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Two raw minimal cuts from '94 that will piece up any self respecting dance floor; Mika Vainio, Ilpo Väisänen & Sami Salo at the controls - an ESSENTIAL 12" from Sähkö Recordings, TIP!
Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.
Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…
Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.
An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.
More on Synthesizing: Ten Ragas to a Disco Beat:
Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.
A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).
By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.
Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.
Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.
Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”
“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”
While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.
Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”
Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.
Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…
Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.
An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.
More on Synthesizing: Ten Ragas to a Disco Beat:
Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.
A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).
By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.
Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.
Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.
Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”
“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”
While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.
Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”
Light in the Attic is honored to announce the long-awaited reissue of Synthesizing: Ten Ragas to a Disco Beat, the revolutionary 1982 album from composer and musician Charanjit Singh. Pairing Indian classical ragas with then-state-of-the-art Roland synthesizers and drum machines, Singh created an electronic masterpiece that was far ahead of its time.
Recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts, but that’s where the story begins…
Released in cooperation with Singh’s estate, Synthesizing: Ten Ragas to a Disco Beat arrives on June 26th. The 10-track album was remastered by Johanz Westerman at Ballyhoo Studio Mastering and stretched across 2-LPs for the highest quality listening experience. The vinyl was pressed at Optimal Media and housed in a gatefold jacket that replicates the original artwork.
An accompanying 16-page LP booklet features previously-unreleased photos and two new essays: the first from Arshia Fatima Haq and Jeremy Loudenback of Discostan—a multimedia collective and record label focusing on music from South West Asia and North Africa—while the other comes from filmmaker and writer Rana Ghose of event and film production entity REProduce Artists, who managed Singh in his final years and documented his triumphant return to the stage. Additionally, fans can find a limited-edition pressing of Synthesizing: Ten Ragas to a Disco Beat on ‘Pearlescent Transcendent Future’ Color Wax, while the album will also be reissued on CD with a 32-page booklet containing all of the above.
More on Synthesizing: Ten Ragas to a Disco Beat:
Indian multi-instrumentalist and composer Charanjit Singh (1940–2015) never intended to be an electronic dance music pioneer when he recorded 1982’s Synthesizing: Ten Ragas to a Disco Beat. Yet three decades later, his inventive use of state-of-the-art synthesizers and drum machines would prompt some to crown him the “Godfather of Acid House.” The real story, however, runs much deeper.
A native of Mumbai, Singh spent much of his career as a Bollywood session musician, collaborating with renowned composers like RD Burman and Shankar–Jaikishan, and appearing on some of the most iconic Hindi film hits of the ‘60s and ‘70s. Outside of the film industry, Singh recorded several of his own albums and toured the world alongside the era’s biggest stars—an opportunity which allowed him to collect new instruments, including synthesizers and other electronic devices. As psychedelia and disco wove their way into Bollywood scores, Singh was at the forefront, integrating a host of electronic textures into his work (his hypnotic Transicord introduction on “Dum Maro Dum” from 1971’s Hare Rama Hare Krishna is among his most recognizable performances).
By the turn of the ‘80s, however, Singh was disenchanted by the creative limitations of session work and embarked on a solo career. Not long after, on tour in Singapore, he discovered three Roland devices that had just hit the market: the TR-808 drum machine (released 1980), the TB-303 bass synthesizer (released 1981), and the Jupiter 8 synthesizer (released 1981). While this trio would fuel early electronic dance music in the coming years, Singh was among the first known artists to pair them on record when he was inspired to create his next album, Synthesizing: Ten Ragas to a Disco Beat.
Using only the three devices and recording live at Mumbai’s HMV studios, Singh married the past to the future—blending the ancient Indian tradition of ragas (a melodic framework, similar to a scale, from which musicians can improvise or compose) with pulsating, electronic dance beats, while programming the TB-303 to follow classical Hindustani scales. From the hypnotic drones of “Raga Bhairavi” to the uplifting jams of “Raga Bairagi” the album proved perhaps to be a bit too visionary for its time. Released without fanfare, it faded into obscurity and Singh retired from recording to focus on private concerts.
