MUSIC

“Conflict was an album I made during a years long dispute with a loved one. My desired outcome of the argument was that the other person would admit they’re wrong, but upon seeing that wasn’t going to happen, I tried to find a way to exist peacefully in the disagreement. The songs on Conflict try to find the space between right and wrong, winning and losing, etc.

Each song title presents a duality: The pain of a pilgrim’s journey vs. the reward of salvation, the star power of a charming boxer vs. his penchant for violence, the beauty of a battered painting vs. the fight that warped it. The music tries to stay balanced between the two opposites. Each composition starts as a 2 or 4 bar looping piano figure and usually only develops slightly, never changing key or tempo or dynamics. The flute accompaniment improvises on only 3 or 4 possible note choices per song.

This quote by MMA fighter Platinum Mike Perry was often in my head during the recording: ‘Absorb the pain and react smoothly… don’t become distracted by the white noise of possibilities…experience a flow-like state, even an Ultra Instinct.’ Funny enough, there is a bunch of white noise on this record from the DX7 synthesizer and cheap piano mics, but it doesn’t distract from the music.”

A missing link from Iasos meets Visible Cloaks! A prodigy who is also known for releasing from , he has a vision of "Modern New Age", and by actually listening to New Age music, he healed his own depression. New Agers, Matthewdavid. "On Mushrooms EP", which was produced as an introductory work for the album "Mycelium Music" to be released from , which is led by himself, is now available on cassette. An organic and ethereal ambient/drone work in which Sam Gendel's ally Sam Wilkes and labelmate Brin also participated.

A cult work that has been talked about for years by some music lovers in Japan is now officially available for the first time! ethereal, mysterious sound.

A performance of the single-note percussion instrument "quire chime" by 12 users of "Yamato Kogen Taiyo no Ie", a support facility for people with disabilities in Yamazoe-mura, Nara Prefecture. The fresh and transparent tones, played one by one and at random, eventually formed a series of beautiful music. I wonder if there has ever been such pure and unadulterated music. This work is the ultimate improvised ambient that penetrates deep into the listener's subconscious.
Chee Shimizu

A cult work that has been talked about for years by some music lovers in Japan is now officially available for the first time! ethereal, mysterious sound.

A performance of the single-note percussion instrument "quire chime" by 12 users of "Yamato Kogen Taiyo no Ie", a support facility for people with disabilities in Yamazoe-mura, Nara Prefecture. The fresh and transparent tones, played one by one and at random, eventually formed a series of beautiful music. I wonder if there has ever been such pure and unadulterated music. This work is the ultimate improvised ambient that penetrates deep into the listener's subconscious.
Chee Shimizu

A late ‘90s neo-noir ambient jungle masterpiece, Christoph De Babalon’s 'If You’re Into It, I’m Out Of It' sounds something like Thomas Köner re-assembling fierce, unrelenting D&B with his frozen gear. Now a quarter of a century old, it still occupies its own distinct notch on the continuum; copied endlessly, never bettered. Christoph De Babalon was a key member of Digital Hardcore, the mutant Berlin-based splinter cell who fused UK rave music with more experimental, Teutonic techno, Ambient and hardedge politics to brutal effect during the mid-late ‘90s. CDB was always somehow on another level to most of his peers and labelmates at DHR, less interested in purely aggy breakbeat energy, his was a sound that also embraced windswept, ice-cold ambient atmospherics and a bleak sort of romance that was at odds with the almost cartoonish “sound terror” aesthetic of the label. For us, ‘If You’re Into It, I’m Out Of It’ really distills a feeling of that era, as the utopian outlook of rave’s early years had given way to something much darker, more maudlin, perhaps symptomatic of an ennui with dance music’s hyper-commercial land grab, a kind of pre-millennial tension. Either way, it provided the perfect soundtrack to ravers who were spending more time developing virtual lives online, or (speaking from experience) who weren’t yet old enough to go raving, but were shelled with media images and 2nd hand impressions of the culture, which had by then morphed into the prevailing trends of garage, trance, and prog house, and was but a ghost of its original, loony self. It’s an album torn between extreme states; on the one hand going harder than the rest in killer rave moves such as the hardcore rattler ‘Dead (Too)’, the epic amen + drone blow-out ‘My Confession’, or the cut-throat beast ‘Water’. But on the other, it gets properly haunting on the remarkable 15 minute opener ‘Opium’, or with the sublime, Gas-like suspension system of ‘Brilliance’, and the funereal, bombed-out bliss of ‘High Life (Theme)’. Christoph De Babalon effectively plotted out terrain that bridged DJ Scud’s rugged jungle breakcore with soundscaping more commonly associated with Thomas Köner or Deathprod, and in the process set the ground for myriad contemporary producers and sounds ranging from Raime and Blackest Ever Black to Demdike, Pessimisst and beyond. ‘If You’re Into It, I’m Out of It’ was, and still is, a deadly statement of intent, with an aesthetic that still strongly resonates and influences today. Classic.

