world, kitsch sax, psychedelic arpeggios, acoustic guitar, techno etc. RIYL FELT, Accidental Meetings, Scenic Route. "The duo Jolie Gentiane come to us straight from a wild and unpredictable mountain peak, a perched place far from civilization, where the beauty and cruelty of mother nature reign but harmonize the elements. They walk the high, steep paths, looking down on the chaotic and industrial world. This increasingly smoky world, which, from the top of the mountains, looks metamorphosing dangeroulsy, but would only need a few changes to make it less crazy. Or perhaps infinitely more so. Jolie Gentiane is a skilful concoction of sound and daring. Unclassifiable, impalpable, the contemporary embracing the tradition and the acoustic swinging with the electronics. The story told by Jolie Gentiane on this album is rich and complete. Nature, love, celebration, struggle, work. Yes, even work. Because the energy deployed to create this album was surreal, patient, extremely methodical, and the abnegation of the protagonists has been vertiginous: the cliff of the highest peak is finally climbed. This album is like an ode to the earth, to the respect we owe it, an ode also to music in its purest essence, that which does not confine itself to borders, but shout for federation, dance and uprising."
That sought-after collab between New York producer Eden Aurelius and Ben Paulson of Purelink, operating here as Ring, originally issued as a lathe cut 10" dubplate, this is a limited run 12" edition runs at 2 tracks, 23 minutes of the good stuff, new from Chicago's Dub Techno specialists Kino Disk. Smeared to a gauzy bliss, ‘Rotation’ operates at the horizontal axis for 25 mins of knackered goodness where the most expansive post-rock terrain meets ambient electronica and dub as method. ‘Rotation 1’ teases the simplest gestures of warm, harmonised chords and sunken percussion into forms describing the motion and translucence of jellyfish, before the B-side subtly firms up the shape around moonlit, hash burp figures and subs that slosh around the ankles, while percussion clanks like mast rigging in the harbour.
12th Isle keep up an ace 10th anniversary streak with their best in recent memory; Igaxx’s suite of deep-diving ambient pearls, swimming from beatdown electronica to 4th world and new age ambient, via sleepwalking dream dancers. FFO Move D’s ‘Kunststoff’, Terre Thaemlitz, early CS + Kreme EPs, Ramzi, Eden Aurelius... Modern ambient’s Scottish pie(eye)d pipers invite Tokyo’s Igaxx to take the reins on ‘New Lights’, where he follows a string of self-released gems on his Ladybug label, and the likes of Macadam Mambo and Paesaggi Records, with an effortlessly absorbing 40 mins of breezy downbeat heat. This guy patently knows how to froth up a damn strong beatdown groove throughout ‘New Lights’, paying equal attention to atmospheric pressure and rhythm programming discipline with a sexy sensuality that pushes all the right buttons for late night listening needs (late night meaning literally anytime in Glasgow). Glowing with a vintage sodium orange candescence, rather than dimmer LED’s, ‘New Lights’ shimmies between shadows of classic and contemporary beatdown with a really classy élan. ’Something Like Astral’ sets the tone with lustrous subs harnessed to distant snare crackshots and acid contrails in a floating architecture, where ‘Zutto Mae’ follows with elegant play of 4th world light like Ramzi meets Spencer Clarke. He hits a high water mark of pensile early ‘90s ambient on the chef’s kiss of ‘Atmosphere’, and steers that sound along natural vectors into gently heart-in-mouth suspension of ‘Motion’, and balmy downbeats shades away from Wally Baradrou in ‘Air to Spare’. The ticklish 808 frisson of the title piece and beat-less armchair AI thought bubble/hash burp of ‘Cosmic Being’ is the ideal way to see off this wee gem.
A sublime secret portal to ‘90s ambient bliss is re-opened with a first vinyl reissue of Jon Tye (Seahawks, Lo Recordings) & Pete Smith’s (The Hypnotist) maiden voyage as MLO, distilling their shared love for Satie, Debussy and Cage thru to Soft Machine, Incredible String Band and Eno in gorgeous, air-spun forms. Re-upped to sighs of relief from those who balk at steep 2nd hand prices for a decent copy, ‘Io’ represents ‘90s UK ambient at its rose-tinted, dreamy and pastoral best, hence the cult status of its original Rising High pressing for those in the know. One of three LPs produced by the duo around mid-decade, it endures for modern needs on the basis of its elusive, perfumed waft and a quietly suggestive carousel of motifs that melt on mind with rare tactility. Start to finish they most beautifully read the room’s need for this type of glacially slow burn sound-bathing, effectively colouring the eyelid-flickering dreams of post-club ravers with richly synaesthetic tones and iridescent shimmers that, 32 years later, still conjure a late stage pill belly effect to our sensibilities on a sober Tuesday afternoon. Residual gurns and tingly frissons should be expected in passage from the gossamer soft arps and cosmic awn of ‘Wimborne’ thru the panoramic 17 min poise of ‘Lagoon / Moon Over Lagos’, and spectral sublime of ‘Ghost’, to a two-part finale that leaves the sensation on tip of tongue. Really a no brainer. Don’t fight the feeling.
