On 1986's Celestial Realms (originally released
on cassette only), Laraaji conjures his typically vivid
soundworld of shimmering electric zither, while Goldman
inhabits that world with pulsing guitar and droning synthesizer.
Celestial Realms provides a blissful 46-minute ambient
“Branca’s first symphony is a massive behemoth of guitars, noise and alternate tunings with players that include the Theoretical Girls’ Wharton Tiers and Sonic Youth’s Thurston Moore and Lee Ranaldo. Branca’s Symphony No. 1 is one of the most raucous and inspiring compositions of the late 20th century.” – All Music Guide
Tapping the driftwood, tapping the surface of the water, everything on earth becomes his instrument.
In 1990, NEWSIC, a leading Japanese environmental music label, released a work by a rare percussionist
The work released by the rare percussionist is now on LP record for the first time.
Listening to Mr. Ochi's Natural Sonic reminds me of the days when I used to go to the studio of St. GIGA (satellite music broadcasting station), which was then located in Jingumae.
There, this album was secretly played day after day.
After more than 30 years, "Chikyu no Chikugo" was finally released to the world.
- Yoshiro Ojima (Composer / Music Producer)
Yoshiro Ochi is a percussionist who has been active in a wide variety of fields, including composing and performing music for the Issey Miyake Collection from 1984 to 1990, producing music for TV and radio, participating in live performances by GONTITI and other artists, and conducting workshops.
He has collected colorful living tones by traveling, playing drums, and tapping on natural objects he encounters. They blend gently with computer sounds and repeat pleasant resonance.
A magical massage of sound and rhythm.
Following "Motohiko Hamase - Tree Scale," one of the most popular titles on the "NEWSIC" label, this long-awaited analog record pressing is now available!
Translated with www.DeepL.com/Translator (free version)
Burial releases a limited 12-inch EP "Streetlands", the sequel to "Antidawn"!
With his 2006 masterpiece debut album "Burial" and 2007's second album "Untrue", which was hailed as "the most important electronic music work of this century", he set two monumental achievements, and his true identity still remains. Although his background is unknown, Burial has fascinated many music fans and has influenced many artists.
With his overwhelmingly original sound, he reigns as one of the leading artists of the 2000s. Released in.
It is an ambient work with a texture that you can tell at a glance that it is Burial's work, and its profound sound sets it apart from others, creating a unique world that exceeds 30 minutes despite being an EP work.
‘Escapology’ - Kode9's first album since 2015's ‘Nothing’ – is the first audio document of a wider project, Astro-Darien, ongoing since last year. His most ambitious work yet as a multi-disciplinary artist, ‘Escapology’ is the soundtrack album to the sonic fiction Astro-Darien, which will be released in October on Hyperdub’s sub-label Flatlines.
The music reconfigures Astro-Darien's tense, off-world atmospheres into slices of high definition, asymmetric club rhythms, woven through thrilling sound design and vertiginous sonics.
‘Escapology’ is just one entry point into of the Astro-Darien universe, which had begun to surface in 2021 as a two-week audiovisual installation on the main dance floor at club space Corsica Studios in South London, and as a multi-channel diffusion on the 50 speaker Acousmonium at the invitation of INA-GRM in Paris, the institution founded in 1951 by the musique concrète pioneer Pierre Schaeffer, composer Pierre Henry and the engineer Jacques Poullin.
This is the seminal first studio work by revered dub producer Adrian Sherwood (Ministry, Nine Inch Nails, African Head Charge), engineered by Dennis Bovell (Fela Kuti, The Slits, Orange Juice). Dub From Creation was originally released on pre-On-U Sound label Hitrun in 1978. Recommended for fans of Scientist, King Tubby and the Wackies label. A classic of the genre unavailable on vinyl since original release and now commanding high prices second-hand.
Includes download card for full album plus two bonus tracks, and printed inner sleeve with a new essay by Steve Barker (The Wire Magazine/BBC Radio) telling the story of the recording in full.
Los Angeles producer and artist Nosaj Thing AKA Jason W. Chung returns with his fifth album, Continua - featuring a stellar ensemble cast including HYUKOH, Toro y Moi, Kazu Makino (Blonde Redhead), serpentwithfeet, Sam Gendel, Coby Sey, Julianna Barwick, Mike Andrews, Slauson Malone, Pink Siifu, Panda Bear & Eyedress.
Nosaj Thing's expertise is in crafting exquisite soundscapes that hold a mirror up to his journey from noise and punk shows at DIY venue The Smell, to his debut sets at Low End Theory, to touring with The xx and The Weeknd. Throughout, he has innovated with a live experiences conceived with Tokyo-based AV savant Daito Manabe. Chung's music carries such visceral humanity it feels like a disservice to refer to the 'mood' which pervades his records. But it's exactly that distinct mood which has made Nosaj Thing such a cult artists across his 16-year-deep discography.
