MUSIC

Strung-out yet precise. Introverted but with something to say. Industrial Relations is a further unraveling of the stories untold left lingering around the Piedmont capital. Cloistered away behind one of Turin’s many crumbling doorways, a basic studio set-up alongside a scattering of found photos and a type-writer forms the backbone of this bureau. Noticeably more barbed than its predecessor Chamber Music, drums are frayed and left to splutter. Grungy guitar chords come in at angles, occasionally spiralling into delay-drenched depths before coming back up for air. The ghosts of 90’s post rock are often summoned and keep close company. Drowsy drum-loops and turntable mischief is a strong nod to the bedsit charms to Crescent (specifically Electronic Sound Construction to these ears at least), whilst Hood’s fuzzy greyscale warmth forms a backdrop for the songier moments. For all its uncanny abstraction though, Industrial Relations is punctuated by moments of unexpected sensitivity and space. Burial is little more than soft nylon strings, a demure vocal and the passing of traffic. Egg Monster unravels to expose a tender character, only just about covered with vinyl crackle whilst Musica Di Guarigione demonstrates a genuine sensitivity and ear for melody. It’s music outside but of it’s time, equally of the past and the present, offering a further insight into the inner-workings of this unique Italian dilettante.

"Eau" is the lovely new album from aus, the solo project of Tokyo-born composer and producer Yasuhiko Fukuzono, who has gained attention, in Japan and overseas, for his thoughtfully paced and sensitively skillful music as well as his intriguing sound design for exhibitions and experimental cinema. Having worked primarily with keyboards and electronic sound up to this point, "Eau" is a slight yet fascinating shift for aus; the album, while still primarily an electronic work, revolves around the sonic world of a stringed acoustic sound source, the koto, that most characteristically Japanese of musical instruments. The very accomplished Eden Okuno provides the delicate-yet-rich koto sounds on offer here; Fukuzono, in the liner notes, acknowledges the importance of Okuno’s artistry to the project.

The compositions on the album are designed to balance the sound of the koto, with its subtly variable attack and flickering resonance, with the timbre of other instruments. The delicate decay and metrical flexibility of the koto is enveloped by sustained synthesizer sounds and contrapuntally constructed piano melodies, creating a flowing ambience with absorbing undercurrents, a languid and liquid quality that reveals the suitability of the title.

Avid fans of contemporary Japanese music might hear the influence of pioneering works such as the the 1979 Hiroshi Yoshimura composition “Clouds for Alma", realized by koto player Tadao Sawai, and the 1993 album "Koto Vortex I: Works by Hiroshi Yoshimura" which featured performances of Yoshimura's works by the Japanese koto quartet Koto Vortex. These works attempted to remove the koto from its traditional context and place it within the context of ambient and techno. "Eau" is available on CD/LP/cassette/digital, with E/J liner notes by aus. "Eau" is the first collaborative release by EM Records and FLAU, the label run by Yasuhiko Fukuzono (aus).

2025 repress. There are certain albums which shake the world immediately upon release, and others which come from far underground and whose shocks and aftershocks rise to the surface gradually over the years, gaining momentum and power. “Ten Dubs That Shook The World” is of the latter type. Since its original vinyl release in 1988, the prescient impact of this Australian homemade dubwise solo massive by Anthony Maher aka Sheriff Lindo has become ever-more apparent and influential. With its dual-island combination of Jamaican dub and UK industrial and post-punk, and the twinning of spaced electronic drums and effects with some very fine, superbly rooted bass lines, the tectonic "Ten Dubs" has proven to be a durable, doubly-solid shaker. This 2025 repress is dedicated to the original producer John Blades, founder of the Endless Recordings label, who along with Maher and Richard Fielding constituted The Loop Orchestra.

A buoyant masterpiece from the early 90s, “The Water Garden” was created by Okinawa-born Kojun Kokuba under the inspiring image of a “happy Asia” thriving in the sea-based trading networks of the medieval to pre-modern era, with the concept that various types of music, as well as physical goods, were distributed and dispersed across the seas connecting various parts of east and southeast Asia. Fittingly, the music here has definite and distinctive Ryukyu island roots, but is informed by a number of other Asian musical traditions, layering phrases derived from numerous Asian scales, often altered by Kojun, eschewing typical Western chordal harmonic movement. Kojun uses the synths and multitrack recorders of the early 90s to, in his words, “pile up lines” in sweet and not at all overbearing melodic accumulations, with a desire to distribute and disperse a new energy from Okinawa to the rest of Asia and the world. Despite a pleasing and compelling rhythmic lilt and the use of synths and drum machines, this music was not created as a product for the dance floor; Kojun envisioned a type of electronic salon music, a “light music” made with contemporary technology. This is the first LP edition of the self-produced original 1993 CD release and includes bonus tracks and liner notes in English and Japanese.

