MUSIC

The rare 2016 masterpiece is reprinted to commemorate the 10th anniversary of the Constellation Tatsu! H.TAKAHASHI, an ambient musician / architect in Tokyo, draws a watercolor ambient image with roots in the aesthetics of Japanese "environmental music" under the direct line of Hiroshi Yoshimura.

The rare 2015 masterpiece is reprinted to commemorate the 10th anniversary of Constellation Tatsu! Here is the end of dub and ambient that permeates the SNS level. Maybe it's going to leap like Zonotope → Jerry Paper.

Hoavi channels the solitude of nature in winter direct from his native city of St Petersburg, Russia on his 11 part album “Posle Vsego” - Quiet Time’s first release of the year. This collection of works from 2013 to 2020 departs from his recent work, forgoing dubby jungle breaks for more abstract ambience comprised of layered analog synths and sample recordings. Hoavi’s moody ambient has a warm retro feel to it, but is decidedly unique and contemporary in its composition and mood. Like a walk through a forest in winter, it feels lonely and foreboding, yet simultaneously serene and full of beauty.

Long out-of-print and much sought after locally. First time available outside Gabon. Modernized ceremonial music from the interior forest of Gabon. Rare recordings of Bwiti ceremony music. Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music. Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution. Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists. On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

After "Bristol Pirates" in '19, it's pirate radio all over again! From "Death Is Not The End", a great place to dig up antique music from all over the world, from pre-war blues to immigrant music and South American folklore, comes a super-impressive compilation of pirate radio commercials from the heyday of London stations between 1984 and 1993. Attack! This is a collection of about 10 years of pirate radio advertisements from the station, which is well known as a regular program on NTS Radio, and includes material provided by Simon Reynolds and the Pirate Radio Archive. "I find a recording of a pirate radio DJ set somewhere and listen to it whenever there's a commercial break. Most of the time, however, the people who recorded them stopped the tapes when the ads came on. It is truly a feat of hard digging, and the fact that most of the clubs, pubs, businesses, DJs, and promoters mentioned here no longer exist is a stiff antique... It is a historical documentary of the past, far from the present, and "the nostalgia associated with them has a certain It is a historical documentary about a past far removed from the present, and "the nostalgia surrounding them has a certain socio-historical significance" (Luke Owen, Death Is Not The End). This is a very valuable film that contains 40 air check scenes.

Originally conceived as a mock live bootleg for Turn Us Alias 2020 (Macao’s Saturnalia festival online edition), Stock Fantasy Zone is the new album by Babau dedicated to the unearthly delights of unconscious reticular motion, wacky 2D shredding and daily side quests. Directly from inside the Stack, finally imagine a zone where all activities are possible but purposeless, all primary objectives are achieved without even moving and the game-logic has finally disappeared leaving back a virtual fauna of forsaken babbling Npc’s and uncharted, yet to be tested stockpiles of maps and levels. Lofty low poly structures, tentacular mickey-mousing gesticulations, already obsolete sonic ontologies and the unsung age of Dreamcast fantasy frenzy. All and all, just another day spent testing the margins and edges of the simulation without leaving your Sofa. Don’t wait! Enter the Stock Fantasy Zone! Stock Fantasy Zone has been mentioned by Simon Reynolds among his 2020 albums of the year and two tracks have been selected by Kode9 for a mixtape released by Club To Club Festival.

Demdike Stare zoom into the late 90’s sweetspot where jungle producers swang into UKG and R&B with a high grade mixtape spliced together with typical, obsessive knowledge and swerve - trust it’s one of their best. Mining one of their essential touchstones, ‘The Call’ highlights the ’97-’99 period in the UK when the likes of Steve Gurley, Anthill Mob and Sky Joose were key players in the phase shift from ruff to sweet club styles around needlepoint 2-step drum programming. Also spotlighting the irrevocable influence of US R&B at the time, the mix homes in on one of the hardcore ‘nuum’s most fascinating innovations, when original, leading producers reclaimed their music from the sweatier excesses of jungle/D&B, and ushered it back to sexier, slinkier styles primed for dressing up and showing off - not gurning your tits off and brukking the f uck out. Stitched together with subtle, patented sleight-of-hand edits and dial strafe smudges, the mix exerts exquisite control for one hour of dainty rudeboy shuffle and woodblock parry in honour of their innovative heroes. Without overstating it, they trace UKG’s flex from bumpty speed garage soul inflicted with syrupy R&B, to its four-to-da-floor variants, and the sparkier punctuation of 2-step, proper, emphasising the sound’s rhythmic and textural sensuality with triple deep and eternal cuts that find the sound crystallizing from a delicious flux of puckered US garage-house and R&B-soul aspects, and updating the memory banks of original UK rave. Like the post-factum UKG archaeology of Finn and Oneman, Demdike’s picks are educated and educational, but never academic - presenting an ideal primer on the way styles shifted quickly back then, exemplifying how the tussle of energies between the house traction of Grant Nelson, Dem 2’s dissection of Timbaland/The Neptunes’ mainstream R&B, and the restless bad foot of rave were factored by the adroit chops of early jungle DJs on radio stations such as Freak FM and Jason Kaye’s Sun City mixes.