The music on this recording is performed by a kind of fictitious chamber ensemble situated in an imaginary room outlined by textures that alternate between gestural foreground and passive landscape. The three pieces contained within this release are tied together by sharing similar harmonic material and instrumentation and could ideally be perceived as parts of one long performance stretching through the two sides of the record. The textural room in which this musical performance operates is unreliable, unstable, constantly shifting in size and activity from sparse and open to dense and claustrophobic. Inside this non-euclidean performance space a chamber ensemble made up of zithers expanded through analog tape transposition, harmonium and organ, double bass, digital FM, feedback-convolution and Serge modular synthesizer perform a music made from justly tuned intervals arranged in a way that blurs the distinction between traditional minor and major tonal harmony in favor of harmonic progression within an essentially modal framework. In terms of the material used to make these pieces, essentially all non-harmonic sounds are contaminated field-recordings. They have gone through a sort of feedback process between digital and analog, or acoustic, processing where field-recorded material has been edited, processed and re-amplified and recorded again in acoustic spaces that shape the character of the material and imprint acoustic identities on the recordings. The tonal instruments were treated in a process analogous to this - harmonic material built from recordings and digitally generated synthesis was recorded, transcribed, rearranged and overdubbed again with additional electronic or acoustic instruments to form a composite electroacoustic instrumental sound.

An exceptional masterpiece that must be heard by all shoegazing enthusiasts. The 2023 cassette reissue version of the 2021 digital work "_____" by the one-man post-black metal act "Sadness", which is one of the most popular blackgaze acts, will be released from in Italy. Stocked! Sweet and gloomy, aetherial and nocturnal, anthemic and prayerful, a solitary masterpiece in the 2020s! Limited 97 copies.

After their celestial Arcturian Corridor opened proceedings on Quindi, London-based brothers Clive and Mark Ives are back with a new record. When Woo first began recording at home in the early 70s, Clive and Mark were the embodiment of furtive genius. Since re-emerging in 2013, they’ve released scores of albums, collaborated with Seahawks, and have now struck up a productive relationship with Quindi. On Paradise In Pimlico, you’re hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark’s gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques. Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of ‘Cadenza D’Innocenza’ glide through key changes that spell out an engrossing narrative, while the cascading melodies on ‘Moment To Moment’ pirouette across the space between notes with masterful poise. ‘Paradise In Pimlico’ is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer ‘In Case Love Fails’ takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise). There’s space for markedly new approaches, too. The rhythm section on ‘The Motorik Mirror’ clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through ‘Even More Notes’ see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire. It’s far from a drum-focused exercise though. At every turn, you’re confronted with aching beauty and timbral surprises. If there’s one constant throughout Paradise In Pimlico, it’s the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.

Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing 10-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work’s debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards.