Two decades later, Dutch DJ and record collector Edo Bouman was in New Delhi when he came across an old copy of Ten Ragas. Bouman was astounded by what he heard—electronic music that had all the hallmarks of acid house, recorded five years before Chicago DJs coined the term. Bouman spent the next few years tracking down Singh and, in 2010, reissued the album on his label, Bombay Connection.
Soon, Ten Ragas became a viral sensation, sparking disbelief and debates about the origins of acid house. But, as Haq and Loudenback explain, those in the conversation “Had little frame of reference for [Singh’s] music outside of the parameters of western club music.” Viewed through the lens of the Hindi film industry, they argue, the album’s through-line comes into focus. In the ‘60s, when Western artists were looking to India for inspiration, Bollywood was “A laboratory for discovering sounds, and for harnessing every new technology that could be found or repurposed…. Singh’s album is more fittingly placed within the framework of the expansion of Bollywood’s experiments in disco, rather than that of acid house.”
“Perhaps this is yet another example of how a public engages with those who are ahead of their time,” adds Rana Ghose. “This record is a direct consequence of a centuries-old classical music form, rendered through the lens of a visionary who used the vanguard of technology at the time to recast it, resulting in an artefact that, almost 40 years later, is finding entirely new audiences in an era marked by a changing and uncertain global landscape of soft-power assertion. Considering this reassessment is as exciting as it is fascinating. Much like this record.”
While Ten Ragas sparked plenty of conversations within the electronic music community, it also gave a bemused Singh a surge of newfound fame during the final years of his life, allowing him to play with his live collaborator Johanz Westerman (Thee J Johanz) to thousands of fans at packed club shows and festivals in Europe, the U.S., and India. Among those fans are Australian duo Glass Beams (who covered “Raga Bhairav”), German electronic duo Modeselektor, and Thom Yorke, who ranked “Raga Lalit” as one of his “6 Tracks You Need to Hear” via the BBC.
Most importantly, however, Ten Ragas resonated deeply with South Asian artists, who saw electronic music from India being recognized with new reverence. In the words of Vish Matre (of the UK DJ duo Dar Disku), “This record will be remembered for, not being the predecessor to another genre, but being a precursor to a lot of new music from the diaspora that relied on it as inspiration.”
Imagine it’s late afternoon, you’re outside by the lake, and there’s sunlight on the water. This is the peaceful and contemplative scene that Matt Gold and Resavoir set on their collaborative LP Horizon. Across 10 lush and exploratory tracks, it’s the product of two Chicago-based musicians—Will Miller, the acclaimed trumpeter, composer, and producer who’s worked with SZA, Whitney, and more, and Gold, a seasoned multi-instrumentalist and accomplished guitarist—effortlessly combining their distinct sensibilities for something hypnotic and tangibly inviting. What started as a love letter to their shared admiration for ‘60s and ‘70s Brazilian music evolved into a dynamic and sprawling body of work. These sunny and expansive tunes are as immersive as they are endlessly replayable.
Both Miller and Gold attended Oberlin College’s Conservatory of Music together and in the years after graduating, they orbited each other around Chicago’s music communities. “We were showing up for each other as friends and taking an interest in each other's projects, noticing a lot of resonances and similarities working within in our music,” says Gold, who’s collaborated with artists like Makaya McCraven and Jamila Woods and stretched the bounds of jazz and Americana on solo albums Imagined Sky and Midnight Choir. “We had talked so much about eventually working together that it was almost like an ongoing bit at a certain point,” says Miller. Though they had known each other for over a decade, they first had their chance on “Inside Minds,” the breezy lead single on 2023’s Resavoir. While those sessions were remote, two had palpable chemistry.
It wasn’t until Miller left the touring band of the Chicago group Whitney in 2023 that their plans to make music together in person came to fruition. “When I first started Resavoir, I was chasing the desire to produce records and now that I had time to focus exclusively on that, Matt was the first person I called to come to the studio,” says Miller. The two had bonded over an admiration for the Brazilian guitarist Luis Bonfa and songwriter Milton Nascimento, especially the latter’s work with Herbie Hancock and Wayne Shorter, so they decided to use nylon string guitar as a starting point for these early sessions. “Canopy,” which opens Horizon, was the earliest track. Kicking off with bright acoustic chords, the song slowly unfurls into a slinking groove, samples, and fluttering leads from soprano saxophonist Tim Bennett.