On the A side Akie mixes everything from ambient interludes to raw drum machine workouts in an almost diaristic way with sections of field recordings and voice notes fading in and out. B side sees Lil Mofo repurposing everything from dad rock to Chain Reaction 12”s, using the echo chamber as a instrument and means of connecting seemingly disparate sounds & genres. Definitely one for a late night drive with no destination / or an intimate vision quest in the living room in front of the space heater.

The second part in a collection of stunning Persian-tuned piano pieces, cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965. Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day. An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979. Presented here is a collection of Morteza Mahjubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry & song. The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts.

David Goren is a radio producer and audio archivist based in Brooklyn, NY. For several years he's researched New York City’s pirate radio community, producing “New York City’s Pirates of the Air” for the BBC World Service & "Outlaws of the Airwaves: The Rise of Pirate Radio Station WBAD” for KCRW’s Lost Notes podcast. More recently, Goren has been cataloguing his meandering across his local pirate radio frequencies via the Brooklyn Pirate Radio Sound Map (BPRSM) - tracing the lingering connections between unlicensed radio broadcasting and Brooklyn's local neighbourhood culture in the digital age. Brooklyn Pirates: Neighbourhoods in the Sky, 2014-2021 pulls together a clutch of cut-up recordings captured by David on the BPRSM, traversing the dial across raucous soca jams & kompas, through to Grenadian election news, Haitian funeral announcements and ads for Jamaican patty shops & spiritual healers - plus broadcasts from Turkish, and Orthodox & Sephardic Jewish pirate stations to boot. Covering a period between the mid-2010s right up to earlier this year, the B side in particular captures the uniquely idiosyncratic and hyper-local reactions of the Brooklyn pirates to the global disintegration of the early 2020s - the coronavirus pandemic, George Floyd, the US election and more - acting as a vital document of social history demonstrating the value of DIY community broadcasts during a period of worldwide lockdowns and the wholesale breakdown of politics.

Rare Pleasure is Mndsgn's third album to be released on Stones Throw Records. Following 2016's Body Wash, this album truly shows the artist's evolution from his roots as a heralded beatmaker to vocalist, songwriter and arranger. Though he began writing for the album in 2018, the final recordings took just a week in studio with the help of trusted collaborators: Swarvy on bass, guitar and as Musical Director for the sessions, Stones Throw label mate Kiefer Shackelford on keys, drum work by Will Logan, the blessed percussion of Carlos Niño, Miguel Atwood-Ferguson on strings, and accompanying vocals from Fousheé and Anna Wise.

Daydream Nation was Sonic Youth’s sixth full-length, their first double-LP, and their last for an indie label before signing with Geffen. 

Widely considered to be their watershed moment, the album catapulted them into the mainstream and proved that indie bands could enjoy wider commercial success without compromising their artistic vision. 

More recently, Daydream Nation has been recognized as a classic of its era: Pitchfork ranked it #1 on their “100 Greatest Albums of the 1980s”; Spin listed it at #13 on their “125 Best Albums of 1985-2010”. Daydream Nation was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry in 2006 and it was voted "One of the Greatest Albums of All Time" by Rolling Stone. 

Try and up that feel-good jam and ride worlds with spinning city’s. Now delete scene. Where’s the fucking high?!

A Certain Frank is the Düsseldorf based duo of Frank Fenstermacher and Kurt “Pyrolater” Dalhke. Through the 80s and early 90s, they made speedy, wild coldwave as Der Plan, releasing music on their own label Ata Tak (which also released Oval’s wonderful debut ‘Wohnton’!). In the mid-90s, influenced by a lifelong love for the exotica and tiki bar jazz of Martin Deny and Les Baxter, the two formed A Certain Frank. Hence, the sounds of A Certain Frank are far warmer, sensual and sultry than that of Der Plan. “Without You,” from their 2001 album ‘Nothing,’ approaches something like Sade across its pulsating, truly gorgeous six minutes. And the New Age composition “Naïve,” from A Certain Frank’s 1996 debut ‘No End No…’ (and appearing on DSPs for the first time courtesy of your friends here at ULYSSA), drifts back-and-forth between enchanting flute lines and brooding, synth stabs. And then, there’s “Nothing,” a shadowy triphop earworm that stands confidently alongside the work of Skalpel or Portishead. Yes, A Certain Frank is that good and, sadly, that overlooked. In fact, taken altogether on ‘Ulyssa presents: A Certain Frank,’ it becomes quite clear that their austere dada experiments in electronic lounge and jazz are as curious and captivating as more celebrated albums like Nuno Canavarro’s ‘Plux Quba’ and Björk’s ‘Debut.’ The time has come to give A Certain Frank its due. ‘ULYSSA presents: A Certain Frank’ is the first time any of these songs have been released on cassette and the first time songs from ‘No End No…’ have come to streaming services. ULYSSA Season 2 begins here. Sploosh.