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.

Side A
1. 自分のことだけ考えよう (Remixed by Cornelius)
2. Flow (Remixed by YANN TOMITA  ”A BRAND NEW CADILLAC AND ETERNAL LIFE MIX”)

A very welcomed reissue for this rare Jackie Mittoo album, originally released in 1979 on unknown label, Rite Sound inc. The original release was sold without a jacket, adding a mysterious vibe to the whole thing. The dubby effects-intensive sound of the album extends from "Russian Satelite" to the whole side A, with "Harder Than The Rest," "Stepping Tiger," and "World Of Love" being an excellent triptych of note. The thrill of Jackie's crazy keyboards intertwining with the floating dub sound like a heavenly space is beyond description. Space is the place.

From the depths of the most independent and revolutionary underground, a handful of tracks from the repertoires (often limited even to a single flexi disc) of some of the heroes who rode the wave, extracting from it—more for themselves and expressive necessity than for us—its most mystical and expressionist essence. New and No Wave, minimal and minimalist electronics, Avant Wave from the land where the sun still rises for now.

From the depths of the most independent and revolutionary underground, a handful of tracks from the repertoires (often limited even to a single flexi disc) of some of the heroes who rode the wave, extracting from it—more for themselves and expressive necessity than for us—its most mystical and expressionist essence. New and No Wave, minimal and minimalist electronics, Avant Wave from the land where the sun still rises for now.

Originally released in 1980 and long regarded as one of the most avant‑garde statements of its era, Hansten Klork captures Metabolist at the intersection of post‑punk restlessness and uncompromising experimentalism. The album’s stark textures, motoric rhythms, and hypnotic minimalism reveal a band equally indebted to kraut‑rock repetition, post‑industrial atmospheres, and the austere clarity of minimalism—creating a distinct, unsettling sound that still sounds contemporary today. This reissue restores the original record in full and adds six rare bonus tracks drawn from the band’s singles (“Drömm/Slaves,” “Identify”) and the split 7‑inch with Die Form. These extras expand the album’s narrative, showcasing Metabolist’s willingness to push structural and sonic boundaries—short, fierce sketches and elongated, trance‑like explorations that map the group’s experimental trajectory.

The music in this cassette comes from 1985 and is part of a cycle of sound experimentation (1983-1988) whose results have remained almost entirely unpublished, and whose recordings were even lost for decades until a few original tapes reappeared by chance. The Lost Tapes is conceptual noise music made without resorting to any type of musical instruments, not even synthesizers; using artisanal methodologies in order to generate noises, recordings with radio-cassettes, modifications through basic pedals for electric guitar and assembly techniques in cut-ups, loops and superimpositions. This reassambled edition has been published in 2024 with the reference EGK023, following the legendary k7 series edited by Discos Esplendor Geométrico back in the 1980s. To purchase the complete k7 with extensive liner notes by Marcelo Expósito and Mattin: www.rotordiscos.com/catalogo/the-lost-tapes/4912/ www.soundohm.com/product/marcelo-exposito-lost-tap "The Lost Tapes offers us some secret homemade gems recordings from the 1980s rich Spanish underground. The Spanish transition from fascism to democracy was not as smooth as they wanted us to believe. Still, there were many traumas to deal with, and noise music was the perfect medium to channel them. If noise in the 80s Japan was the acceleration of transgression resembling the economic boom that was going on in the country, Marcelo Expósito has worked through the unconscious shit that Spain was still dealing with at the time. Unfortunately, we still suffer those resonances. These recordings are part of an avant-garde that still has not been fully recuperated and give us a lesson from the past into the future: never give up on the power of noise to denaturalise and challenge the values of fascism." Liner notes by Mattin. Anti-copyright. Author of, among others, Noise & Capitalism (Co-editor, 2009), Object of Thought (LP, 2010), Unconstituted Praxis (Book, 2012), Social Dissonance (Book, 2022) and Seize the Means of Complexity (LP, 2023).