A sublime secret portal to ‘90s ambient bliss is re-opened with a first vinyl reissue of Jon Tye (Seahawks, Lo Recordings) & Pete Smith’s (The Hypnotist) maiden voyage as MLO, distilling their shared love for Satie, Debussy and Cage thru to Soft Machine, Incredible String Band and Eno in gorgeous, air-spun forms. Re-upped to sighs of relief from those who balk at steep 2nd hand prices for a decent copy, ‘Io’ represents ‘90s UK ambient at its rose-tinted, dreamy and pastoral best, hence the cult status of its original Rising High pressing for those in the know. One of three LPs produced by the duo around mid-decade, it endures for modern needs on the basis of its elusive, perfumed waft and a quietly suggestive carousel of motifs that melt on mind with rare tactility. Start to finish they most beautifully read the room’s need for this type of glacially slow burn sound-bathing, effectively colouring the eyelid-flickering dreams of post-club ravers with richly synaesthetic tones and iridescent shimmers that, 32 years later, still conjure a late stage pill belly effect to our sensibilities on a sober Tuesday afternoon. Residual gurns and tingly frissons should be expected in passage from the gossamer soft arps and cosmic awn of ‘Wimborne’ thru the panoramic 17 min poise of ‘Lagoon / Moon Over Lagos’, and spectral sublime of ‘Ghost’, to a two-part finale that leaves the sensation on tip of tongue. Really a no brainer. Don’t fight the feeling.
Verdad Y Error (2026) resides in the tension between the thrashing of external noise and beating centred internal calm. Gibrana Cervantes is known for her work across experimental music and contemporary performance, a practice with focussed intensity and surging physicality, often pushing the limits of endurance, presence, and embodiment. A central axis of her performance practice is her ongoing collaboration with acclaimed choreographer Florentina Holzinger, including composing the music for SEA WORLD (2026), Florentina Holzinger’s critically acclaimed installation for the Austrian Pavilion at the Venice Biennale. Alongside this she is a core member of the experimental ensemble Amor Muere ( Mabe Fratti, Concepción Huerta, and Camille Mandoki). Cervantes maintains an active recording practice that directly informs her live output including her collaboration Memoria (2025), with Colombian Drone Mafia (Nyksan) for Ambie-Tón (Tratratrax). Verdad y Error is a record of her artistic approach which expands her body and the violin’s horizon of possibility to near breaking point. Cervantes uses a register closely associated with Metal, yet buried deep in the alchemy of these pieces are motifs which hark back to her classical background. Across these pieces the violin is used as an instrument with a fragmented and shifting voice — blurred, repeated, and reshaped through distortion. “Many of these pieces come from images, memories, and sensations that have stayed with me for years. I'm interested in the blurring of what actually happened and what time transforms.” The recordings are built with layers of violin tones which oscillate between recognisable, processed, stretched and shifted, and lay embedded in a frequency stratum of volatile static and noise. “The violin on this album doesn't appear as a clean instrument. I process it, repeat it, distort it, and multiply it until it begins to feel more like memory than melody. Something blurry, shifting, difficult to grasp.” The origins of the album were born at a time when Cervantes was seeking inner calm amidst a relentless external noise, questioning the validity or possibility of memory and its radically changing perception in relation to experience. Subsequent reflection on this contemplative moment allowed her to develop a relational music which moves through memory, erosion, repetition, and emotional ambiguity, creating a space that feels both intimate and unstable, mercurial with the patina of lived imperfection. Akin to the unreliable narrator and linguistic instability, each piece functions as an emotional landscape suspended between clarity and confusion. An album which balances melody, brutality, fragility and noise throughout its sprawling recordings and artwork, which operates as an analogue to the music. The visual world of the album developed in collaboration with Mauro Ventura was compiled across various media with a mix of handwritten texts, burned typography, metallic textures, and fragile physical materials. “I wanted the record to feel tactile and imperfect — something emotionally direct but physically worn.” says Cervantes. More than offering explanations, verdad y error exists as a conversation between memory and disappearance, noise and stillness, truth and error.