As these initial experiments proved successful, Gold and Miller felt they could broaden the scope of their vision. “We were initially conceiving of it as this acoustic guitar driven record but eventually we wanted to frame it orchestrally and see how many shades and colors we can bring in around that sound,” says Gold. “Dewy” thrives within this orchestral palette of woozy synths, strings from Macie Stewart, Claire Chenette’s oboe, flautist Wills McKenna, and French horns from Lloyd Billingham. “We discovered that our multi-instrumentalist mentalities—using piano and bass, samplers, drum grooves, guitar ideas all as starting points— nurtured the broad orchestration across this record,” says Miller.
“The LP took about a year with on-and-off sessions,” says Miller. “The songs benefit from letting them ferment for a couple months, coming back to it, and seeing what sort of new flavors have developed.” Co-produced by Miller and Gold (and mixed by Dave Vettraino), Horizon proudly reflects the artists’ vast artistic community and musical network in Chicago and beyond. Along with Gold, Eddie Burns (Clairo), Peter Mannheim (Tony Glausi), and Carter Lang (SZA, Lil Nas X) provide drums and percussion throughout. On the dreamlike single “Diversey Beach,” New York songwriter Mei Semones lends vocals and along with her band members Noah Leong and Claudius Agrippa, collaborated on a mesmerizingly conversational string arrangement. “We wrote "Diversey Beach" on the coldest day of the year watching a blizzard coming down out of the window, where the sounds of the cars driving by sounded like waves crashing on a beach,” says Miller. “I sent it to Mei Semones, who I’ve been a fan of for a long time. She's absolutely incredible and it’s amazing what she did with it.”
Horizon is a testament to the feeling of endless possibilities that come from collaboration. It’s a remarkable synthesis of two artists who share musical community and an artist lineage but have carved their own paths in unique ways. Nowhere is this more evident than “Hazel Canyon,” which boasts Gold’s silky pedal steel and a subtly enveloping arrangement that evokes Erasmo Carlos. “Musically, we're always trying to capture a fleeting moment of infinite expanse, feeling the vastness of things while knowing they'll always change,” says Gold. “This record keeps the light reflecting on the water just a little longer -- our collaborative process running through the backbone of these songs and rippling out in so many beautiful directions..”
Endlessness is a deep dive into the cycle of existence. The 45-minute album delicately spans 10 tracks with a continuous arpeggio playing throughout, creating an expansive, mesmerising celebration of life cycles and rebirth. Following Sinephro’s critically acclaimed 2021 debut album Space 1.8, Endlessness further elevates her as a transcendent and multi-dimensional composer, beautifully morphing jazz, orchestral, and electronic music.
The album was composed, produced, arranged, and engineered by Sinephro. Performing on the album are Sheila Maurice-Grey, Morgan Simpson, James Mollison, Lyle Barton, Nubya Garcia, Natcyet Wakili, and Dwayne Kilvington, joined by Orchestrate’s 21 string players.
And so we come to round 4 of the Long Trax series, the pivotal moment of truth. Four new deep cuts spread across 4 sides of vinyl in dual sleeves, and spun onto disc. An all-analog, hardware machine affair, full of glazed pads and spicy stabs, rhythm composure (composer) sequences, round booming basslines, and narrators from beyond. It’s the real thing, still chugging along.
And so we come to round 4 of the Long Trax series, the pivotal moment of truth. Four new deep cuts spread across 4 sides of vinyl in dual sleeves, and spun onto disc. An all-analog, hardware machine affair, full of glazed pads and spicy stabs, rhythm composure (composer) sequences, round booming basslines, and narrators from beyond. It’s the real thing, still chugging along.
A new exclusive duo of A/B sides pressed to vinyl, in a limited edition; "Behind the Times" is a forerunner of the upcoming full length "Long Trax 4", to be released in 2025.
Packaged in a classic reverse board sleeve, with original artwork by Tsuji Aiko, pressed on 180g black wax. Mastered by Stephan Mathieu.