Endless piano and tape loop variations by Australian composer and multi-disciplinary artist, Lisa Lerkenfeldt. A music for three pianos in the advent of isolation. A poem to Xerochrysum Viscosum, an everlasting daisy native to Melbourne, Victoria. An unfolding fantasy through the field of time. A proposal for multiple players and machines. 'A Liquor Of Daisies' is the prelude of Lisa Lerkenfeldt's forthcoming album 'Collagen', out summer 2020 on Shelter Press.iframe style="border: 0; width: 350px; height: 208px;" src="https://bandcamp.com/EmbeddedPlayer/album=892168959/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless>A Liquor Of Daisies by Lisa Lerkenfeldt

Musician and composer Sahba Sizdahkhani serves as a unique crossroad of East meets West. Influenced heavily by both 1960’s spiritual free-jazz and Persian Classical Music, he channels the fire-energy and longing for connectivity these two stormy histories represent. At age 12, his self-proclaimed “aha moment” occurred while listening to The John Coltrane Quartet for the very first time. He was hooked and immediately began studies on jazz drum set and classical snare drum. As the years passed, however, his ferocious love of jazz and improvisation would open pathways and pointers to his native roots of Persian Classical Music, and eventually, he would begin formal studies on the Iranian santur with master santur player Faraz Minooei. Sahba has completed two separate Bachelor of Arts degrees: one at Berklee College of Music, in Jazz performance, and the other at The University of Maryland, in Art History & Archeology. He worked in Paris for several years in textile design but ultimately moved back to New York city to further pursue jazz drumming. He has composed film scores for Chelsea Winstanley (JoJo Rabbit), Whalerock Industries, maverick avant filmmaker Paul Clipson, as well as a live score performance for the Cinema 16 series in the legendary tunnel underneath the Manhattan Bridge. Additionally, Sahba has recently recorded with Michael Morley(Dead C) and currently has running musical collaborations with Derek Monypeny, Rob Magill, and Zachary James Watkins + Ross Peacock. He has shared live bills with a vastly diverse class of artists including Laraaji, C spencer Yeh, Susan Alcorn, Henry Kaiser, Rova Saxophone Quartet, Sunwatchers, Wizard Apprentice, Talibam!, Plankton Wat, Peter Brötzmann, and Don Dietrich (Barbetomagus). He has performed at The White House, Park Avenue Armory, Kennedy Center for the Arts, Basilica Hudson’s 24 Hour Drone Festival, WFMU live performance, “Fire Over Heaven” at Outpost Artist Resources, The Embassy of France, VOA studios, and Garden of Memory Festival at The Chapel of the Chimes. Sahba’s hazy, atmospheric solo performances with 104-string santour and drums have been described as “a dispatch from antiquity.” And WIRE magazine recently stated “Sahba Sizdahkhani starts playing [his] instrument as if he's pleading for his life. His playing is breathtaking. . .” This particular work, “GANJ,” which translates to “treasure” in Farsi, documents the magical first meeting between a musician and a new instrument. It is the first ever raw, unrefined recording of Sahba on solo santur as opposed to drum set. It was recorded in solitude during the Winter Solstice of 2019 without any prior training or study whatsoever on the mystical 102-stringed trapezoid dulcimer. The consequent emphasis due to lack of any technical skill, was pure sonics, overtones, resonances, and an homage to minimalist composers such as Terry Riley, La Monte Young, and early Miles Davis. Days after completing this work, Sahba rushed to seek out formal studies of the Persian Classical Radif with his current teacher, Faraz Minooei.

