MUSIC

Thrill Jockey celebrate their 20th Anniversary with this new edition of the seminal first album from Totroise, finally available again on vinyl.

Millions Now Living Will Never Die is the second full-length offering from Tortoise. The majority of the material was first conceived during an idyllic 10-day retreat in Northern Vermont, where the group were able to explore their ideas in a setting that fostered introspection and inspiration: the results are clearly evident in the washes of Klangfärben (tone color) and rhythm that permeate the album. The sounds and ideas contained therein can be viewed as a logical extension of those found their first (eponymous) LP on Thrill Jockey where the group outlined an agenda exploring texture, space, and mood. MNLWND, however, offers not only an expansion of those ideas but also the introduction of several new elements into the musical equation. New instrumental textures (marimbas and other mallet percussion on "Djed" (pronounced "jed"); conventional electric guitar on "Glass Museum"; analog synthesis/sequencing and found sound on "Dear Grandma and Grandpa") and structural ideas (the extended formal procedures of "Djed"; the non-narrative song "Along the Banks of Rivers") represent clear developments and redefinition's of the group's sound.Recording commenced immediately upon returning to Chicago, though due to a variety of reasons, the entire recording and mixing process became elongated. This less hurried approach to album making allowed the group to explore more of the possibilities inherent in the material; the 21-minute "Djed" is ample proof of this. The final version of the track went through approximately 15 different stages of mixing and editing. Like their debut, MNLWND was recorded and mixed by John McEntire (also at that time had produced material by Stereolab, Run On, The Sea and Cake, Trans Am, and Come). The majority of the album was recorded and mixed at Idful Music Corporation in Chicago, with the remainder being realized at the newly established SOMA Electronic Music Studios. MNLWND is the first studio recording to feature the talents of David Pajo, who joined to fill the position vacated by Bundy K. Brown in late 1994.

Black Tape II is only the second widely available release by Ohkami No Jikan (The Time of the Wolf), one of the more esoteric groups of the 1990’s Tokyo underground. Recorded in 1992, it illuminates a largely undocumented facet of Nanjo Asahito’s psychedelic cosmology, distinct form his better known work with High Rise, Musica Transonic and Toho Sara. Aside from a handful of limited, handmade cassettes and CD-Rs on his La Musica label, there’s only been one Ohkami No Jikan album, Mort Nuit, that made it beyond the collector inner circle. One of Nanjo’s longest-running, most mysterious outfits, Ohkami No Jikan’s conceptualisation – as a psych outfit “that explores ‘stasis’ and ‘motion’, both actively and philosophically” – hints at the intensity of the music here. There’s a pellucid beauty to much of Black Tape II, with the simplest, most erotically charged chord changes descending from the heavens, Nanjo moaning consumptively as the songs slip by in an acid daze. The 1992 line-up here, with Asai Fumiyo on bass and Nagao Kouji on drums, was one of many variations of Ohkami No Jikan; simultaneously languorous and heavy, at times pushed into the red with sharp feedback arcs, the group feels cosmically aligned with Nanjo’s purity of vision. “Unreleased recordings from the the ‘92 Black Tape (cf. 068). Cool acid heavy psychedelic sound takes that weren’t used on the original release. Early studio demos.” - from the original La Musica cassette release Available for the first time on LP or any physical form aside from a small run of hand assembled cassettes on the Japanese La Musica label in mid ‘90s (LA-077). Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990's. It released nearly 200 cassettes and cd-r's, all handmade in micro-editions sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo psychedelic underground. Black Tape II is part of Black Edition's work to bring La Musica's unique and confoundingly beautiful catalog to light.

This is a 1975 dub classic by King "The Dub Master" Tubby, the founder of technique dub and a craftsman who repaired sound system equipment in Jamaica.

An album Maximum Rock 'N' Roll deemed not punk enough to review, Unwound’s 1994 sophomore effort was a lethal depth charge aimed at major label grunge and independent hardcore alike. From the off-kilter, vertiginous rhythm of “Entirely Different Matters” to the neck-snapping velocity of “What Was Wound” to the relentless pounding at the end of “All Souls Day,” New Plastic Ideas is the Sonic Youth loving older sister to Fake Train's post-punk-obsessed little brother.

