Electronic / Experimental

 

"When it travels, the voice is a double agent, a trickster, or a dubious guru, but when it pauses for a recording, it's historical, capturing a mood or an emotion for all time. I didn't expect that I would hardly recognize the people who made Salt — myself and Hessel Veldman — a year and a half after recording it, but this is where I find myself now, so I'll say a few words about this temporary prosopagnosia.

Twelve years ago, when I moved to the Netherlands from Japan, I made a piece called How to Lose Your Voice. It was a YouTube hit because people wanted to learn how to actually lose their voices, though I doubt they found what they were looking for in the video. But I mention it because it's like a diary for me: my voice simply isn't the same now as it was then.

I wonder where my voice has gone.

I just listened to a radio interview with a woman who had her larynx removed.

About fifteen minutes after listening to her new voice, altered by the use of a voice prosthesis to make her audible, the interviewer played a recording of her pre-surgery voice. Of course, I was curious to hear it, and although it was immediately obvious that the gentle ease of her first voice was gone, this new voice, with its raw, gravelly sound, was even more intriguing because of its determined power to express that which needed to be expressed.

When Hessel and I first listened to the Salt in its entirety, I said in astonishment, "who wrote this?"
Marianna Maruyama, sure, but this artist goes by more than one name. Many voices spoke through me in this album. You might even recognize one of them as yours."  

Ten years on, Joana Gama and Luís Fernandes show no signs of slowing down. Over the past decade, the duo has released five albums, composed soundtracks for film and television, and created pieces for performing arts. With “Strata”, they embark on a bold exploration of their musical identity, breaking new ground by seeking the primordial, the raw, and forging a deeper creative synergy. This evolution makes their music feel less like a conversation and more like a unified, introspective monologue.
Until now, their work has largely been defined by dialogue—a dynamic exchange of ideas evident in their earlier records. However, in their relentless drive to push boundaries, they now turn inward, embracing a monologue as a pathway for growth, innovation, and celebration of their journey so far. Two key elements shape this transition: Joana’s growing affinity for synthesizers over piano, a direction initiated in “There’s no knowing”, and her integration of field recordings gathered from diverse locations around the world. Rather than stepping into each other’s domain, the duo finds common ground, creating music that thrives on harmony and introspection.
“Strata” stands as Joana and Luís's quieter and most cohesive record to date. It reflects their desire to craft music that resonates with the natural world, unfolding as a seamless stream of sound that enhances their connection and invites the listener into their creative process. While their previous works were compelling, they often felt distant, as if the listener was observing from the sidelines. “Strata”, by contrast, draws the listener in, encouraging them to fill the spaces and find their own place within the duo’s monologue.
This process climaxes in the closing track, "Geode," where the subtle sounds of debris underscore the tightly woven structure of “Strata”. It’s a testament to the duo's commitment to evolution and their ability to surprise both themselves and their audience. A decade into their collaboration, “Strata” reaffirms Joana and Luís's creative vitality, offering a record that feels both fresh and deeply rooted in their artistic vision. 

Music From Memory are excited to present the latest chapter in their ongoing collaboration with seminal Spanish ambient musician Suso Saiz. 'Resonant Bodies’ is Suso’s seventh album project with the label and again raises the bar of his musical output, embracing a conceptual approach of which Suso himself says the following: “A body vibrates producing a sound that reaches another body and makes it vibrate and generate a new sound that makes another body vibrate that generates another sound... Imagine an infinite orchestra of bodies multiplying their sound vibrations creating the symphony of RESONANT BODIES. Resonance as a principle of COMMUNICATION; sound as a builder of ties and interrelations between men. RESONANT BODIES pieces are part of a whole and are both generators of it. Unlike other works, during the approximately two years it took me to finish RESONANT BODIES, the pieces were gradually completed and small sound particles were added caused by the vibrations generated by the previous layers until creating imperfect and synchronized sound objects. COMMUNICATION.”

Emotional Response is proud to welcome renowned multi-instrumentalist Alan Briand aka Shelter, to the label with a striking new EP that delves deep into the realms of modern Digi-Dub.

Over a myriad of releases Shelter’s dextrous ability to straddle genres, from ambient, Balearic, improvisation and most recently a series of acid ragas, releasing on an impressive roster of today’s electronic labels including Antinote, Growing Bin, International Feel, Séance Centre and his own Protopost imprint.