Scientific Bulletin From The Safe Trip Institute, Amsterdam.
Our latest communication to colleagues concerns an audio artefact – library reference code ST019 – provided by our esteemed Japanese brothers Satoshi and Makoto. They unearthed it from their own archive of musical experimentations and laboratory tests, which have been ongoing since the 1990s. They have shared it so that the process of peer reviewing can begin in earnest.
We have undertaken thorough testing in the Safe Trip Laboratory and offer the following observations:
Colleagues in Japan provided us with sample product of the following audio artefact – file number ST015 – believing that it may be relevant to the Safe Trip Institute’s ongoing research in this area of study. After rigorous testing and analysis, we would like to offer the following observations:
• By running each of the 10 pieces of music that make up the artefact through the Past Fire Particle Analyzer, we have ascertained that every single note, chord and aural element was created using the CZ-5000, an electronic instriment built by Japan’s Casio Corporation.
• One of our researchers discovered that if you assign a Pantone colour code to each different musical note featured on the artefact, all bar 734 of the 1,867 “spot” colours are present. By gathering these together on one screen, she discovered that most of the “musical colours” employed by Satoshi & Makoto were shades of purple, orange, red, green, yellow and pink.
• In laboratory tests, listeners were instinctively drawn to the following percussion-free compositions: ‘Crawl Up (ST019-02)’, a combination of vibrant melodies and rumbling sub-bass; ‘Updraft (ST019-08)’, which one listener claimed helped him see through time; and ‘Kass (ST019-09)’, a musical voyage through neural pathways that should interest colleagues within the world of phrenology.
• Test subjects also responded positively to a number of other artefacts, with one insisting that ‘Corendor (ST019-03)’ induced intense feelings of joy thanks to its use of vibrant melodies and “shuffling beats”. We draw no conclusions from this comment but think it worthy of further discussion.
We invite colleagues the world over to analyse and test this audio further in order to increase our understanding of Mr Satoshi and Mr Makoto’s archive aural artefacts. We eagerly await your correspondence.
We write to you with the conclusions of our investigation into the synthesized audio transmissions picked up by the deep space telescope at regular intervals since 1986. The source was traced to two brothers in Kawasaki, Japan, who identified themselves as Satoshi and Makoto. When we raided the building, they were huddled around a synthesizer manufactured by the Casio Corporation, model number CZ-5000.
In their archives we discovered a wealth of colourful and ear-pleasing material created entirely using this music-making device in the early 1990s. We asked them to provide copies so that we could make these compositions available to the public for the first time. They handed us a compact disc that bore the handwritten code “ST006”.
This work, which was recorded at the same time as the previous work "KID A", is a beautiful work that swallows everything from noise to blues. Includes "Pyramid Song", "I Might Be Long", "Knives Out" and others.
Eliane Radigue's Chry-Ptus is her very first piece for the modular synthesizer. It was composed in 1971 using a Buchla 100 which had recently been installed at NYU by Morton Subotnick. This double-LP was mastered by Golden and pressed at RTI for maximum fidelity.
From the original press release: "Chry-Ptus (1971). Originally two tapes which were to be played simultaneously, with or without synchronisation, which does not affect the structure of the work, but creates changes in the game of sub-harmonics and overtones. Three variations on this piece were performed at the New York Cultural Center in 1971, with variations of amplitude and location modulation as well as synchronisation. Realized on the Buchla Synthesizer at the New York University. The booklet contains a text by painter Paul Jenkins, who also realised the watercolor on the front cover, written on occasion of Radigue's first concert in New York, April 6th, 1971. "It's with the Buchla that I constructed Chry-ptus, a piece made up of two tapes with an analogue duration, 22 or 23 minutes, which could be played either simultaneously or with a slight time difference, so as to establish slight variations every time the piece was played. I spent the first months eliminating everything I did not want; I even used a notebook in which I tried to determine a writing system resembling chemical formulae." --Eliane Radigue
Exclusive Mesh-Key release of Sakamoto's brilliant third solo album, with completely different art from the Japanese release. Comes with full-color inserts with lyric translations, and digital download cards.
After 20+ years with psych legends Yura Yura Teikoku, Shintaro Sakamoto’s third solo album is a bonafide masterpiece of warped steel guitar, ambient disco and AOR soul.
“Like a language of Sakamoto’s own…made with a ship-in-the-bottle-like focus.” Pitchfork (7.8)
“Love If Possible is the pay-attention-moment. Not enough know. More should know.” Under The Radar
“Perfectionist pop for the extraterrestrial bachelor pad.” Spin