At first, Gia Margaret called her new album ‘Romantic Piano’ to be a bit cheeky. Its spare, gentle piano works share more spirit with Erik Satie, Emahoy Tsegué-Maryam Guébrou and the ‘Marginalia’ releases of Masakatsu Takagi than they do with, say, a cozy and candlelit date night. But in that cheekiness lies hidden intention: across the gorgeous set, “Romantic” is suggested in a more classic sense, what the Germans call waldeinsamkeit. Its compositions conjure the sublime themes of the Romantic poets: solitude in nature; nature’s ability to heal and to teach; a sense of contented melancholy. "I wanted to make music that was useful,” says Margaret, vastly understating the power of the record. ‘Romantic Piano’ is curious, calming, patient and incredibly moving — but it doesn’t overstay its welcome for more than a second. Margaret’s debut, ‘There’s Always Glimmer,’ was a lyrical wonder, but when an illness on tour left her unable to sing, she made her ambient album ‘Mia Gargaret’ (another cheeky title!) which revealed a keen intuition for arrangement and composition not fully shown on ‘There’s Always Glimmer’s lyrical songs. ‘Romantic Piano’, too, is almost totally without words. “Writing instrumental music, in general, is a much more joyful process than I find in lyrical songwriting,” she says. “The process ultimately effects my songwriting.” And while Margaret has more songwriterly material on the way, ‘Romantic Piano’ solidifies her as a compositional force. Originally pursuing a degree in composition, Margaret dropped out of music school halfway through. “I really didn’t want to play in an orchestra,” she said of her decision, “I really just wanted to write movie scores. Then, I started to focus more and more on being a songwriter. ‘Romantic Piano’ scratched an old itch.” ‘Romantic Piano’ does indeed touch on a rare feeling in art often only reserved for the cinema — a simultaneous wide-lens awe of existence and the post-language intimate inner monologue of being marooned in these skulls of ours. How very Romantic!

Formed in 1971, Nass El Ghiwane's five members first performed together as actors under the Moroccan playwright and director Tayeb Seddiki. Following their debut performance as a band in Rabat at Seddiki's Mohammed V Theatre, their songs became the 1970s anthems of Moroccan youth -- nationalist, rebellious, experimental and bygone all, at once. Their music echoes medieval Moroccan oral traditions, traditional poetics and tales of Sufi mystics, and they were the first to introduce the banjo and colloquial Moroccan Arabic in their version of the Shaabi genre. For an outstanding biography of the band, the documentary film Transes by Ahmend El Maanouni will blow your mind and showcase the importance of this band for Moroccan and Algerian culture. This reissue of their second LP, fully re-mastered, featuring exact repro of the original cover from 1973 is one of the most in-demand LPs in their legendary discography. Edition of 500.

2025 limited restock. Deep, deep, earth music from Tsutomu Ōhashi and the Geinoh Yamashirogumi crew. A macrosymphony composed for the International Garden and Greenery Exposition in Osaka, Japan, 1990, Ecophony Gaia, was supposed to be the stunning, aural centerpiece for a light and water performance system echoing the sentiment of the venue: "Harmonious Coexistence of Nature and Mankind". Ecophony Gaia was in its truest essence the final part of a trilogy that began with 1986's Ecophony Rinne, continued, in 1988, with their most-known work the soundtrack to Katsuhiro Otomo's dystopian, cyber-punk film Akira (released as Symphonic Suite Akira), and this release mere months later. Looking back one can break up these releases into a holy musical trinity: Ecophony Rinne = spirit, Symphonic Suite Akira = body, and Ecophony Gaia = Gaia/earth. Ecophony Gaia is Geinoh Yamashirogumi's most hopeful release. Rebirth, the hardest thing to capture in music, is something Ecophony Gaia expounds upon through sonics and feeling. You hear this in light echoes from Symphonic Suite Akira coursing through Ecophony Gaia, acting as symbols saying: "not everything from the past needs to be discarded, that certain things, when rethought of, hold a heavier power". The Japanese Noh music you heard trapezing through Akira's "Illusion" walks positively untethered in Ecophony Gaia's "Euphony", Indonesian gong chimes that hit darkly in Akira's "Tetsuo" transform Ecophony Gaia's "Catastrophe" into the light sublime, serene music that it is. What's left over are the songs that point to new directions. Those that derive their influence from things that aren't easily quantifiable. The introduction of field recordings to a warmer palette of sound makes Ecophony Gaia Geinoh Yamashirogumi's first roots album. Of course, these roots belong to worldlier kind of music. Rhythms that sound like water coursing downstream from brook to ocean, electronic layers that hum and cycle through, string instruments that hover like atmosphere, wind instruments that sound like air and breath, and the powerful sound of human voices presenting divinity through communal chant -- those all constitute the ecosystem of Ecophony Gaia. Things that you've heard/felt before, renewed in a different luster. When you hear the album, notice how there are two sides to its whole: "Chaos" ending in "Euphony", "Catastrophe" ending in "Gaia". It would be a disservice to describe the way it sounds, it's an album based on belief not premonition. All you'll find in Ecophony Gaia are movements. Hopeful movements. Needed movement.