After making waves on Emotional Response's All Trades compilations with his standout track "The Four Knights Dub," Briand returns to further explore his passion for digital dub and UK roots. Across four tracks, all recorded live, he merges sound design, found sounds, and world music with seismic basslines, creating a truly immersive sonic experience.

The rise of Digital Dub is often traced to the groundbreaking "Under Me Sleng Teng" by Prince Jammy / Wayne Smith, but it was the UK's later reversioning – adding electronic drums to roots and steppers rhythms – that gave birth to the unique sound of Digi-Dub.

Shelter pays homage to this tradition, drawing inspiration from the likes of Alpha & Omega, Bush Chemist, and Jonah Dan. His process is as raw as it is innovative: building an analog setup with a MIDI sequencer, DCO synth, live vocals, and sound effects fed through Boss pedals. Digital drums from the KPR77 and DD10 are layered in, with everything mixed live to tape, no overdubs, capturing the raw, live energy of the performance.

This EP must be experienced as a whole – a continuous live set of steppers 4/4 rhythms, cryptic titles (a nod to chess tactics) that acts as rewinds, paying tribute to dub classics of the past. 

DOVS are the duo of Vienna’s Johannes Auvinen, aka Tin Man, and Mexico City’s Gabo Barranco, aka AAAA. Psychic Geography is their second album together, but it differs considerably from both their respective solo work and their 2019 debut LP together, Silent Cities: Where that album’s hardware-based acid kept its gaze focused squarely on the dancefloor, Psychic Geography is a strictly ambient affair.

The album has its roots in a trio of beatless tracks that peppered Silent Cities; this time, the duo decided to try making an entire album with no drums. “It opened up the chance to make a different, more narrative style of music with more complex structures,” Auvinen says. Ambiguity and uncertainty are key watchwords for their music, which moves with eerie, liquid grace. Untethered from 4/4 kicks, their music drifts and morphs; familiar acid sequences give way to surprising shifts in tone and mood. And with no drums to distract the ear, the seeming simplicity of their silvery synth lines opens up to reveal remarkable depth and dynamism.

Barranco and Auvinen recorded the album together in the studio utilizing machines like the Roland TB-303, Juno G, Prophet 5, Elektron Octatrack MKII, Make Noise DPO and René, Mutable Clouds, Roland SH-101, Behringer TD3, and Sherman Filterbank. Listen on good speakers or headphones, and you can tell: Their gear yields a tonal richness that recalls the ambient and cosmic music of decades earlier. You can practically feel the heat from their circuits warming the air.

The meaning behind the name DOVS is as ambiguous as the duo’s music. (Dig, if you will, the picture of Picasso’s dove of peace—or, perhaps, the outline of a bird pressed into a small white pill.) But Psychic Geography needs little explanation. DOVS’ album is a collection of mental maps of imaginary places. Set your coordinates for the mirage on the horizon and prepare to dissolve. 

Kadapat adalah proyek musik dari Yogi dan Barga yang berbasis di Bali. Kadapat menggunakan ilmu putih/hitam Bali sebagai spirit dalam eksperimen musik elektronik-gamelan dengan tujuan menyampaikan tradisi dan legenda urban.

Berkenalan dengan Kadapat berarti bertemu dengan anak muda milenial dari suburban Bali yang ditempa oleh gamelan beserta tradisinya sejak usia muda. Tak hanya mumpuni secara teknis, Yogi dan Braga juga memainkan gamelan untuk upacara-upacara tradisi dan keagamaan di Banjar, sebuah komunitas masyarakat yang memiliki batas-batas wilayah yang berwenang untuk mengatur dan mengurus kepentingan masyarakat setempat, berdasarkan asal usul dan adat istiadat setempat yang diakui dan dihormati dalam sistem pemerintahan. Mereka berdua sangat intens bergumul dengan norma-norma tradisi yang konservatif dan kosmologinya yang transendental. Sebagai entitas milenial, mereka juga akrab dengan budaya urban, teknologi, dan kosmopolitanisme Bali. Identitas hibrida ini semakin kompleks saat mereka mendalami dimensi pendidikan seni formal dengan sistem pedagogi barat.