Parisian label Latency presents "Without References / Cindy van Acker (Variations)", a new release by goat (JP) and legendary producer Ricardo Villalobos. For this project, Villalobos reinterprets two tracks – "Orin" and "Factory" – originally composed by goat (JP) for choreographer and performance artist Cindy van Acker’s dance piece "Without References". The release follows Latency’s recent publication of Villalobos’ variation on percussionist Mohammad Reza Mortazavi’s "Swamp" (Latency, 2025), continuing the label’s exploration of reinterpretation and rhythmic dialogue. goat (JP), led by Osaka-based composer Koshiro Hino (YPY, Kakuhan, Boredoms, Mark Fell), is widely regarded as a leading force in contemporary minimalist composition. In “Without References/Cindy Van Acker”, goat (JP) transforms non-tonal rhythmic patterns into intricate, hypnotic structures with remarkable depth. In this new version, the group’s simultaneously tribal and futuristic sound is reshaped by Villalobos’ distinctive production style, which draws from both minimalist techno and Latin American rhythmic traditions. Ricardo Villalobos is a pioneering figure in minimal techno, known for his hypnotic and deeply rhythmic approach to electronic music. Born in Chile and raised in Germany after his family fled Pinochet’s regime, Villalobos developed an early fascination with percussion, beginning to play congas and bongos at the age of eleven. This tactile engagement with rhythm continues to inform his production work today. Influenced by both Latin American folk traditions and the emerging house and techno scenes of late-1980s Europe, he began DJing and producing in the early 1990s and quickly gained cult status within global club culture. Cindy van Acker’s dance piece "Without References" features scenography by visionary choreographer Romeo Castellucci. The stage environment evokes a space that shifts between a waiting room, a train station hall, and a mid-century installation. Eleven dancers interpret Van Acker’s precise yet fluid movements, interacting with goat (JP)’s percussive, stripped-down compositions to create a visceral and immersive performance. The artwork features photographs by Magali Dougados from a staging of "Without References" at the Maison de la Culture de Seine-Saint-Denis.

Originally recorded and released in 1977 on Sky Records, the first collaborative album by Brian Eno and Cluster was the first ambient record produced in Germany, and is considered the seminal, defining work of the genre. Brian Eno was certainly instrumental in creating and popularizing the concept of "ambient music" -- but it was not his invention alone. The German musicians Hans-Joachim Roedelius and Dieter Moebius (Cluster) were brothers in spirit. As so often in music, the idea of ambient was in the air -- both Eno and Cluster experimenting with the form in the 1970s, rendering any debate as to who influenced who redundant. What is certain, is that Brian Eno attended a Cluster concert in Hamburg in 1975, strategically positioning himself in the front row. Sure enough, he was invited on stage to jam with the band and, after the show, the participants arranged to meet up again. They did so two years later at the Old Weserhof in Forst, the domicile of the German duo. Eno and Cluster spent three weeks in Conny Plank's studio, resulting in two albums: Cluster & Eno and After The Heat (1978). In the liner notes, Asmus Tietchens (who also plays on the record along with Can's Holger Czukay) writes: "Clearly, all three musicians inspired each other during their three weeks together without any clash of personalities. Nevertheless, some tracks sound more like Cluster, some more like Eno. So it made perfect sense to collect the tracks with a Cluster flavor on Cluster & Eno." The importance of this record can never be overstated, nor can its elegance of diverse forms be matched. From Indian sitar and tamboura, to synth warbles and airy tributes to Western groove, it is a rare glimpse at what happens when masters meet.

src="https://www.youtube.com/embed/XOCSkXzLRJs?si=rTifM57rLB4dBW0g" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="">

Tortoise have been expanding the definition of rock music for almost 30 years, nodding to dub, rock, jazz, electronica and minimalism throughout its revered and influential discography. The resulting sounds have always been distinctly, even stubbornly, their own. Rhythms, Resolutions & Clusters has not been available on LP since it was released in 1995. The record ushered in a late 90’s remix craze, and launched a 12” series of remixes by a wide range of artists. This extremely limited re-press for our 30th Anniversary is a Tortoise record unlike any other, as Tortoise turned their iconic early songs over to their friends to play with. We love the sense of community & unlimited creativity that this record represents! Remixes include mixes by Steve Albini, Jim O’Rourke, Mike Watt (Minutemen), Brad Wood (Liz Phair), and Rick Brown (75 Dollar Bill). Original songs recorded by Dan Bitney, Bundy K Brown, John Herndon, John McEntire, and Douglas McCombs.