Singer, actor and musician Farid El Atrache, born on October 19, 1910 in Soueïda, Syria, and died on December 26, 1974 in Beirut, Lebanon, is considered the greatest singer of the Arab world. A virtuoso of the oud, his timeless work, rich in hundreds of compositions, is recognized the world over. The present selection is devoted to the master's early works recorded in the 1930s-1940s. ----- Chanteur, acteur et musicien, Farid El Atrache né le 19 octobre 1910 à Soueïda en Syrie et mort le 26 décembre 1974 à Beyrouth au Liban est considéré comme le plus grand chanteur du monde arabe. Virtuose du oud, son oeuvre intemporelle riche de plusieurs centaines de compositions est reconnue dans le monde entier. La présente sélection est consacrée aux premières oeuvres du maître enregistrées dans les années 1930-1940.

Jeux d’eau is the result of an exploratory collaboration between the experimental ensemble Copenhagen Clarinet Choir and Danish composer and performer Anders Lauge Meldgaard. At the heart of the project is Meldgaard’s compositions and performance on New Ondomo—a Japanese instrument modeled on the pioneering French electronic instrument, the ondes Martenot, but what makes the music truly shine is the Copenhagen Clarinet Choir’s vibrant energy and adventurous spirit, bringing Meldgaard’s vision off the page and into a living, breathing soundscape through their playful and imaginative ensemble performance.

The initial spark for Jeux d’eau was struck during Meldgaard’s visit to the gardens of Villa d’Este in Tivoli, Italy—a place animated by fountains that once inspired Franz Liszt and Maurice Ravel to compose piano works of the same title. Echoing these earlier musical impressions, the project channels that lineage into a new sonic journey. Where some composers of the past often sought to define strict structures, Meldgaard’s work on Jeux d’eau instead offers an open framework—one that invites playful interaction and improvisation among the musicians. Recorded at The Village in Copenhagen, the album is a sonic experience where the organic resonance of the clarinet choir intertwines with the unpredictable textures of the New Ondomo and electronic landscape.

The work Jeux d’eau is open yet structured, forward-moving yet richly repetitive, drawing clear inspiration from American minimalists such as Terry Riley and Steve Reich, but rather than simply echoing the work of these pioneers, the music explores fresh terrain infused with a lyrical touch of late-romantic European sensibility, where flowing melodies and rich harmonies soften the rigor of repetition. At the same time, the music resonates with the clarity and delicacy that could be associated with Japanese composers such as Jo Kondo or Sueko Nagayo. The result is a sound world that is playful yet profound, one that continually shifts between pulsating momentum and delicate stillness. With each piece, the ensemble invites listeners into a captivating journey where tradition meets experiment, and where collective performance transforms composition into something vividly alive.

Conceived as a tribute to water and a reflection on the fragile bond between humans and the natural world, Jeux d’eau is both a sonic meditation and a quiet call to action. Through fluid forms and open notations, the work draws listeners into a space where music mirrors the dynamics of nature—demanding real-time awareness, collective sensitivity, and respect for balance. Like flowing water, the music adapts and transforms, reminding us that our environment, too, is ever-changing and in need of care. In this way, Jeux d’eau does more than celebrate nature’s beauty: it asks us to recognize our responsibility to protect the living systems that sustain us, and to pay caring attention to the world we live in.