Ribuan unsur-unsur tersebut terwujud dalam karya musik Kadapat di album ini. Ia berkelindan dalam jaringan yang saling mencerap dan mencibir. Setiap elemen dan teksturnya bersuara konsensual, namun tak jarang masing-masing menyeruak secara mandiri mencoba menunjukkan eksistensinya. Secara utuh komposisi dalam album ini memiliki nyali politis. Imajinasi radikal yang diekspresikan dalam kondisi yang rumit bagi mereka: adat istiadat. Eksperimentasi adalah upaya uji coba. Apakah menguji pertunjukan Kadapat di Banjar, di kampus seni, di klab gorong-gorong, di beach party, di festival musik metal, atau di acara kawinan akan menimbulkan polemik? Tidak ada salahnya untuk dicoba. We just need to talk. — Wok The Rock

Producer Pieter Kock, active also as a DJ under his DJ Peacock guise, is known for being one of the people behind the legendary O Tannenbaum bar and club, a haven of sorts in Berlin nightlife for years, and the newly opened second O Tannenbaum called Schankwirtschafft O Tannenbaum. He has released some of his own music on labels such as Musikii, RIO, Full Body Massage, Fantasy Fiction Records, Moonwalk X, and Invisible Inc, and has extensively collaborated with people and projects such as Meeuw and De Fabriek. His new Bright Bars From The Stars album on Meakusma is a dizzying amalgam of moods and influences. From ghostly and contemplative tracks to spaced-out and dubbed-out dark dancefloor psychedelia infused with melodics, phrasing, and percussive patterns reminiscent of pop and avant-garde alike, Bright Bars From The Stars features a full album on vinyl, with an extra CD included. Kock is a versatile chronicler of the night, capturing the beauty, loneliness, and endless possibilities of wide avenues pining for neon lights, futuristic descents into past moods and modes, and all. 14 tracks in total, Bright Bars From The Stars is a cosmic, at times gentle, at times confrontational affair that brims with ideas and influences. Combining sounds, rhythms, melodies, and textures from a wide variety of sources and meanings, Pieter Kock brings all of his influences together, intent on finding new paths of thinking and feeling. His pictures printed in the CD booklet give some kind of indication of his artistic process, without ever wanting to push things in any kind of direction. Cocktail bars of a dystopian future, unite! Bright Bars From The Stars is the soundtrack to a very encompassing and transformative night out. All compositions by Pieter Kock except Bright Bars From The Stars by Pieter Kock and Dominik Peacho Noé Mastering & Cut by Rashad Becker Art by Pieter Kock and Meeuw

For fans of Sean McCann's Recital works to Yusaku Arai ”a two”. Collabolation album of ambient master Ulla & Japanese Experimental musician Ultrafog.

'Apodelia' is Hotspring's second solo release on Mood Hut, and is partly a further exploration of song forms, studio techniques and instrumentation explored on 2020’s 'Obit for Sunshade'. 'Apodelia' explores lifting into revealing; scouring fidelities, playing with emotion, and improvising by night.

Roberto Cacciapaglia is an Italian composer and pianist who started out in the fertile Milan avant-garde scene of the 1970s, which included Franco Battiato, Giusto Pio, Lino Capra Vaccina, Francesco Messina, among others. After studying at the conservatory, he worked at RAI's Studio of Musical Phonology – an electronic music laboratory similar to NDR/WDR in Germany, GRM/IRCAM in France or BBC Radiophonic Workshop.

Sonanze (Sonatas) is Cacciapaglia's debut album, a monumental work that was recorded over a two-year period and released in 1975 via seminal German label Die Kosmischen Kuriere (Ohr). While a "sonata" is traditionally performed by easily distinguishable instrumentalists (often soloist and accompaniment) and with repeated structural themes, Cacciapaglia flips this hierarchical form on its head – blending harpsichord, strings, brass and analog synths to create ambient mini-soundtracks.

As the composer writes in the original sleeve notes, "I am aware, unfortunately, that I am a few millennia late in how I would like music to be understood, which today I find diluted in its primary powers, in an era that is destructive of essential values. Precisely for this reason, I want to search for it in depth and not on the surface, perhaps alternating the knob of a synthesizer with a marranzano (mouth harp)."

Mixed in quadrophonic surround-sound under the auspices of Rolf-Ulrich Kaiser (celebrated producer of Tangerine Dream and Ash Ra Tempel), Sonanze remains on the fringe of Kosmische realms. Each movement explores hypnotic rhythms, intuitive arrangements, musique concrète techniques and a pure psychedelic awakening.