Martin Rev’s fifth solo album – Strangeworld – was released on the cusp of the new millennium. The label responsible was Puu, a Finnish imprint belonging to Tommi Grönlund and Mika Vainio’s Sähkö Recordings which came to fame in the 1990s on the strength of its uncompromising minimalist sound.
Four years earlier, in 1996, Rev had unleashed See Me Ridin, an album which surprised its listeners with keyboard melody sketches and distilled doo-wop compositions. It was also the first solo album to feature Martin Rev on vocals.
Strangeworld started where its predecessor left off. Melodic passages dissolved into a thicket of fragments and set pieces, coalescing in a celestial shimmer between rhythm loops and Rev’s voice, which assumed the role of an additional instrument rather than a standard singing part.

Originally released in 1989 as Violin Solo. Sept. 3-4, '89. Takehisa Kosugi's improvisations, both with violin and miscellaneous sounding objects, have a sense of emerging from the bottom of a spiritual unconscious. From this place comes a music based more on the feeling of sounds than conscious arrangement. Memory, physical action, tactile perceptions, environmental conditions, and awareness of subconscious microcosmic and macrocosmic extremes inform his work as much as the intention to assemble sounds into music. When listeners connect with his sounds, a direct identification of experience occurs between audience and performer. Personnel: Takehisa Kosugi - electric violin.

This is a work synonymous with the Aphex Twin, featuring one of the most popular songs of their career, "Girl/Boy Song".

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head. She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within. "Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?” "Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws.” "It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?” "Calib," she answers. "That is not much of a name," says Conaire. "Lo, many are my names besides.” "Which be they?" asks Conaire. "Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, B[l]oár, Huae, óe Aife la Sruth, Mache, Médé, Mod.” On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

Really feeling this trippy acid treat by a one-of-a-kind Lolina; her 10th solo album since the last Hype Williams drop with Dean Blunt in the early 2010s, and typically riddled with low-key mischievous slants on mutant dance-pop, as heard in her regular midweek club night at ace London venue, Spanners. Chasing up her trip-hop tinted LP ‘Unrecognisable’ (2024), and a mix CD as Balmainjeans repping her club night ‘Distressed’, Lolina plays to an ideally unpredictable form with a shift into acid pop on ‘Monopoly of Mistakes’; featuring eleven concentrated formulations of dry drum machines x tweakiest 303 gunk gilded with those vocals that keep us coming back. The combo of silver box x slanted vox finds the DIY prism-pusher bending timelines thru lo-fi indie-pop with sound system steppas, basement noise, cold wave and free party acid tekno, but never quite settling into any one style. Maintaining her mutable range of variations within a theme, Monopoly of Mistakes really catches our breath with the way Lolina turns a paucity of ingredients into a dead satisfying thing. Whether commanding the 303 to the beat-less abstraction ‘Border Beach’ or alloying with wooziest keys and steppas fizz on ‘The Mercenaries’, or going deep into the lushest wormhole on the titular, 7 minute standout, her min-to-max sense of economy is key to this LP’s appeal. It’s there in the piquant synth-pop of ‘Menace’ and ‘Everlasting’ - think Wee Papa Girl Rappers via Dave Ball at John T. Gast’s - and calling to mind a lost SOPHIE x EVOL gem in ’Stand Off’. But it’s also finely measured with an utterly gorgeous new age miniature harking to classic Hype Williams on ‘Welcome to the Drift of Whats Already Begun’, and of course the zinging closer ‘Penalty’, where zippiest ‘80s french cold wave meets AFXian harmony and a sort of Dopplereffektish science-lab engineering in a chef’s kiss demo of the extended melodic wooo that sets all her work apart. Best believe it’s fully distinctive, addictive gear.

Lolina returns with gg, a track that has become a fixture of her live sets before finally making its way to release. Balancing pop, performance art and uneasy humour, the song moves through uncertainty and contradiction while keeping its momentum intact. This edition features the extended version of ‘gg’ alongside two reworkings that push the track in different directions. An Arca remix reshapes its off-kilter energy into something even more unpredictable, while NEW YORK offers an alternative perspective on the original’s distinctive atmosphere. Part club track, part commentary and part mystery, gg captures Lolina at her most elusive, turning confusion, tension and movement into something oddly compelling.

New esclusive recordings by the one and only master of Japanoise!