Dj Sprinkles’ debut full length album,continues with themes from 1998’s “Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney’s buyout of Times Square” (a track recently featured on Ame’s “Coast2Coast” DJ mix compilation for NRK Records).
While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.
The title song of track1&2 is a real “strictly rhythm” house music. It’s a simple 4/4 beat with piano loop.maybe this is a real minimal house! Third track “Ball’r (madonna-free zone)” is a euphoric mid tempo house.this track reminds jan jelinek or larry heard.
Fourth track “Brenda’s $20 Dilemma” is a sequel of his fag jazz style.check the beautiful kuniyuki remix of this song(mule musiq 34). Fifth track “House Music Is Controllable Desire You Can Own” is a classic new york house style.if you like the record of jus-ed or that kind of artist,you like this song.
Sixth track “Sisters, I Don’t Know What This World Is Coming To” is a one of the highlight song on the album. Actually this track is not 4/4 beat house but very emotional powerfull music. Seventh track “Reverse Rotation” is a deep and madness beautiful song.When you listen this song,you associate the music of theo parrish or pepe bradock.
Eighth&nineth track are main songs of this album. “Grand Central, Pt. I (Deep Into the Bowel of House)” is associated the sound of jungle wonz or virgo. but this song is filled with somthing sadness.check the story about this album from terre,you will see…. http://www.comatonse.com/releases/midtown120blues.html This album is for a real house music lovers.
視聴-Midtown 120 Intro・ミッドタウン１２０イントロ
視聴-Midtown 120 Blues・ミッドタウン１２０ブルース
視聴-Reverse Rotation・後戻り
視聴-Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅 パート２（列車でミズーリ州から72時間）
視聴-Acid Trax N (All Alkalis are Bases but All Bases are not Alkalis) remix by DJ Sprinkles
視聴-Acid Trax B (Acid Dog) remix by DJ Sprinkles
視聴-Acid Trax A
視聴-Acid Trax H
視聴-Acid Trax S (w/DJ Sprinkles)
視聴-k-s.h.e spirits, lose your hold(Excerpt 1)
視聴-k-s.h.e spirits, lose your hold(Excerpt 2)
視聴-k-s.h.e spirits, lose your hold(Excerpt 3)
視聴-k-s.h.e spirits, lose your hold(Excerpt 4)
視聴-k-s.h.e spirits, lose your hold(Excerpt 5)
視聴-k-s.h.e spirits, lose your hold(Excerpt 6)
視聴-k-s.h.e spirits, lose your hold(Excerpt 7)
Gloorp is the experimental electronic project of Philadelphia percussionist and producer Garrett Burke. Burke previously played drums with art-rock groups Of Montreal and Mothers, before releasing his self-titled debut as Gloorp in 2023. It was his second album, Gloorp 'Em Up, that really broke through. Nina Protocol called it a "Polyrhythmic electronic frenzy," while Pitchfork followed with a glowing review. Sessions on NTS Radio and dublab, plus shows with Ulrika Spacek, Photay, and Xen Model, kept the momentum building. That run of live dates helped shape Gloorp Life. Blending footwork, bass, and club with Burke's standout drumming, it is forward-thinking, textural electronic music with a playful rhythmic edge. The album follows the acclaimed 2025 dance tape Gloorp 'Em Up, which Pitchfork called "a daisy-chained string of mulching beats that's casual, light, and fun as hell."