By the early '70s, Milford Graves had more or less stopped gigging. Having learned his lesson the hard way in multiple-night runs like a legendary Slugs' residency with Albert Ayler, he knew that the level of energy that he put out during a performance would be difficult to sustain over the long haul. A concert was a kind of absolute ritual for him, after which he would be totally spent, emotionally and physically. Graves rarely left anything on the table. Any musical performance was an opportunity to present an amalgamated version of all the things he had learned. He was an innovator and a teacher at his core, and the concert venue was one of his first classroom settings. In March 1976, Verna Gillis invited Graves to perform on WBAI's Free Music Store radio show. For the date, he chose to present a trio lineup which he had been occasionally playing – featuring two saxophonists who were dedicated to the drummer's vision. Hugh Glover is almost exclusively known for his work with Graves, while Arthur Doyle would gain exposure later for an obscure record that he made two years later, Alabama Feeling, which would become a highly collectable item among free jazz enthusiasts. Originally released in 1977, Bäbi remains one of Graves' most seminal recordings. The music played by the trio was ecstatic. Extreme energy music, buoyant and joyful. It relied on Graves' new way of approaching the drum kit, in which he had opened up the bottoms of his skin-slackened toms and eliminated the snare. Graves' art was always unblemished by commercial interests, and this album is its finest mission statement. First-time vinyl reissue. Sourced from the original master tapes.

Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration. Blueprints For A Blackout, The Ex's fifth album and first double LP, combines caustic studio experimentations and loose songs from their gripping live-set at the time. The band consisted of singer G.W. Sok, guitarist Terrie Ex, two new recruits on bass, Luc and Yoke, and drummer Sabien Witteman, along with a plethora of guests including Mekons' Jon Langford and long-serving sound engineer Dolf Planteijdt, among others. Originally released in 1984 on the band's own Pig Brother Productions, Blueprints veers from jagged punk explosions to sharply focused improvisations featuring field recordings that would become a hallmark of their subsequent forays into free jazz and experimental music. The overall effect is not unlike the menace of a slowly building winter storm. Tracks like "Rabble With A Cause," "U.S. Hole" and "Scrub That Scum" stand out as exemplars of this phase of The Ex. Comparisons can be made to contemporaries Einstürzende Neubauten, NoMeansNo and Svätsox as well as later Crass label bands. This first-time vinyl reissue comes with 24-page booklet.

Japanese Edition with Obi. More pop, softer...
The sound design is made with a warm sound image in the background.
This is a turning point work that shows a new frontier.

Japanese Edition with Obi. A gem of a record with mature songwriting talent and production work by John McEntire and Jim O'Rourke!

Black 12" vinyl in printed inner sleeve in 3mm outer sleeve

Early electronic music composer Raymond Scott will have a treasure trove of essential and extremely rare recordings collected on this new release Three Willow Park: Electronic Music from Inner Space, 1961-1971. From having his music adapted for Warner Bros. cartoons to inventing early electronic music instruments to releasing the classic (and recently reissued) Soothing Sounds For Baby series, Scott’s electronic music was famously ahead of its time and touched on sounds like techno and ambient music decades before those terms even existed. Many of the tracks feature Scott’s own inventions such as the Electronium and Clavivox instruments and capture a musician unimaginably ahead of his time.
Three Willow Park: Electronic Music from Inner Space, 1961–1971, represents the second anthology of pioneering electronica by Raymond Scott. The album contains 61 previously unissued gems, many featuring hypnotic rhythm tracks played by Scott’s Electronium — an invention which composed and performed using programmed intelligence. Three Willow Park reveals that Scott was producing beat-oriented proto-techno before the 1970s explosion of electronic music and rhythms on the pop charts, a significant achievement that should not be overlooked.

In 2000, Basta issued Manhattan Research Inc., a 2-cd set of 69 tracks recorded 1953–69, spotlighting Scott’s groundbreaking electronica — a gallery of strange sounds seemingly beamed down from UFOs. MRI also presented some of the earliest TV & radio commercials to feature electronic music, as well as early film soundtrack collaborations with Jim Henson. Three Willow Park presents the next stage in assuring Scott’s place in electronic music history.