Nuevos Ríos is the new project born from the meeting of Colombia’s iconic Canalón de Timbiquí, led by the unmistakable voice of Nidia Góngora (Quantic, Ondatrópica, The Bongo Hop), and the Toulouse-based trio Reco Reco, known for their explorations of trance-driven rhythms from South America and beyond. Rooted on the banks of the Timbiquí River in Colombia’s Pacific region, the collaboration fuses ancestral Afro-Colombian traditions with electronic and amplified sounds. The result is a powerful and hypnotic journey where marimba, percussion, bass, and voices intertwine with keyboards, guitar, and drums. Between ritual intensity and dancefloor energy, the music bridges continents—echoing West Africa, the Caribbean, and the sweaty clubs of Europe—while always returning to the river as a vital source of life and inspiration. Released on ZZK Records (home to Son Rompe Pera, Nicola Cruz, La Yegros, among others), this debut album is both a manifesto and a celebration: a living testimony of Colombia’s Afro-descendant heritage, reinvented through collective creativity. Nuevos Ríos is not just fusion—it is a new current, a sonic ritual where traditions flow into modernity.
TMZ stood out as a fiercely unique presence on TRANSONIC COMPACT DISC 01 and 02, the compilation albums that marked the first standalone releases from the newly reborn TRANSONIC RECORDS. An existence that could well be called an out-of-place artifact in techno history, this debut album bridges the gap between a hidden past and the present.
After more than 10 years of silence since his debut in 2001 on Chain Reaction subsidiary of Basic Channel, he has been consistently releasing music since 2014 on DDS label in Manchester, UK, attracting not only the club audience of dub techno / minimal but also the enthudieatic music fans around the world. Electronic musician Shinichi Atobe has established his own private label Plastic & Sounds.
The first release on Plastic & Sounds includes two tracks: ‘Whispers into the Void’, which gradually and ascetically develops from minimal synths and rhythms with the introduction of a flowing piano refrain, and the floor use ‘Fleeting_637’, which develops immersive minimal dub techno at around 125 BPM. Mastering / record cutting was done by Rashad Becker in Berlin, who has worked on many of Shinichi Atobe's productions.
Composed through the fall 2024 while Nala was 28 years old, The Smashing Machine is Sinephro’s first film score, following her two highly-acclaimed albums Space 1.8 and Endlessness.
Composed through the fall 2024 while Nala was 28 years old, The Smashing Machine is Sinephro’s first film score, following her two highly-acclaimed albums Space 1.8 and Endlessness.
An album etched not only in the history of Japanese rock but also in the history of rock worldwide!A miraculous sound that never ages!Due to popular demand, re-released on clear vinyl!
●Why did the world's avant-garde musicians want to create "sound" with Conny Plank back then? The album "Phew" (released in 1981) was produced at the legendary Conny's Studio, which spawned masterpieces by Kraftwerk, Neu!, DAF, Eno, and others, with former Aunt Sally member Phew joining them.
●Holger Czukay and Jaki Liebezeit, former members of the German rock band Can, who had a great influence on techno and post-rock, participated.
●Conny Plank's outstanding engineering and Holger Czukay's ingenious editing created a groundbreaking sound world that still resonates uniquely and never fades even today.
Wind of Oirat is the full length debut by Mongolian independent musician and sound artist Ts Bayandalai. Following his acclaimed 2020 EP Kimel, he now presents a further matured, composed and refined version of his signature sound, which combines traditional Mongolian music and instruments with influences from experimental music and post-rock. Deeply rooted in the cultural traditions of his homeland, Ts Bayandalai, who grew up in a nomadic family in the Mongolian steppe, explores nature and its myths, his ancestral roots, and the relationship between humans, animals and nature.