"When you notice the cheerful mystery playing with the synths, the edges of this small world start to look slightly distorted. In any era, someone is always creating mysterious music on their own." (7FO) Music in DNA is an album recorded in the early 1980s in New York City and self-released in 1984 in Japan by Yasuhito Ohno, a young Japanese man breaking free from the constraints of his homeland. The album is a naive burst of outsider DIY enthusiasm, inspired by the multiple avant-garde movements of the era, in music, painting and performance, as well as the native energy of 80s NYC. Ohno channeled his youthful “edge” and zeal into open-minded lo-fi musical explorations using a mere two machines: the then-new technological glories of a four-track cassette recorder and that polyphonic synthesizer masterpiece, the Roland Juno-60; on several pieces he vocalizes. These seven tracks have a zestful, innocent, anything-goes charm, free from preciousness and self-consciousness: a raw and youthful human spirit at play in a new world. Ohno was also inspired by the humanistic promise of the general technological developments of the day, including DNA research, personal computing, and early computer graphics, an example of which can be found on the cover. Ohno later returned to Japan, becoming a renowned composer/producer. In an era of jaded cynicism, Music in DNA is a welcome taste of big-hearted innocence, a revival of a raw self. Available on CD/LP/Digital, with E/J liner notes by the artist.

*100 copies limited edition* "Music, like love, surprises you, makes your heart race, gives you new eyes with which to look at yourself in the mirror..." - Gigi Masin With an exclusive presentation by Gigi Masin, Up To 23 release their second album, now with an expanded three-member lineup following the permanent addition of Enrico Coniglio alongside founder members Marco Buffetti and Francesco Fincato. The album draws inspiration from the 1980s, evoking atmospheres reminiscent of sci-fi soundtracks. Partly romantic, partly doom ambient, the work unfolds as a requiem for our planet. Liquid and enveloping atmospheres drift between ambient territories with a distinctly melodic character - explored through treated guitars and synthesizers - and subtly electronic paths traced to the rhythm of patterns built through sequencers and programmed structures. Dramatic and evocative moments emerge throughout this succession of varied yet perfectly integrated and fluid soundscapes, where sounds and progressions combine with ever-shifting solutions, following a descriptive thread that remains consistent as it continuously unravels through encompassing and emotionally engaging textures. "Gigi Masin Presents: An Apple A Day You Die Anyway" is the perfect soundtrack to these dark times that Up To 23 want to color in order to continue to hope, to live without having to survive.

Six touching tracks that, starting from quiet ambient atmospheres, initially soft, tenuous, and crepuscular, gradually seem to soar... ascending towards celestial spaces, revealing ever-wider and brighter landscapes below, ever-more distant horizons, ever-more infinite spaces... Highly evocative progressions, guided by sober and delicate melodies and driving, pulsating bass lines, wonderfully deep (best enjoyed with a good stereo system to truly appreciate them), the kind that make your stomach churn before you even perceive the exact frequency and harmonic progression, often "set" in restrained rhythmic patterns that mark the time, making a sonic journey even more dynamic and compelling. If it doesn't surprise you, it's probably only because you've already had the opportunity to explore and "plumb" FABIO ORSI's most recent discography, and are already accustomed to the best of what this new wave of distinctly electronic but ambient-inspired music has to offer.

Rod Modell returns with Frequencies In The Fog, a deeply immersive work built from minimal structures, patient motion and finely judged restraint. Pads, discreet electronic details and slow, enveloping bass lines form the core, while distant, treated voices and subtle textural creaks surface like echoes caught in mist.

The music unfolds in gentle cycles, where circular movement alternates with moments of liquid stasis and near-silence. Sounds appear and recede without warning, revealing fleeting impressions of place before dissolving again into a shifting haze. There is a sense of suspension throughout — as if the listener is drifting through intangible terrain, guided more by atmosphere than direction.

As with much of Modell’s work, the power lies in the details: the careful balance between density and space, the tension between motion and stillness, and the way each element feels inseparable from the whole. Frequencies In The Fog invites deep listening, rewarding patience with a quietly absorbing journey through blurred environments and half-remembered forms.

Winding through cavernous passages of sound, Rod Modell builds a patient, tactile world shaped by low-end pulsations, drifting electronics and finely observed environmental detail. Gurgling currents, rustling textures and crystalline drips move in and out of focus, giving way to heavier sound masses before opening onto unexpectedly calm, almost soothing spaces.

What appears abstract at first gradually reveals a strong emotional pull. Modell’s control of dynamics and pacing allows small shifts in tone and texture to carry real weight, with moments of darkness offset by sudden glimmers of light and stillness. Electronic spirals rise and dissolve, while quieter passages create a sense of suspension, as if time has briefly slowed.