Willow Park Center was an industrial rental complex of offices and warehouses in a Long Island suburb. Following his 1965 marital breakup, Scott set up shop at WPC. He operated a musical lab — researching, experimenting, testing, and measuring. He twirled knobs, flipped switches, and took notes. He installed equipment and machines, and used them to build new equipment and machines. This makeshift compound remained Scott’s workspace and bedroom until 1971, when he decamped for L.A. to work for Berry Gordy at Motown.

Scott was a highly qualified engineer who also happened to be a conservatory-trained (Juilliard) musician. He could compose, arrange, perform, improvise and edit, but given a shelf of hardware and a soldering iron, he could also rig an appliance to further his musical aims. Like many visionaries, Scott foreshadowed the future. He developed technological processes which were pivotal in the evolution of the fax machine. He composed a “silent” piece years before John Cage‘s 4′ 33″. He predicted (in 1944) that composers would someday reach audiences via thought transference. He applied for and was awarded numerous patents. Foremost, he developed electronic and automated sound-generating technology to craft the elements of pop music at a time when circuit-made sound was largely a novelty, used in “serious” works, or cranked-up for special effects in science fiction films.

In 1946, while still leading jazz bands, Scott established Manhattan Research, Inc., billed as “Designers and Manufacturers of Electronic Music and Musique Concrète Devices and Systems.” By the 1950s, he was using his inventions to produce commercials with electronic soundtracks, as well as developing automated sequencer technology. His friend and colleague Bob Moog said, “Scott was definitely in the forefront of developing electronic music technology and using it commercially as a musician.”

Besides the Electronium, sounds heard on Three Willow Park were generated by the Circle Machine; Clavivox; Bass-Line Generator; Bandito the Bongo Artist (a drum machine); tone, melody, rhythm and sound effects generators (some controlled, others random); oscillators, sequencers, and modulators; tape montages; and acoustic instruments and voices. These recordings, like those on MRI, define and establish Scott’s legacy in electronic music history.

So excited and honored to finally release the vinyl document of my realization of JOHN CAGE’s ROZART MIX. Back in the extremely strange year of 2020, I was approached by Wave Farm and John Cage Trust to stage a performance of this seldomly performed piece that Cage wrote for Alvin Lucier. The piece is comprised of 88 tape loops (one for each key of a piano), spliced together with multiple non-musical sounds played back on 12 reel to reel machines.

In January of 2021 I spent a wonderful and intense week researching ROZART MIX at John Cage Trust at Bard College. It was the first place I had visited during the pandemic. On October 23, 2021, with the assistance of Rose Actor-Engel, Twig Harper, C. Lavender, Quintron, Robert Turman, and John Wiese, I presented a 6 hour performance of ROZART MIX at John Cage Trust. Six hours of 12 individually amplified reel to reel tape machines, placed around multiple floors of a house, playing 88 tape loops spliced together by 5 to 175 splices, created an overwhelming and joyous environment of cacophonous sound. The performance culminated with John Wiese touching a frog for the first time as the final sound croaked through the speakers. The frog contact was just one of many magical moments that occurred during the preparation and presentation of the piece. I hope you enjoy listening to it as much as we enjoyed performing it. Special thanks to Galen Joseph-Hunter of Wave Farm and Laura Kuhn & Emy Martin of John Cage Trust for trusting me with this material.

Composer Ahmed Essyad was born in Salé, Morocco, in 1938. After studying music at the Rabat Conservatoire (Morocco) he moved to Paris in 1962, where he became a student of Max Deutsch and, later, his assistant. Trained in the avant-garde practices of Western musical composition, he also claimed the Amazigh folk music of Morocco as a fundamental source of inspiration for his work.

In 1965, he was already incorporating elements of oral tradition in his work so as to question the language of his time, and therefore had to cope with the limits of musical notation and communication with musicians who did not share his cultural references. It was difficult
to agree on what was implicit, 'behind the notes,' especially regarding the management of musical time and micro-intervals. In search of new compositional tools, he turned to electro-acoustic music. Working in a studio made it possible for him to be the interpreter of his own work, which ensured a certain continuity with music of oral tradition. The pieces presented here were produced between 1972 and 1974 in a studio dedicated to electro-acoustic music, the S.M.E.C.A, which was part of the Music Workshop founded by Jorge Arriagada in Paris. The studio was equipped with EMS and Minimoog synthesizers, a piano, a marimba, a xylophone, as well as various percussion instruments and a tape delay system.