Jozef Van Wissem and Jim Jarmusch’s Bocca di Lupo and Mouth of the Wolf were recorded in July 2025 in Bologna, Italy. The recording sessions took place just after several live dates in New York and Chicago, and a week before they began a short European tour which included Paris, London, Ghent, Porto, and a first date in Bologna. Below are notes from Jozef and Jim directly. “With thanks to Gian Luca Farinelli and Rosanna Mordini from the extraordinary Cineteca di Bologna, we were able to secure recording days in the very cool Fonoprint Studios — located on Via Bocca di Lupo in Bologna, hence the titles of these two LPs. (“In bocca al lupo” — in the mouth of the wolf — is the Italian idiom for wishing one good luck; equivalent to “break a leg” in English.) Bocca di Lupo starts with a new version of our own “Only Lovers Left Alive,” and “Apology” is a new version of a pre-existing piece by Jozef. All other tracks are new originals. We were honored to have guest duet vocals from the iconic Courtney Barnett on “Never Like You Said.” The lyrics of the song arrived spontaneously in a single take in the studio. It’s not directed at a specific person, but more an emotional response to several disingenuous, deceitful people — a closing of the door on their toxic behavior. And a casually recorded conversation (concerning the haunted auras of particular pieces of vintage women’s clothing) between Adriana Coppi and Veronica Mayrr (from Deux Femmes) is woven as a background into the track titled “Pour Deux Femmes.” “Black Roses” is an original poem written in Bologna, and recited from within its own musical setting. All other tracks are instrumentals. Mouth of the Wolf, the second LP, consists of two longer, darkly ecstatic instrumental studio tracks — “In A” and “Massa Damnata.” Both were created with two electric guitars, and derived from our live performances. We consider it to be a musically separate album, and is therefore presented in its own sleeve and with its own artwork. Our music has many inspirations — everything from our friends in Sunn O))) and Swans to Terry Riley and Morton Feldman; from Hildegard Von Bingen and WIlliam Lawes to Psychic Ills and Spacemen 3; from Les Rallizes Dénudés and NEU! to Nadja and Glenn Branca; from Ian Svenonius and Dead Skeletons to Son House and Gwenifer Raymond…from sunset to sunrise…full moon to new moon…”
Rizan Said is a musical ambassador from Syria's analog era. For generations, the Jazeera — a culturally rich borderland of Kurdish, Arab, Syriac, and Armenian communities — has been alive with a distinctive sonic tradition: hand drums and reed flutes, weddings that lasted days, dabke rooted in a long musical tradition before electro and disco arrived to name it, and before orientalism arrived to explain it. Rizan was the boy wonder of that scene, a prodigy on percussion and reed instruments who became the region's master synthesist, at the forefront of the shift as electronic keyboards transformed the music. His instrument is the factory preset, bent past recognition. Across three decades — first on the cassette circuit that ran through Hassake, Deir Ez Zor, and Qamishli, then on stages from Le Guess Who to Iceland Airwaves — Said has programmed Korgs to emulate zurna, saz, tanbura, and buzuq, collapsing an entire traditional ensemble into a single pair of hands moving at lightning speed. It is the sound that carried Omar Souleyman's voice out of the Jazeera and around the world, and for nearly two decades Said was the one building it, night after night, wedding after wedding. Ma Waraa Al-Shaabi is his third solo album, following King of Keyboard (Annihaya, 2015) and Saz Û Dilan (Akuphone, 2019) and his most far-reaching, carrying cosmic, electronic dabke toward its next destination. Recorded at Sundlaugin in May 2026 and produced by Randall Dunn (Sunn O))), Panos Cosmatos) with co-production by Mark Gergis (Syrian Cassette Archives, Sublime Frequencies) and engineering and additional production by Úlfur Hansson, the record takes the heat and velocity of the cassette circuit and opens it out into something wider, stranger, and more alive than ever. Seven pieces, cut across four sides. The record is also a reunion. In 2011, Dunn and Gergis worked closely with Said and Souleyman on The Crystalline Series — the three Omar Souleyman versions of Björk's "Crystalline," "Tesla," and "Mawal," made around Biophilia and built on Said's keyboards. Fifteen years later the same circle reconvenes at Sundlaugin, this time with Said at the center of it. "This album is not a new beginning for me. It's a continuation of a long musical journey," Said says. "When Randall Dunn, Mark Gergis, Charmaine Lee and I began working on this record together, we weren't attempting to recreate what I'd done before. We simply let the music lead us. Recording in Iceland gave us a unique and immersive space to experiment, to listen closely, and allow each piece to reach its natural form."
code name: A-Z by Ryoji Ikeda comprises 26 sonic frequencies which form an audio conversation derived from the US military use of Morse code. Pressed on clear 12" vinyl with 13 locked grooves on each side and the title of each hand etched into the grooves.
Initially released on the occasion of Elevation 2017, an arts festival in Gstaad produced by LUMA Foundation, where Ryoji presented a site-specific installation of Test Pattern.
Japan’s leading electronic composer and visual artist, Ryoji Ikeda collaborates with The Vinyl Factory on a 12” vinyl-only release housing 10 locked grooves each consisting of a unique sine wave with a different frequency correlating to a different planet in the solar system.