The result is a deeply considered listening experience that rewards attention. Every nuance feels deliberate, each detail contributing to a broader sense of tension, release and atmosphere. Rather than overwhelming, the music draws the listener inward, balancing restraint and drama in a way that feels both immersive and quietly affecting.

The second compilation of FORM@ RECORDS. Although this work hasn't decided on a particular direction, it's a wonderful album that naturally gathers pure things and far surpasses the previous work.

Following Virgo's Landform Code and Remnants, we're happy to continue our collaboration with with FORM@T RECORDS.

Various Artists

Art Form I

Limited Edition Double LP.

First ever vinyl release of the unheralded classic compilation from 1997.

From the vaults of cult Japanese label FORM@ RECORDS.

A fascinating dive into Tokyo’s electronic music underground of the late 90s - timeless and unique IDM, techno, ambient, acid.

For fans of Warp’s Artificial Intelligence series, Ken Ishii, Carl Craig, B12, The Black Dog, deep electronic music, experimental soundscapes, time capsules of underground music movements.

Also available: Virgo albums Landform Code and Remnants, FORM@ compilations Art Form 2 and Re-Form Ver-1.0

Finally, finally, FINALLY! After many years of fruitless praying, a true collector grail can finally grace every turntable the world over.

Bright And Shining is a miraculous leftfield library classic from the genius mind of Barbara Moore.

It's Highly Addictive Happiness Music TM and one of the coolest records to come out of anywhere...ever! With originals almost impossible to find - and, when they do, going for over £300 - you already know how crucial this beautiful reissue is.

06:55    Hatsuhinode
02:39    Agora
03:57    Ostinato
04:59    Hibari
06:55    Maya
04:40    Shizuku
04:07    Niwa
08:04    Tio
Pianist Masako Ohta and trumpet player Matthias Lindermayr are back on Squama with 'Nozomi', the follow-up to their 2022 debut 'MMMMH'. The Japanese title, which translates to ‘hope’, felt fitting, as the album was conceived during a time of personal loss for Ohta, during and after which music proved itself as a beacon of hope. The music on Nozomi unfolds gently, with Lindermayr’s airy tone and lyrical playing being wrapped in Ohta’s chordal backing that moves from tender to tense and back over the course of the album. While most tunes were written by Lindermayr, the only exception being an interpretation of Ryuichi Sakamoto’s ‘Hibari’, the arrangements are largely improvised, letting the duo’s intuition guide the course and build the form. Solemn slowness has become a signature trait of the Munich-based duo and it makes listening to their new record a healing retreat from the frantic chatter of the present.

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marcia Griffiths. It's reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

At long last, this legendary gem returns! A coveted treasure among Japanese jazz collectors, the album showcases bassist Hideto Kanai directing a 17‑member big band in a powerful and forward‑thinking exploration of orchestral jazz.

Side A
1. 夢は今日も / Dream Again Today
2. 造花の原野_1976 / Wilderness of False Flowers_1976
3. 白い目覚め / White Awakening
4. Guitar Solo 1（ボーナス・トラック *Vinyl Only）

Side B
1. カーニバル / Carnival
2. 氷の炎 / Flame of Ice

Side C
1. Guitar Solo 2（ボーナス・トラック *Vinyl Only）
2, 夜、暗殺者の夜 / The Night, Assassin’s Night
3. お前の眼に夜を見た / Saw the Night in Your Eyes

Side D
1. イビスキュスの花　或いは満ち足りた死 / Hibiscus Flower otherwise Dying Satisfied
2.  Enter the Mirror

All music by Merzbow & Akio Jeimus

Recorded at Munemihouse & Avant Chop Studios 2025

Mixed by Masami Akita at Munemihouse

"Fusia's Joule 1" and "Fusia's Joule 2" recorded live by Ki Moon Song at Polaris, Tokyo March 2, 2025

Mastered by Cedrik Fermont at Syrphe

Photo by Akio Jeimus

Inner poster artwork by MA AI generated

Design & Layout by Parker Thiessen

Since adopting the Merzbow moniker in 1979, Masami Akita has collaborated widely with artists across noise, free jazz, and experimental music. 2025 saw him recording with Akio Jeimus, a Chicago-born, Japan-based drummer who has worked with Toshimaru Nakamura, Akira Sakata, Tetuzi Akiyama, and Otomo Yoshihide, and currently performs as a member of the Osaka group goat (jp). Jeimus approaches the drum kit with restless, intuitive physicality, marked by a fondness for chance interplay and extended techniques. Consisting of studio sessions as well as recordings taken from a live performance in March 2025 in Tokyo, Any Other Utterance captures noise and drum set locked in motion, where patterns continuously form, self-destruct, and collide.