2022 repress of this deluxe boxset. The first disc is a remastered version of the 1990 Virgin CD reissue of Correlations, recorded and mixed at Panne-Paulsen Studio, Frankfurt, in 1978 by Mick Glossop and originally released by Virgin in 1979. The second disc is the first release of Phantasus, Manuel Göttsching and Udo Arndt's original 1978 recording and mix of the album that was partially re-recorded and totally remixed to become Correlations (Phantasus was Göttsching's intended title, which he changed to Correlations after UK fans told him that the English can't pronounce "phantasus"). The third, fourth, and fifth discs are The Making Of, which includes a 12-page booklet. Performed by Manuel Göttsching (guitar, synthesizer, sequencer), Lutz Ulbrich (guitar, synthesizer, piano, mellotron), and Harald Großkopf (drums, percussion, synthesizer).

With Synthetic Hearts, Tubatsi Mpho Moloi, Msaki and Clément Petit issue an invitation to the listener and lover to journey to another place. Here, hearts, experiences, and sounds meet, shift and evolve across an inventive nine track album. Experimental, playful and complex, the project merges voices, instruments and sounds, across geographies and genres, creating sparse, yet lush atmospherics that spin on the universal themes of love. As skilled musical shapeshifters, Synthetic Hearts melds Msaki and Moloi’s folk sensibilities with electronic elements, as Petit teases out distinct textures from his cello across the record. Together, they look inward, in an introspective and conversational project that teases out emotions held within – towards considering what is shared and private in the messiness of our relationships with ourselves and others. On Synthetic Hearts, love, longing, confusion, sorrow, despondency and queries are opened up and negotiated in songs that vibrate with their naked, honest and tender vulnerability.

Felicia Atkinson and Jefre Cantu-Ledesma's Limpid As The Solitudes cuts through sound-making techniques to enter a new zone of sonic revelations. The record recalls the turn-of-the-century Mille Plateaux glitch era, the warmth of La Monte Young's drones, acousmatic non-space recordings made by GRM artists, 4AD's floor-gazing guitar sound, and blissfully diverse field recordings. But, one could equally equate it with entirely different recording sources. Limpid As The Solitudes has a widescreen sound that is both familiar and unfamiliar. Warm, comforting and also unsettling in unpredictable ways. Deliberate yet exploratory, it's a record composed of opposites and contrasts, following historical guidelines yet also throwing them out of the window. To describe the album as ambient would indicate passive engagement with the sound; leave it to play in the background and one could miss a lot of the joy. Atkinson and Cantu-Ledesma describe the record as a series of postcards - things and sounds that happen vertically as a slow ascension, vessels communicating in dreams. In this collaborative recording, there is a feeling of "becoming" - a concrete sound turns into a electronic sound that turns into a spiral-like melody which then furls/unfurls at the same time. The album title as well as track titles, are all verses stolen from Sylvia Plath's poems, Atkinson notes, "like dropped pearls from a lost collar." Trying further to capture the record's poetic impulses, it reflects "Empathy to objects and nature's elements, meteorological states, seasons that answer to your heart, granular etchings carved and sustained to create a blurred sentimental landscape. The finale is more optimistic than Plath's poetry. Love and lyricism win, the music soaring from deep water to interstellar galaxies." The cover is another key, an image by Julien Carreyn of a young woman wearing destroyed jeans, playing with bubble wrap. The image is intended to give the viewer an eerie 1990's feeling that echoes the recording and films by Hal Hartley or Wong Kar Wai. Be sure to come back to this record more than once; it's then that it's power will work. Recall the sound of a lover, a garden once walked through, an echo of a record once loved. To be appreciated, "Limpid As The Solitudes" requires immersion as if in a hot spring, letting the sounds float and alter perceptions and memories. Mastered and cut by Helmut Erler at D+M. Printed photographs by Julien Carreyn on glossy inner and outer sleeve.