Pressed on 180-gram heavyweight vinyl, housed in a bespoke screen printed sleeve, this unique edition has been produced in celebration of UK premiere of Ryoji Ikeda’s supersymmetry installation, showing at The Vinyl Factory Space at Brewer Street Car Park from 23 April - 31 May 2015.
Ikeda's supersymmetry is a fully immersive auditory and visual experience - an artistic vision of the reality of nature, an interpretation of quantum mechanics and quantum information theory from an aesthetic viewpoint. The work draws on his exchanges with scientists and engineers during his stay at the European Organization for Nuclear Research (CERN), the world’s largest particle physics laboratory.
The Vinyl Factory presents a brand new Ryoji Ikeda release. music for strings comprises three works written between 2020 and 2023, commissioned by Ensemble Modern, Muziekgebouw aan 't IJ, and DTzM, and built entirely around the physical behaviour of bowed strings.
“In 2016, I had a series of audiovisual concerts at a festival in Kyoto. Ensemble Modern from Frankfurt was there, performing a large piece by Heiner Goebbels. We became friends, and years later, in 2021, they commissioned me to create a new piece for their 2023 season,” Ikeda explains. “Through a workshop with their players, I decided to focus exclusively on strings”.
REFLECTION [for string nonet], op.13 has all nine players locked into a seven-eight rhythm, but staggered so the parts seem to answer each other.
PRISM [for string nonet], op.14 takes the idea of white light splitting into a spectrum and applies it to sound, with Ikeda working through almost the entire pitch range of the ensemble, pulling out clusters of notes the way a prism pulls out colour.
MIRROR [one for two], op.12 is built on a sheet of music where the staff notation is mirrored, allowing it to be read simultaneously from both the normal and opposite directions. As a result, two players share the single notation, performing together while reading it in opposite directions.
“For many years, I had ideas for MIRROR [one for two] that exists only as a dream. It seems simple, but it is extremely difficult to make sense of due to its very restricted rule. At the start, I decided to tackle this piece,” says Ikeda.
“Another dream of mine was to form a string ensemble arranged linearly on stage. Usually players perform in a semicircular formation to see each other. A linear formation, however, denies this visual connection. The challenge was implemented with PRISM [for string nonet] and REFLECTION [for string nonet].”
Performed by Ensemble Modern and recorded by SWR, the work premiered in Amsterdam on 8 February 2024 before its UK premiere at the Barbican on 20 February 2026.
Australian duo Troth take their downbeat pop experiments further on their sixth album, The Limits of a Light Touch. Now based in Hobart, Amelia Besseny and Cooper Bowman draw on dub, DIY pop, post-rock and Fourth World electronics, with nods to Leslie Winer, Brenda Ray and Vashti Bunyan. Murky basslines, skeletal drum machines, spectral vocals and warped melodies give tracks like 'In Essence' and 'Found Ring' their peculiar charm. Elsewhere, 'She Sees Stars' explores hazy shoegaze, The Dengie Hundred guests on 'Two Urns Mark The Way', and 'Knotwork' closes with a playful burst of breakbeat dub.
First-time reissue of a coveted 1982 album from sound artist, percussionist and composer Kjell Samkopf, offering a heady exploration of natural sound and rhythm made from environmental recordings, vibraphone, marimba and dreamy synths - essential listening FFO Midori Takada, Craig Leon, Visible Cloaks. A towering figure in Norway's contemporary music scene, Kjell Samkopf studied jazz vibraphone at Berklee in 1979 before attending a World Music seminar at Karl Berger's Creative Music Studio in Woodstock, New York, in 1981, broadening his horizons sufficiently that when he arrived back in Norway, he was ready to work on his first solo album. Recorded in 1981 at Henie Onstad Kunstsenter, 'Music for Solo Percussion and Electronics' showcases the influences that were circling around the young composer at the time, with its centrepiece, 'Invention No. 5', commissioned by Swedish Radio. Samkopf would go on to become Norway's first professor of percussion at the Norwegian Academy of Music, as well as writing a litany of acclaimed works over the course of his career. ‘Music for Solo Percussion and Electronics’ is a hard record to accurately define, which might explain why it's remained the preserve of connoisseurs for so long. Undoubtedly influenced by jazz and free improvisation, it’s not a jazz record exactly, nor does it easily slot into the avant-classical canon. To approach its multi-faceted charms, it's best to start at the deep end, via the side-long epic, 'Oppfinnelse Nr 5 - Invention No 5'. Over a span of almost 25 minutes, Samkopf’s controlled, idiosyncratic expressions highlight his inventiveness, focusing on percussion but, above all, incredible attention to microscopic detail in the mix. Cricket chirps and distant birds create a tangible, natural backdrop as Samkopf follows their lead, layering bells and chimes as a response to the environment itself. It's the final act that has us fully ruined, though. Here, Samkopf cracks the biodome, losing the background soundscape for a moment to introduce analogue bass with a crash of cymbals. Threading through bells and woody clacks, he slowly re-builds his sonic ecosystem, following the metered, industrial-strength synth as if making a wry comment about technology itself. 'Music for Solo Percussion and Electronics' is one of those endlessly rewarding finds that fills a rare slot in the timeline; somewhere between Midori Takada's legendary 'Through the Looking Glass' (which emerged around the same period on the other side of the world) and Visible Cloaks' Fourth World-adjacent 'Fairlights, Mallets and Bamboo', which arrived decades later and triggered so much of the contemporary obsession with percussive music from the margins.