Opening with the studio track “Florescent Silhouettes,” the record bursts out of the gate with a flurry of cascading drums as Masami’s electronics roar and churn. Midway through, the noise condenses into a stuttering, squirming pulse as cymbals and snare drum volley in response. By the end of the track, the electronics pierce through the percussion, a high-pitched squall stretching into a sustained howl.

The B-side, comprised of “Fusia's Joule 1” and “Fusia's Joule 2” (perhaps named after the color of the dynamic lighting at the venue that night), captures the duo in raw, unrestrained form on stage — a storm of noise introducing itself immediately and refusing to relent. But the storm suddenly cuts out six minutes in, leaving only Jeimus’ clattering percussion, unrelenting in its own way. He moves between percussive bursts and crashes of cymbals and bells, scraping and smearing the kit to draw out blurred textures. Masami soon returns with sharp, surprising stabs of sampled piano. Interlaced with blasts of distortion, the piano punctures the air of the 70-person venue in downtown Tokyo, as the performance mutates into a kind of twisted free-jazz duo.

Across both halves, Any Other Utterance documents a shifting relationship between the drum set and noise: two forces chasing, interrupting, and reshaping each other in real time. What’s left isn’t resolution, but the sense of motion itself.

- Jake S.

In a sharp-angled, fiercely inventive reflection on the nature of club culture and digital fatigue, Simo Cell and Abdullah Miniawy reunite to deliver their new album, Dying is the internet, to Dekmantel's UFO series. French producer Simo Cell has blazed a singular path from his dubstep-influenced origins to become a leading light in contemporary leftfield club music, twisting up adventurous rhythms and flamboyant production in pursuit of a perpetual freshness for the floor. Egyptian singer, poet, producer and composer Abdullah Miniawy has become equally omnipresent in the past 10 years, straddling the arts world and leading with his piercing Arabic lyricism while maintaining an eternally curious spirit that leads into open-ended, experimental music from the abstract to the propulsive. Following up on their 2020 EP for BFDM, Kill Me Or Negotiate, Miniawy describes their sharply focused new album as "a playful prophecy about the triggers of a new global revolution." Cell considers the title, Dying is the internet, to be a mantra about "how the internet lost its soul," becoming "less about sharing ideas and more about surviving in a digital business ecosystem." Deliberately at odds with the reel-ready two-minute attention span of the average social media surfer (i.e. everyone), the pair set out to make an album that takes its time to reveal nuanced ideas and expressions. Rather than one-note despair for the modern malaise, Cell and Miniawy offer a philosophical reminder that this present moment in the human experience is a temporary phase, no matter how overwhelming it feels. Dying is the internet finds Miniawy experimenting with auto-tune across the record, while Cell has developed his voice design chops and compositional instincts, moving closer to fully realised song structures without losing the fundamental 'clubbiness' of each track. The result is a cohesive, wildly original kind of heavyweight dance music that slings out hooks left right and centre, from Miniawy's laconic trumpet looming through low-slung 'Reels in 360' and 'Travelling In BCC' to the persistent handclaps that bring 'Living Emojis' to life. Miniawy's poetry explores the power of insistent, repeated phrases in a break from his more typically structured form. Kenyan powerhouse Lord Spikeheart adds extra snarl to stripped-back, slow-burn opener 'I See The Stadium', but otherwise Dying is the internet is purely the work of Miniawy and Cell casting their considerable chops out into unexplored territory. The results are electric, bound together by a consistent economy of sound that burrows into a shroud of bass-heavy minimalism barely masking Cell's incredibly detailed studio flex. Even the beatless flourish of the Miniawy-produced 'Tear Chime' comes loaded with physicality — a sensory rush at the mid-section of the album bookended by some of the most idiosyncratic club music in recent memory. Both Simo Cell and Abdullah Miniawy have already proved themselves as fearless innovators across different fields. The strength of their partnership lies in their ability to make space for each other while letting their distinctive sonic identities ring loud and true. Dying is the internet has immediacy and physicality to translate over a soundsystem, but its intricacies are purpose-built for repeat visits and contemplation, unveiling hidden dimensions the deeper you dive into it.