This is the Italian electronic producer’s debut album for Munich’s Ilian Tape label; for a record coming out of post-industrial Turin, its aesthetic is surprisingly luminous. The roster of Munich’s Ilian Tape may be headlined by locals like the Zenker Brothers and Skee Mask, but the label’s Italian contingent has long been one of its biggest strengths. Turin natives Stenny and Andrea first connected with the crew in 2011, when the former organized an Ilian Tape night and spent a couple of days driving the Zenker Brothers around his hometown. The following year, both Stenny and Andrea debuted on the imprint, and the two have been part of Ilian Tape’s core membership ever since, sharing similar trajectories and helping to solidify the label’s distinct brand of broken techno. In 2019, Stenny leveled up when he released his debut full-length, Upsurge, which impressively brought together angular breakbeats, dalliances with drum’n’bass, and headier ambient sounds. Now it’s Andrea’s turn to tackle the album format, with excellent results. His productions have always fallen toward the dreamier end of the spectrum, and he’s leaned into that here; it’s not often that Ilian Tape releases could be described as shimmering, but the album’s palette is a lot closer to Café del Mar than Cafe OTO. The sparkling arpeggios of aqueous opener “Attimo” and the dreamy synths that idle atop the peppy breakbeats of “LS September” are just two of the LP’s more Balearic elements, but golden hues and languid melodies drift and linger throughout. For a record coming out of a cold, post-industrial corner of northern Italy, Ritorno’s aesthetic is surprisingly luminous. Despite its sunny overtones, there’s plenty of low-end weight in the album’s foundation. The fluttering basslines of “TrackQY”—the LP’s most obviously club-ready tune—sound like something lifted from late-’90s drum’n’bass, while the crunchy wobble of “Liquid” is a classic dubstep throwback. There’s an abundance of DJ material, yet the album is practically devoid of staid, linear rhythms. Cribbing from house, techno, electro, breakbeat, jungle, trip-hop and IDM, Andrea’s hybrid creations have a lot in common with the more intriguing strands of bass music coming from UK outposts like Timedance and Livity Sound. From the soaring jungle mutation “Drumzzy” to the shuffling serenity of “Isabelle’s String,” the drum programming taps into a unique sort of organized chaos, with loose-limbed beats regularly teetering on the edge of collapse but somehow never losing the groove. Ritorno is Italian for “return,” and it’s easy to detect a ’90s vibe in its cosmic inclinations and freewheeling rhythms, which hark back to a sunnier, more lighthearted era when genre lines were less defined and the electronic music world wasn’t quite so balkanized. But Ritorno isn’t a strictly nostalgic effort, and the production is unmistakably modern, even as Andrea criss-crosses through numerous styles and eras. Outside of his long-running affiliation with Ilian Tape, he has never been locked into any particular trend or scene; instead, he has quietly developed his own artistic vision during years spent working in the background. That patience has paid off: Ritorno is a remarkably confident and cohesive work. Nearly a decade in the making, it’s Andrea’s first big statement, and proof that this low-key Italian producer has something valuable to add to the conversation.

теплота is the London-based duo of Grundik Kasyansky & Tom Wheatley. Their work interrogates the haptic, social and liberating relationships with technologies old and new; using feedback synthesizer and computer-acoustic bass, they fuse a spontaneous interplay orthogonally over cyclical structures, with techno as perpetual fulcrum. Following their debut HEAT/WORK on Cafe Oto’s TakuRoku label and the monthly ЭС research series, Skynned will be landing on Accidental Meetings. Half techno, half free jazz, the music is both hypnotic and open-ended, relentless and ephemeral.

Best Available TechnologyやAzu Tiwaline、Ghost Phoneといった実験的なアクトなども作品を残す英国のレーベル、パーティー、ポッドキャスト〈Accidental Meetings〉からは、AusschussやBruce、Rupert Clervaux、Jay Glass Dubs、FUMU、Robin Stewart (Giant Swan)など、豪華面々が参加したパキスタン洪水被害者へのチャリティー・コンピレーションCDを発表。Bruceの"Self Doubt"の冷たい音色の抽象化とグラインド、Abu Amaの踏みつけるようなアラビアン・ドラムに焦げたドローン、Jay Glass Dubsのオートチューンド・ダブ"The Creatures in Defence"まで、沈静的なアンビエント/エクスペリメンタル・クラブ・サウンドを収録。限定盤。