Copilot said: Originally released as a cassette in 2020, A Heavenly Touch stands as an important early work by Claire Rousay. Blending field recordings, drone, electronic sound, free improvisation, and electro-acoustic elements, the album reveals many of the ideas and approaches that would come to define her later output.
A Malaysian double-header 7” capturing the explosion of synth-pop and breakdance in the mid-80s. Both tracks are reissued for the first time on vinyl, with the artwork playing upon the design of a Lunar New Year red packet. The A-side leads with the ‘King of Hakka Songs’ Chong Sau-Lin with the Shaolin Band, and the track ‘恭喜恭喜’ (‘Gongxi Gongxi’) - a Mandarin greeting commonly made at Chinese New Year. Chong channels the early 80s sound of Grandmaster Flash or Beat Street, while deftly placing traditional gongs alongside vinyl scratching, drum machines and synth riffs dripping in attitude. With very few Melectronic artists creating music inspired by Chinese New Year, it’s refreshingly quirky and smile-inducing. On the flip is a never-before reissued Malay power ballad by Mazuin Hamzah, a catchy slice of nostalgic synth-pop guaranteed to restyle your hair into a voluminous perm. Hamzah was part of the Malaysian disco supergroup Quinary MM with her siblings, until she left to pursue a solo career in the early 80s. ‘Cinta Di MBawah Seribu Warna’ (translation: ‘Love Beneath A Thousand Colours’) is taken from her last album in 1987 before she left the music industry to marry into the royal family of Brunei. Chong Sau-Lin (called Jeung Siu Lam and Zhang Shaolin in Cantonese and Mandarin respectively) is a popular artist from Malaysia, known for enthusiastically singing in Hakka dialect and Mandarin Chinese about mundane situations or local attractions. Chong has been releasing music since the late 70s including covers of Michael Jackson, while his 90s Eurobeat/hi-NRG song ‘Jalan Alor’ has recently Mbeen re-circulating among international audiences
Urban and Tribal Portraits reaffirms the idea of postmodern pastiche as a multimedia multisensory experience and sound as an ecosystem that is both aleatory and concrete, ephemeral and durable. In these binary paradoxes, a radical notion of the nature of collaboration, that is both chance induced and conversely conceptually worked out, is also established. The result is a work that exposes the fixed assumptions about the constructed boundaries and flows between musical traditions and practices. On its own this is the ultimately problematic place where many of the so-called musics concerned with the world reach an impasse, incapable as they are of questioning their own basic assumptions and ultimately end up strengthening those very same boundaries and flows that they had apparently set out to challenge. Musci and Venosta go further, principally and more fundamentally, by picking away at the margins of pure sonorous events and musical material, noise and sonance. In doing so, Urban and Tribal Portraits repoliticizes the notion of pastiche, engaging as it does in a kind of ecopractice, turning the process rather than the musical object into the poetic focus of the work. Fixed categories are rendered ephemeral, temporal and spatial categories including the margins, so hard to overcome, between composition, improvisation, authorship, recordedness and live performance are deconstructed. In the end, where one would expect seriousness there is levity and where one might see some postmodern appropriative ironic juxtaposition there is intensity and respect of the magical organicness of the material sources.
All Songs Written and Produced by UNDER THE BIG BRIGHT YELLOW SUN
"Béwara" is Basajan's debut album, exploring the Sundanese philosophy of Tri Tangtu through ten instrumental compositions that blend Priangan vibes with psychedelic grooves and contemporary soundscapes.