Atsuko Hatano is a contemporay classical Viola player who works with electronics to add textures and layers to her sound. Located in Tokyo, Japan, she is a commanding instrumentalist and composer who constructs innovative compositions with strings and layered electronics...... ...Cells #5 is an orchestral collection and sequel to her previous album Cells #2 which will also be released on cassette via Imprec’s Cassauna label. Cells #5 required three years to complete and the work features the artist’s signature methodology where the instrumental performances are gradually enveloped by multiple layers of a string orchestration. When not playing solo Atsuko is extremely active recording, collaborating and playing live with Jim O’ Rourke, Eiko Ishibashi, Mocky and many more acts. Atsuko Hatano: Violin, Viola, Cello, Contrabass, Piano (track 1), Xylophone, Oscillator and Chorus Guest Musicians: Eiko Ishibashi: Piano, Marimba, Vibraphone Yuko Ikoma: Accordion Natsumi Kudo: Horn and flugelhorn Icchie: Trumpet, Flugelhorn, Piccolo Trumpet Tatsuhisa Yamamoto: Snare Drum Composed and Mixed by Atsuko Hatano Mastered by Jim O’Rourke Cover by Saskia Griepink

Pauline Oliveros and Guy Klucevsek's "Sounding / Way" was originally released on cassette in 1986 and has been out of print ever since. This LP was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. The Sounding / Way concept was simple. Each artist would write a piece for two accordions and then they would perform them together. Thus, side A contains Guy Klucevsek's Tremolo No. 6 performed by Guy Klucevsek and Pauline Oliveros. Side B contains Pauline's composition The Tuning Meditation, also performed by both Pauline and Guy. This is the second release in an on-going effort between Important Records and the Pauline Oliveros Trust to maintain and promote the music, philosophy and legacy of Pauline Oliveros. Guy Klucevsek is one of the world’s most versatile and highly-respected accordionists. He has performed and/or recorded with Laurie Anderson, Bang On a Can, Brave Combo, Anthony Braxton, Anthony Coleman, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn. Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." ~ John Rockwell "Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." ~ John Cage

Pauline Oliveros' Tara's Room has long been a favorite in the Imprec office and it's a great honor to be able to release it on LP for the very first time. Tara's Room was cut by John Golden and pressed at RTI in order to achieve a quiet, dynamic pressing. Originally released on cassette in 1987 following the 1986 release of "Sounding / Way" with Guy Klucevsek which is also available on LP via Imprec. (For more info scroll down past audio...._ "Both pieces are intended to aid the listener in times of spiritual change, but are just fine for 'everyday' use as well. Highly recommended." Charles S. Russell, Ear Magazine This LP features two long sides of infinite depth and sensitivity. Oliveros performs these pieces using a Just Intonation accordion and her Expanded Instrument System in order to bend both time and pitch. Pauline Oliveros, composer, performer and humanitarian is an important pioneer in American Music. Acclaimed internationally, for four decades she has explored sound - forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it, and eludes many who try to write about it. Oliveros has been honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment is unchanged. She can make the sound of a sweeping siren into another instrument of the ensemble. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." ~ John Rockwell "Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." ~ John Cage

He is known for his collaborations with big names such as Ry Cooder, Vampire Weekend and Moses Sumney, and as the leader of the jazz trio "Inga", Sam Gendel is a very popular fourth-world inspired saxophonist from LA who has created a unique and free sound that can be described as psychedelic, outsider or meditative. His latest album "Fresh Bread" from Leaving, which is arguably the most important album of the year, is now in stock. It's an all-genre anthology of 52 tracks selected from his personal archive of home recordings and performances from 2012 to 2020. Carlos Niño, Jamire Williams and others also participate.

A collection of stunning Persian-tuned piano pieces cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965...

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts. 

From the late 1950s onwards a music scene developed around Cambodia's capital Phnom Penh, inspired by the prevalence of imported rock & pop records arriving in the country from US & UK and also chanson and bolero records from France & Latin America. This collection documents some of these early home-grown slow rock, pop & rnb 45 recordings from the early 60s, prior to the further embrace of US psych & garage rock-orientated sounds in the mid 60s and into the Vietnam war era.

From the late 1950s onwards a music scene developed around Cambodia's capital Phnom Penh, inspired by the prevalence of imported rock & pop records arriving in the country from US & UK and also chanson and bolero records from France & Latin America. This collection documents some of these early home-grown slow rock, pop & rnb 45 recordings from the early 60s, prior to the further embrace of US psych & garage rock-orientated sounds in the mid 60s and into the Vietnam war era.

Don’t DJ meets Fourth World, Indonesian Music and Exotic Ambient Sound! Asa Tone is a multidisciplinary, multinational group formed in New York City comprised of Melati Malay, Tristan Arp and Kaazi. Originally commissioned by Yu Su as an event-specific work for the New Forms Festival in Vancouver in 2020, Asa Tone worked together virtually during quarantine, embracing new approaches in chance-based composition. The group’s members individually recorded a pool of generative loops and field recordings in lieu of performed “songs,” adhering to general tempo and key parameters, yet each responding to their respective lockdown environments in Mexico City, New York and the Australian rainforest. From this nonlinear web of possibilities, Asa Tone prepared a continuous 30 minute piece via zoom, which was later adapted and spatialized for the 4D sound / 32-channel audio system at Lobe Studios in Vancouver by producer and festival curator Yu Su.