The practice of electro-acoustics may have been a mere parenthesis in Ahmed Essyad's long and prolific career as a composer of contemporary music, but the works presented here are nonetheless important. They show how strongly he both supported North African popular forms of expression and opposed its folklorizing through simplistic and 'exotic' representations. It's not about fusing together East and West - impossible, he says: "the real point is to open up an imaginary space where another modernity can exist outside the largely Eurocentric framework of avant-garde music. Synthesis means anticipation, knowledge. As for me, I'm increasingly ignorant. I write to discover what I don't know. Music feeds me, it pollinates me. It's my daily wine." 

"Best New Reissue" - Pitchfork (May 6, 2023) Legendary debut album by Junko Tange, originally issued by Osaka’s Vanity Records in 1979. Dadaesque recitations and sparse guitar, piano and electronic meanderings combine for a beguiling, hypnotic dreamworld. Officially licensed from the custodians of Yuzuru Agi's Vanity Records archives, this edition has been fully remastered from new transfers of the original analog tapes by Stephan Mathieu.

Κλίμα (Klima) is the third album by CV & JAB, the duo of Christina Vantzou and John Also Bennett. An assertive step forward in the two artists' investigations into melodic interplay, acoustic processing and field recordings, the full-length conjures the modus operandi of archaeologists searching for unheard soundscapes. Structured as an itinerant mise-en-abyme, Κλίμα (Klima) summons worldwide submarine circuits and tropospheres populated by sudden findings and progressive re-encounters - hazy dreams amalgamate with mosaics of reality. Catalyzed by a 2021 invitation to perform at the UNESCO world heritage site Santuário Bom do Jesus do Monte in Braga, Portugal, the music of Κλίμα (Klima) then fermented across a period of two years, during which live experiments, cyclical studio sessions, and travels across the Island of Tenerife’s effervescent ambiences gradually contributed to its completion. It is on the volcanic island that the narrative core of the album materialized, prompted by a month of recordings across the radically different microclimates populating the landscape. CV & JAB’s flashing transpositions from desert to rainforest are evoked over ten tracks operating as an abstract audio-guide of the outer and inner realms permeating the pieces. Κλίμα (Klima) is conceived as a rhizomatic composition rather than a sequential excursus; percussion, refracted voices, chirps and gurgles, other-worldly synthetic winks, reverberated piano chords, and yearning flute circumnavigations all surface sometimes in solo, sometimes synchronically to eventually dissipate again. The remote and enigmatic atmospheres that characterized previous CV & JAB albums acquire an intimate intensity in the solo piano excursions - “Klima” and “Lands of Permanent Mist” - and a penetrating emotional resonance with the instrument’s flirtatious entanglements with JAB’s bass flute on “Dwelling” and “Pottery Fragments” or with CV’s flickering plasma voice in “Jetstream”. Suggesting timeless wanderings in ambient études and classical minimalism, the album deploys as a mirage, inducing listeners into a contemplative state through mellifluous repetitions and offshore sci-fi inflections. The palpable depth of the recordings bestows each track with a distinctive density and presence: sounds and chords materialize and dematerialise as landscapes at which we gaze, half-asleep over a long journey. Ten sips of a familiar rapture which ooze a renewed sense of expansion in sound, informed by more than five years of CV & JAB’s continuous sonic wanderings and wonderings together. The labyrinthine and meteorological odyssey becomes tangible in the artwork, realized by the duo’s long-time collaborator Zin Taylor, mind and hand behind their two previous albums’ covers. Κλίμα (Klima)’s simulacra evokes a map in which curves transform into a score with “small systems of differences emerging side by side”. - Vittoria de Franchis, July 2023

WRWTFWW Records is honored to present a one of a kind collaboration release between buzzing UK producer and DJ Pizza Hotline and Swedish electronic and synth icon Mitch Murder, delivering 3 gigantic tracks each for the Anti Gravity Tournament album, now available as a limited-edition LP housed in a heavyweight 350gsm sleeve illustrated by the legendary junkboy. It is also available in digital formats.

Inspired by the classic WipEout video game series, this high-energy boosted split-album transports listeners into the futuristic world of anti-gravity racing, a colorful turbo adventure soundtracked by 6 mega tracks of fast-paced atmospheric jungle, thunderous breaks, and liquid drum & bass. The adrenaline-fueled collection delivers maximum energy and dreamy vibes, a true paradise for fans of 90s/Y2K video games, LTJ Bukem, Peshay, Soichi Terada, and previous efforts by Mitch & Pizza.