London hyper-connector label Accidental Meetings hustle exclusive work by Jay Glass Dubs’ Wild Terrier Orchestra, Rupert Clervaux, Susu Laroche, Bruce, Luke Lund, FUMU, Ausschuss, Dijit, memotone, Giant Swan’s Robin Stewart and more in aid of charity for victims of the Pakistan floods Converging from myriad disciplines, the artists on board all channel a certain mix of self-reflective solemnity, intensity and optimism into their musics here. We’re particularly struck by the cold tonal abstraction and grind of Bruce’s away day ‘Self Doubt’, and likewise the haunting shape of Abu Ama’s trampling Arabic drums, charred drone and ululations on ‘Away With You’, the anxious grapple of FUMU on ‘Tougher than Dartmoor Tundra’, and a pair of meditative wonders pivoting around Dimitris Papadatos in the autotuned dub prayer ‘The Creatures in Defence’ as Jay Glass Dubs with X. YPNO, or the radiant microtonal ritualism to ‘Osman Takas’ by his Wild Terrier Orchestra. Egypt’s Youth affiliate Dijit also charms with the sitar-laced illbient downstroke of ’Sharq’, MAL’s Ausschuss lays down gravelly drill shades away from Mobbs in ‘True Partner’, and Angel Hunt serves a set highlight of Arabic-inflected 2-step on ‘Rainham Steel’, chiming with club-adjacent tackle in Luke Lund’s Beau Wanzer-esque grinder ‘Imposter (Bristol Action)’, the Muslimgauze-like percussive rattle of Rupert Clervaux an HMOT’s ‘Zum F/F’, plus Livity Sound paralleling rhythmic workout from Saskia and the restless uptempo slug of Robin Stewart .iframe style="border: 0; width: 350px; height: 373px;" src="https://bandcamp.com/EmbeddedPlayer/album=2639086951/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless>Islands by Merope

The 3th album by MEROPE (2018) with arrangements of Lithuanian folk songs and own compositions. A unique trio sound with a blend of acoustic instruments, voice, el. guitar and electronics. Naktes presents a world full of wonder, inspired by the atmosphere of the night. After the release of Merope 'Salos' (STRLP-051 / gran21) we decided to repress Merope's previous album Naktes too. A collaboration with Stroom & granvat.

Here is a hidden gem from the 1990s, a sparkling cyber-ambient-Mandarin pop collection produced by Henry Kawahara, the master of cyber-occult music, with silky vocals from Shanghai-born vocalist Xiao Yun Wu. Originally released on CD in 1994 on Kawahara’s own HMD label, the Xiao Yun project was launched by Kawahara and his trusted colleague Keisuke Oki, who plays keyboards on the album. Kawahara handled the production, along with guitar, keyboards and programming. And of course, the crowning glory is the voice of Xiao Yun: lovely, floating, ethereal. The singer arranged the songs, which range from versions of previously released Kawahara solo pieces to Mandarin pop classics. All songs are given Kawahara’s cyber-occult sheen, which may evoke visions of the cosmopolitan Asia of near-future science fiction. Available on vinyl and digital download, this album will transport you, via 1994, to a sparkling future. 

Xiao Yun are 
Xiao Yun Wu: vocals 
Henry Kawahara: keyboards, guitars and computer programming 
Support: Keisuke Oki (keyboards) and Keiichi Hasegawa (percussion) 
Produced and engineered by Henry Kawahara 
Arranged by Henry Kawahara and Xiao Yun 
Recorded at Ecosystem Sonic Division/Fukuoka, 1993-1994