"A friend of mine told me he had visited the place that Cancer House live and record. He said they jammed together all afternoon. In the moment, in the zone so to speak, he became more and more convinced that what they were making together was the best music he had ever been involved with. As the afternoon drifted by, second by revelatory second, he began making grandiose plans to release the recording. By the time it was dark outside the windows he imagined it as a future lost classic, a key live document of a scene, a moment and an aesthetic. He thought about all the records he loved. He thought about the great, little known, statements of lo-fi, downer indie: dark, sweet, crawling guitar music by bands like Farewood, Bedhead, UN or The Sonora Pine. He could even picture the sleeve down to the last detail. The session ended and as they were all packing up he asked about the recording. And someone said ‘oh, we weren’t recording." -Jack Rollo
Following his run of downtempo Quiet Time offerings, Texan producer Gi Gi moves to Vancouver's Mood Hut and maps his "downtempo sampledelia" logic over a syrupy set of deep-as-fuck, back room rollers. Gi Gi's is motivated by the philosophy of sampling - his 2021 album 'Lumino Pleco' was built from textures snatched from Prince, Miles Davis and Erykah Badu records. But he appears to have settled more assuredly into his role at this stage, coining the "downtempo sampledelia" descriptor probably to stop people like us from perpetually reminding him that trip-hop already happened. To his credit, 'In Lieu' does veer further from the dubwise, slo-mo gear that propped up his last few releases, tightening the beats and sharpening those all-important hazy backdrops. And if you recognise a few of the elements, that's partly the point; Gi Gi bashes together the album like a rickety rope bridge between the contemporary listening bar and a half-forgotten record collection that stacks its 'ardcore vinyl alongside Weatherall productions, electro samba reissues, Chicago house and Alex Patterson's dream diaries. 'Pink Dirt' sounds as if it's burying Kirsty Hawkshaw's voice underneath its powdery syncopations and housey piano stabs and on 'Arque', featherlight string plucks are ducked behind rubbery pulses that Gi Gi excites with fractal psy inflections. And the specters of dub and jungle slow dance on 'Downswept', when Gi Gi marinades his expertly chopped breaks in a bubbling synth. It's the kind of gear that makes the most sense while the summer's still in full swing - balearic doesn't even do it justice.
Infant crafts eight immersive dub pieces built from echo-laden rhythms, shimmering ambient textures and spacious production. Drawing on Detroit techno and sound system culture, the album unfolds with patience and depth, favouring mood over momentum, with blissed soundscapes that ripple and refreact like liquid metal. Recommended for fans of the ambient side of echospace [detroit] axis.
Epic 2 hour trip of astral-planing, ambient psychedelia shimmering with displaced traces of pop, slurred acid grooves and ample flange. Definitely one for the road or rail trip this summer, and FFO The KLF, Fennesz, Jefre Cantu-Ledesma, Eno. “From the edges of a hallucinatory torpor, Rue des Garderies continue their explorations in psychedelia — Femacosmé presents here a new piece recorded live at the Pe:rsona festival, at Domaine des Éveils in the summer of 2025. An adventure guided by blur, the intangible, the impermanent, where layers, voices, sounds, and organic and synthetic echoes resonate, emerge, then fade away — as if to deceive reality, or at least our perception of it. More than two semi-improvised hours in which Rue des Garderies (Sweetzak, Désiré Bonaventure & Vasco Cesaretti) summon us to an astral yet motionless journey — somewhere between ambient, IDM, and post-pop.”
Multi-instrumentalist, producer & composer memotone (Will Yates) announces the release of his album Warm Shadows and a homecoming on Accidental Meetings. The record will arrive on May 15th and the album shows a glint of itself through the single ‘Round The Bend’ which features Jabu's guest. Warm Shadows sees Yates’ discography continuing to flourish and traverse into new territory once again, his ever-growing sound palette commands total attention throughout the LP, within the album sees delicate collaborations with Lithuanian artist Ugné Uma, Jabu’s guest and percussionist, Typesun. Memotone (Will Yates) is a learn-by-playing multi-instrumentalist and producer, working with minimal, ambient and contemporary classical music. Predominantly an improviser, recent years have seen memotone lean towards a more free-form approach, exploring jazz, drone and more meditative music, also showing a keen interest in sound design and textural experimentation. Will has released music with various labels over the years to critical acclaim, most notably; World of Echo, The Trilogy Tapes, Sähkö Recordings, Accidental Meetings, Patience/Impatience & Black Acre.
Originally released in 1999 on the German sound‑minimalism stronghold ~scape, Kit Clayton’s debut album Nek Sanalet stands as a landmark work of minimal dub and clicks & cuts.