Anti Gravity Tournament follows 2 critically-acclaimed albums by Pizza Hotline – Level Select and Polygon Island, both still available on WRWTFWW Records, as well as the limited Low Poly Breaks cassette series which sold out in a few minutes.

Mitch Murder is known as one of the originators of synthwave and has released timeless albums on Rosso Corsa Records, Mad Decent, and My Pet Flamingo (TimeSlave Recordings). He is also the man behind the Kung Fury soundtrack and has collaborated with…David Hasselhoff himself!

The astonishing exclusive artwork comes from the one and only junkboy, creative director at Mojang Studios (Minecraft) and all-around design grandmaster.

Fasten your seatbelt and join the fun. </p><iframe style="border: 0; width: 350px; height: 340px;" src="https://bandcamp.com/EmbeddedPlayer/album=1175731080/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://wrwtfww.com/album/anti-gravity-tournament">Anti Gravity Tournament by Mitch Murder x Pizza Hotline</a></iframe>

We invite you to embark on a captivating sonic odyssey with Quiet Logic, a masterpiece co-crafted by electronic maestros Mixmaster Morris and Jonah Sharp at Haruomi Hosono’s Studio back in 1997. It encapsulates a time when electronic music was undergoing rapid transformation, and these artists were at the forefront, pushing boundaries and redefining soundscapes. Inspired by their unique musical backgrounds, from Hosono's immense contribution to electronic music, and a key figure in the renowned group Yellow Magic Orchestra, to Morris's illustrious worldwide chill out DJ performances and Sharp's pioneering San Francisco Reflective label, Quiet Logic delivers a blend of intricate rhythms and celestial environments remastered for 2023 and available for the first time on vinyl format. Listeners are invited to once again traverse its ambient realms and complex beats. For fans of Haruomi Hosono / YMO, The Irresistible Force, Spacetime Continuum, Dreamfish, Tetsu Inoue, FFWD, H.I.A., Fax +49-69/450464, and mind expanding musics.

Incienso chase Loidis’ acclaimed AOTY ’24 with Raven’s lush debut salvo of wistfully warm and fuzzy ambient house. RIYL NWAQ, Anthony Naples, Huerco S., Actress, James Stinson.

Effortlessly comfy as your favourite fleece sweats, ‘Gnosis’ dials into a real classic vein of lounging ambient music where spirits of US new age and neo classical waft into beatdown, deep house and vaporous dub techno. It’s not their first rodeo - there’s a string of self-released works behind this one - but it’s likely to convect their sound far and wide amid good company on Anthony Naples & Jenny Slattery’s cherry picking, NYC-based label.

Each cut hits a proper sweetspot between nostalgia jogging electronica and afterhours couch-gouch with the slow-burn efficacy and groggy seduction of THC edibles. The breezy petal scatter keys and high-tog tape fuzz of ‘Gnosis Theme’ invite comparison to BoC via NWAQ, before the album sashays between a series of charms with the dazed arps andwrabling chops of ‘Endless Edition’ thru the shine-eyed beatdown of ‘Jupiter’, to Actress-alike drifting keys on ‘infinite Edition’, with a dead sweet lift reserved to the album’s final 3rd of half step dub techno ‘In Loving Memory’ and San Fran disco kiss ‘Unlimited Edition’, to the Drexciyan impulse of ‘Final Fade Sync.’ 

No brainer!

Pitchfork gave it a good score of 7.4! Anthony Naples and Jenny Harris are well known for their work on The Trilogy Tapes and Proibito, and are also known for their work on the Harris' "The Trilogy Tapes" and "Proibito" labels.
DJ Python is also known for the smash hit "Dulce Compañia," his 17-year debut LP on Slattery's hot label, Incienso.
DJ Python's second album is an immersive sound that blurs the boundaries between ambient and dance music. The second album from DJ Python, who has been known around the world as "deep reggaeton", is an immersive work that blurs the line between ambient and dance music, updating Jamaican dance sounds from dancehall to reggaeton to dembow with a deep ambient perspective. The preceding single "ADMSDP" (B2), which features poet/performer LA Warman on vocals, is a masterpiece. The soundscape is a complete knockout!