All Music by Masami Akita

Recorded at Munemihouse, Tokyo 2024-2025

Mixed at Munemihouse, January 2026

Artwork by AI Generated ©️MA 2026

The Moon and the Melodies is a singular record within the Cocteau Twins’ catalog—unusually ethereal, even by their standards, and largely instrumental, guided by the free-form improvisations of Harold Budd, an ambient pioneer who had drifted into their orbit as if by divine intervention.  Building on the atmospheric bliss of Victorialand, released earlier the same year, it signaled a possible future for the trio, yet it was a path the Cocteau Twins would never take again.  Now, 28 years after it was first released, it has been reissued for the first time—remastered, from the original tapes, by Robin Guthrie himself.

The album was never actually meant to happen; no one can even recall exactly how it came about in the first place. As both Guthrie and Simon Raymonde remember it, the independent television station Channel 4 approached 4AD about a film project pairing musicians from different genres.  In interviews in the 1980s, however, Budd, who passed away in 2020, believed that his music publisher had linked him with the Cocteaus after the group had expressed interest in covering one of his songs.  In any case, the film never happened. “But we’d spoken to Harold, and we were all quite excited about it—in a very sort of downbeat Cocteau Twins way, where we were rarely excited about anything,” Raymonde recalls.  “We’re like, well, let’s carry on and do it anyway—you’ve already booked your flight, let’s just hang out in the studio and see what happens.”

“There was a lot of hilarity,” Guthrie says.  “It was strange to have an older man in our life, because Liz and I saw everybody around us—the contemporary bands, the people running record labels, the journalists—as grownups.  We were literally kids.  I thought, ‘Oh Christ, he’s going to be some pompous, you know, into his classical music,’ and he wasn’t.  He was just a big man-child. We clicked in that respect.”

The Cocteau Twins had recently built their own recording studio in North Acton, in West London.  It was the first time they’d had their own space, and they relished their newfound freedom.  “We were in this lovely little bubble of making our own music,” Raymonde says.  Budd fit right into their bubble world; all four musicians got on immediately.  Over pints at the pub, they talked about everything but music, and in the studio, Raymonde and Budd both say that very little, if anything, was discussed, save perhaps for questions of tempo or key.

“Harold would sit down at the piano and start playing something, and then maybe I’d pick up a bass and start playing along with him,” Raymonde says.  “They were very much noodles rather than songs.  That was the way we tended to work anyway.  Work out what kind of mood are we feeling, get a drum beat going, just a two-bar pattern; Guthrie would plug his guitar in, I would plug my bass in, and then we’d just jam for a few minutes and go, ‘Yeah, that was cool, let’s carry on doing that thing or that thing,’ really casually, and then all of a sudden we’d have a song.  I know that sounds ludicrous, but that is how we did it, and with Harold it was exactly the same.”

Budd played a Yamaha CP-70 electric grand, and the group came armed with a growing arsenal of gear, like the Yamaha Rev7 multi-effects processor and Lexicon PCM60, perhaps an Ensoniq Mirage.  Guthrie used an EBow on his guitars, along with a Gizmo, an electromechanical device invented by Godley and Creme.  Guthrie remembers endless experiments in search of new sounds: “Lots of messing around, tuning the guitar strings all the same, getting droney sorts of things—really big, loud, sort of Metallica-like feedback sounds, but then put in the mix so quietly you can hardly hear them the first time you listen.  All these psychoacoustic sort of tricks that I liked.  It’s all in there, you know.  Just being fearless—if it didn’t work out, it was never going to be a record anyway.”

The musicians’ contrasting approaches ended up shaping the album’s somewhat curious format—four instrumentals in Budd’s meandering style, more tone poems than actual songs, and four more structured pieces with verses, choruses, drum machine, and, of course, Elizabeth Fraser’s inimitable singing, as bold and inspired as anywhere in the band’s catalog.  There was no conscious decision to have Fraser only sing on four songs.  “That’s just what came out of the sessions,” Guthrie says.  “It was a lightweight atmosphere making it, because we didn’t actually feel that we were making a record at the time.  We were trying out some stuff in the studio, and it just evolved into what it did.  Which is, essentially, a recorded version of some people trying out some stuff in the studio.”