"Dark Haired Girls" There Must Be Someone by Tor Lundvall Share / Embed In Wishlist view supported by Nightflyer thumbnail Nightflyer Can't wait to receive this beautiful box by one of my absolute favourite dark ambient artists ! :-) Erik A. Ingmanndsen thumbnail Somewherecoldfan thumbnail foccil thumbnail Chris Hibler thumbnail little_black_cat thumbnail nk11clouds thumbnail Leather thumbnail yukbon thumbnail Mick Zeuner thumbnail miosotide thumbnail Brian Nelson thumbnail Concrete Violin thumbnail treehandthingy thumbnail CMB thumbnail cjrfel thumbnail Jeff Irish thumbnail kholkhoz thumbnail eyespark thumbnail swensej thumbnail infiniteinalldirections thumbnail Bruce Levenstein thumbnail diespach24 thumbnail keith schuerholz thumbnail pinofalcone thumbnail selectrecs thumbnail apossession thumbnail noddyprof93 thumbnail ANTOINE LOGUILLARD thumbnail LELONG CHRISTIAN thumbnail Exbtn Records thumbnail Matthew Stradling thumbnail Forget It! 03:22 / 05:53 5-CD Box Set Compact Disc (CD) + Digital Album package image PREORDER - Out December 9th, 2022. Includes 5 albums: Passing Through Alone, A Strangeness In Motion, A Dark Place, Beautiful Illusions, and the long out-of-print Ghost Years - with art & lyrics booklet. Includes digital pre-order of There Must Be Someone. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released. digital album releases January 27, 2023 item ships out within 3 days edition of 1000 Pre-order Compact Disc $34.99 USD or more Send as Gift Digital Album Streaming + Download Pre-order of There Must Be Someone. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released. releases January 27, 2023 Pre-order Digital Album $29.99 USD or more Send as Gift 1. Original One 2. Procession Day 3. The Clearing 4. The Melting Hour 5. Flight 6. Watched 7. Hidden 8. The Night Watch 9. Lessons That Kill 10. August Rain 11. Violet Bird 12. South Pacific 13. He's Falling 14. Power Failure 15. Dangerous Snakes 16. Days 17. Forget It! 05:53 video lyrics buy track 18. Where is She? 19. Pollen 20. Dark Angels 21. Ghost Years 22. Raven Eyes 23. Cloaked 24. Poison Symbols 25. Birds in Spring 26. Murder 27. The Pathway 28. Midnight Question 29. Grey Sunday 30. Pollen (4-Track Mix) 31. Dark Angels (Demo) 32. Ghost Years (Demo) 33. Raven Eyes (Demo) 34. Cloaked (4-Track Mix) 35. Murder (4-Track Mix) 36. Grey Sunday (Demo) 37. Grey Sunday (Video Version) 38. Ghost Years (Alternate Version) 39. Evening 40. Leaves 41. Winter Song (Original Version) 42. The Watchers 43. Birds Asleep 44. Tears and Rain 45. Aliénor 46. Lost At Sea (2) 47. Routine 48. My Weakness 49. The Falling Snow (Remixed Edited Version) 50. Winter Song (7-Inch Version) 51. Last Rays 52. A Room By The Sea 53. Quiet Room 54. Haunted By The Sky 55. The Moment 56. The Invisible Man 57. Negative Moon 58. The Void 59. A Dark Place 60. The Next World 61. Dark Haired Girls 04:02 video 62. Negative Moon (Early Version) 63. Their Souls 64. Forever Rain 65. Drowning 66. Blessings Counted 67. Love Song 68. Four Bluebirds 69. Lonely Boy 70. Two Windows 71. Dark Sea 06:45 about To commemorate the quarter century anniversary of Tor Lundvall’s self-released debut, 'Passing Through Alone', Lundvall and Dais have joined forces for a fresh 5-CD box set of long out-of-print titles, vinyl-only releases, and unheard bonus tracks: 'There Must Be Someone'. Spanning 33 years, the collection showcases the subtle but striking evolution of Lundvall’s sound, from brisk autumnal synth-pop to desolate dark place devotionals to fragile winter moon meditations and beyond. What remains constant is his exquisite sense of mood and movement, qualities reflected in his iconic oil paintings of willowy figures amidst luminous, liminal landscapes. The box set begins with 'Passing Through Alone', Lundvall’s first full-length, issued in 1997 on his Eternal Autumn Editions imprint. Engineered, mixed, and co-produced by his brother Kurt, and sold primarily at Lundvall’s gallery exhibitions, the album is an intriguing entryway to a world still dawning. Brooding and melancholic but distinctly more linear and melodic than later work, the songs flirt with the fringes of new romanticism, sketched in his signature palette of synth, sequencers, guitar, drum machines, and hushed, spectral voice. Next included is an expanded edition of the eclectic 2010 collection 'Ghost Years', an array of stray singles, alternate mixes, and compilation tracks dating between 1995 to 2020. It’s bracingly varied but effectively immersive, showcasing Lundvall’s sharpening gift for spatial dynamics and icy minimalism. The other three discs are inaugural CD editions of a trio of Dais vinyl titles from 2018 to 2021: 'A Strangeness In Motion (Early Pop Recordings • 1989-1999)'; 'A Dark Place'; and 'Beautiful Illusions'. The first is an archival anthology of material predating his debut, bedroom synth-pop born of solitude and the supernatural, alternately anthemic, wounded, and windswept. The latter two are shadowy recent full-lengths capturing Lundvall at the height of his powers: refined, remote, revelatory. Reflecting back on this vast body of work is “strange and bittersweet,” but Lundvall fin

5AM is a band, and a group effort by long time adulthood friends 5ive, Andry and Moko. 5ive is known for his ongoing contribution for music-duo Cos/Mes and other various projects, Andry is a multidisciplinary designer and Moko works as DJ and producer under her project Powder. After a long period of hanging out and sharing music to each, the band 5AM was naturally found in 2019, and soon made a small debut. 5AM plays about time, sings about observation and thinks about texture, atmosphere, and listening-space and random other stuff. Caring of subtle things for the big picture. Pre Zz is the first album by 5AM, recorded through 2020 and 2021, packaged day to day remixed feelings about that time, but not necessary just about that time. The album captures the moment of changes — Pre something — as like before a sleep after a long stay up Zz.

Une pièce nue, trois nuits dans le studio de Salif Keita. Sissoko et Segal ont chassé de leur esprit tout ce qui peut éloigner un musicien de son art pour se concentrer sur l’essentiel : l’entrelacement de leurs chants intérieurs.

One bare room, three recording sessions in Salif Keita's studio. Sissoko and Segal chased out of their minds everything that can distance a musician from his art to concentrate on the essence: the interlacing of their inner song.

tarting in 2019 with ‘Life In A Shell’, the then new and upcoming Japanese producer yolabmi lay the foundation for a triptych of releases on Vaknar in the span of 3 years, all of which formed an ongoing sonic interrogation with his own past, while also consequentially reflecting on his growth as an composer and individual. The final stage of this album triptych, ‘For Wind Poetry’, once again underpins the natural world of yolabmi’s past with the technocratic eccentricity of his present self, yet rather than letting his matured proficiency over his modular synthesizer reign throughout the span of the album, yolabmi chooses to end this chapter via an introspective sonic long-form of redemptive stimulation.

When we can no longer move forward or look outward, some reflect and seek truth in themselves – some sharing, through the language of music, what might be impossible to say through words. --- Amidst the budding tempest of 2020, Jeremiah Carter, originally hailing from Tennessee, found himself embroiled in a near suffocating air of uncertainty and anxious tension, mainly brought upon by the first spikes in a soon to be world-wide pandemic. Only having recently relocated to the bustling city of New York, an unprecedented series of events took shape over the following months, isolating and alarming the city's residents in the process. It was during this time that Jeremiah fully turned his attention to music, discharging the emotional turmoil surrounding him, into newly composed work. Beginning with the album ‘Rejoice’, which was completed in the wake of 2020 and released on A Sunken Mall that same year, two more albums took shape in a quasi-self-induced creative tremor that materializing a wealth of work and formed a triptych of three unique albums, all produced within the span of only 6 months. Finally, presented here is the second part of the triptych; ‘Speak, You Also’, dedicated to Paul Celan and giving further insight into the heart of a beloved southerner, tangled in the mesh of existence, crisis and communication, far away from the prairies he once called home.

French guitarist Mischa Fitzgerald Michel, who studied under Jim Hall, covers the genius SSW Nick Drake, who died young, on this 2012 release. A hidden masterpiece revived in the modern era with unparalleled beauty, refined harmonies and proper interpretation.