The sessions were over in two weeks, maybe three.  “And that was already getting a bit long,” Guthrie says, “because some of our earlier records had taken just a couple of days.”  They fleshed out the material, he adds, with one more song that the trio wrote in Budd’s absence, after they realized they didn’t have quite enough material for a full album.  (“Was I that drunk?” Budd asked, upon hearing the final version of the album, which included a song he had no recollection of making.)  As much as it may pain fans to hear it, there is no more extant material from the sessions—no outtakes, no rough drafts, no alternate versions. “For the 13 years I was in the band, we have no spare tracks at all,” Raymonde says.  “If after an hour or two a track wasn’t coming together, we’d just get rid of it.  If it wasn’t good now, our attitude was, it’ll never be any good.  So we’d think, tomorrow’s another day—let’s go to the cinema and come back tomorrow, and see how it goes.  Let’s go bowling.”

The other curious thing about the album—the fact that it was credited to all four players under their individual names—followed the same intuitive logic as everything else that went into the record.  “It’s because it wasn’t a Cocteau Twins album,” Guthrie says.  Raymonde concurs: “It was simple.  All four of us have gone into the studio and done something, but it isn’t a Cocteau Twins album.”  But perhaps the passage of time has changed matters.  These days, on streaming services, you’ll find the album filed chronologically alongside the rest of the band’s work.  “What’s interesting,” Guthrie adds, “is that I got the tape boxes from the studio, and guess what it says on it?  ‘Cocteau Twins plus Harold Budd.’”  Perhaps, he seems to suggest, the group got hung up on a detail that never really mattered.  In any case, Raymonde says, “The more credit that Harold gets for the work he did, the more people that find his music because it’s in the Cocteau environment, the better.”

Despite all its quirks, The Moon and the Melodies has attracted a passionate fan base over the years.  Its most atmospheric tracks routinely turn up in ambient DJ sets. 'Sea, Swallow Me' is one of the Cocteau Twins’ most streamed songs on Spotify, second only to Heaven or Las Vegas’ 'Cherry-coloured Funk'; it has also found new life on TikTok, where it serves as the soundtrack to innumerable expressions of hard-to-express melancholy.  For such a low-key affair, the album casts a long shadow—but Raymonde believes the record’s uniqueness stems directly from its humble, unpremeditated origins.  “It’s always about making something that’s pleasurable,” he says, “capturing a moment in time between friends that are enjoying making music together.  Really, that’s the essence of it—the music was just a reflection of how nice a time we were having in the studio.”

Senor Coconut's cult classic ‘El Baile Aleman’—one of Atom TM's many aliases—is reissued on vinyl for the first time in 25 years. Born from the half-joking idea that “if you're going to cover Kraftwerk, do it with cha-cha-cha or death metal,” this work reconstructs Kraftwerk's electronic minimalism through tropical imagination. It presents an original sound where cha-cha-cha, mambo, and cumbia intertwine with glitch and breakbeats.

Dj Sprinkles’ debut full length album,continues with themes from 1998’s “Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney’s buyout of Times Square” (a track recently featured on Ame’s “Coast2Coast” DJ mix compilation for NRK Records).

While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.

The title song of track1&2 is a real “strictly rhythm” house music. It’s a simple 4/4 beat with piano loop.maybe this is a real minimal house! Third track “Ball’r (madonna-free zone)” is a euphoric mid tempo house.this track reminds jan jelinek or larry heard.

Fourth track “Brenda’s $20 Dilemma” is a sequel of his fag jazz style.check the beautiful kuniyuki remix of this song(mule musiq 34). Fifth track “House Music Is Controllable Desire You Can Own” is a classic new york house style.if you like the record of jus-ed or that kind of artist,you like this song.

Sixth track “Sisters, I Don’t Know What This World Is Coming To” is a one of the highlight song on the album. Actually this track is not 4/4 beat house but very emotional powerfull music. Seventh track “Reverse Rotation” is a deep and madness beautiful song.When you listen this song,you associate the music of theo parrish or pepe bradock.

Eighth&nineth track are main songs of this album. “Grand Central, Pt. I (Deep Into the Bowel of House)” is associated the sound of jungle wonz or virgo. but this song is filled with somthing sadness.check the story about this album from terre,you will see…. http://www.comatonse.com/releases/midtown120blues.html This album is for a real house music lovers.

視聴-Midtown 120 Intro・ミッドタウン１２０イントロ
視聴-Midtown 120 Blues・ミッドタウン１２０ブルース
視聴-Reverse Rotation・後戻り
視聴-Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅　パート２（列車でミズーリ州から72時間）