MUSIC

D.C.’s sleeper cell groove sensation Kenny Torrella aka Torrello debuts on 100% Silk’s revived mirrorball subdivision House of Silk with a starry 11-song suite of daydream disco and vacation mode motion: Out Of Office. These are classic off the clock anthems, for cutting out and cutting loose, island hopping through shades of vapor funk, leftfield luxury, and uptown filter house, sensual and interdimensional. Torrella’s eclectic palette of passions – smooth jazz, animals, Moodymann – feed into his joyous, jazzy sound, between memory and fantasy, escape and epiphany. A low altitude cruise over private marinas and white sands, where life’s white noise fades to pink, and inner rhythm takes hold.

極上です。この人の最高傑作に当たる作品ではないでしょうか。Loris S.SaridやGreen-Houseとも並ぶ「植物のためのアンビエント」な大名作『Moss King』(Omni Gardens)という未曾有のヒットを放ったこともまだまだ記憶に新しいポートランドの名門〈Moon Glyph〉からは、〈Not Not Fun〉に秀逸なアンビエント/ニューエイジ作品を残すロシアのAlexander Sirenkoによるソロ名義Coral Clubによる3本目のカセット・アルバムが登場。2020年の閉鎖期間中の荒れ果てた都市の中心部からインスピレーションを受けて制作された作品。時間とエントロピーの中で失われ、ほとんど跡形もなく消え去った時代と文化を思い起こさせる深遠なコスミッシェ・アンビエント・ミュージック！

Matthew Linares aka Hidden Rung makes his solo debut on Good Morning Tapes. Having previously released on the label as a member of Pataphysical, Matthew is no stranger to the wizardry of GMT. "Happier" charts into uncanny territory, with it's deep, dubby sonics and fleeting spoken dialogue treading the line somewhere between a familiar land and a new and slightly unnerving horizon. Really lovely stuff. We can't get enough. Highly recommended every time!

“ When I started working on the piece in March of 2020, I had only decided to record it in the way I wanted to. The coronavirus was spreading globally, and the situation was gradually changing into something very serious. With no gigs scheduled and hardly seeing anyone, I felt as if my spirit was in a slightly deeper place than usual during the production. I sat down in front of my equipment as if I were dropping a fishing line into a quiet lake. I kept feeling that something new was lurking beneath the water surface. I was trying to catch that something that seemed to be just out of reach, that floated in and out of sight like a speck of smoke. ”
＿Referenced from: Afterword of 7FO「Ran - Bouten」

2021 brings a new album by Osaka electronic musician / producer 7FO. This work is a departure from the recent global ambient / new age approach, and the unique sound aesthetic created using only hardware equipment is a new frontier of 7FO or a return to his origin. "Ran - Bouten" is a new electronic music album with a poetic sensibility using machines.

Discovered by overseas labels such as RVNG intl., Bokeh Versions, and Metron-and with the release that followed EM Records in his hometown Osaka, it's like his personal folk craft that was once quietly played at his own pace. Music has reached listeners around the world. In recent years, he has been touring from a famous performance with Tapes at the Belgian "Meakusma Festival 2019" to a Japan-Korea tour. "Ran - Bouten" was born as a result of facing the sound alone without being asked by anyone to cool down the heat when the steaming and intense experience had settled down. Inside the cool electronic sound like a water bath, you can feel the maker's heart sending hot blood.

Peep into the condensed universe of a home-recorded miniature world that looks like an independent production of unknown age. He was alone in a dark room, making full use of KAWAI's 1990 digital and FM synthesizers , tracing the shape of nature and resonating the micro and macro sound worlds. The Rhythm and melody that continues to the Paradise Pure Land, which floats in a dreamy atmosphere, is the true value of 7FO even without his guitar play.

Mastering by Makoto Oshiro, which supports everything from home listening to club sound systems. Hiroaki Hidaka designed the jacket to make the image of the sound appear cool and friendly everywhere.

Budapest, Hungary-based producer Laurine Frost, popular for his series of works based on the story of his imaginary daughter's life, has released her latest album under the name Haramia Tapes for the first time in four years! A dope blend of dub, broken beats, and jungle. 7 groovy, cleverly stripped down, hypnotic tracks. Mastering and cutting at by Helmut Erler. Limited to 300 copies.

Deadstock. A must-have masterpiece for fans of Basic Channel and Huerco S. German electro heavyweight Burnt Friedman, who also collaborated with German rock giant Jaki Liebezeit of CAN, released this masterpiece in 2016 as the only single in the Risque catalog, a sub-label of his Nonplace label. Two abstract minimal dub pieces of nearly 10 minutes each are included on each side. Mastered at Dubplates & Mastering to Rashad Becker's specifications, the quality of the vinyl is flawless!

The latest in their Beat Series, the Zenker brothers Illian Tape brings us the first collaboration between Munich based beat makers IROCC and Packed Rich suitably available as a Vinyl and Ilian Tape Rizla bundle. Smokers or not, there is an enticing vibe at play that we find hard to imagine anyone with even the mildest of head nod hip hop proclivities not enjoying. Ducked bass thuds and relaxed piano chords rest up easy against skweee chirps and pitch bent rhodes vibes, bring to mind a meeting of the finest Golden Age Boom Bap and the most laid back work of more recent heads such as Dorian Concept, Kiefer, Hud Mo, Nosaj Thing and Dâm-Funk. Chill the schnapps and juice, light one, apply stylus to vinyl....

Listeners who know much of anything about Bryn Jones’ work as Muslimgauze know that he was prolific in both his work and in the way he sent out his work to labels and other interested parties (it’s one of the reason some of that body of work is still being sorted through and released 20+ years after his passing). Fittingly enough for an artist that feverishly productive and often taciturn to the point of frustration, he didn’t tend to give much more information than handwritten track titles on the sleeve of a DAT. Why he would submit multiple copies of the same or similar tracks to those he worked with, often in totally different configurations, is now a permanent mystery, but it does lead to Jackal the Invizible, essentially a compilation of material from multiple other releases* that Jones had also submitted at the time on its own DAT. All of the songs here were released at least 20 years ago (a few over 30!) and as with practically all Muslimgauze releases they were limited and/or hard to get ahold of now. Jackal the Invizible is both a way to issue those tracks on vinyl as the Archive Series has been consistently doing, and in interesting look into how Jones would organize and sequence his albums. The track listing here was faithfully reproduced from the way Jones titled these tracks on this submission, which is how you get Fedayeen’s “Bharboo of Pakistan Railways” here called “Fedayeen Bharboo of Pakistan Railways 2001” (although that album came out in 1998 and Jones sadly was not making anything by 2001, only leading to more questions). This compilation as with most of his work was submitted without comment, so it can be asked, was it intended to be a compilation? Had he at some point decided he preferred these tracks in this arrangement rather than on their other tapes? Did he produce so much work and/or was so disorganized he simply forgot this batch had been mailed off before? Did he have a standing arrangement with his postal worker and just handed him whatever was closest to the door each week? (Well, probably not that last one.) One thing we don’t have to question is the quality of the tracks here, regardless of familiarity. The new juxtapositions can be quite striking; shifting suddenly from the harshly distorted blurts of “Resume and Shaduf Fatah Guerrilla 1999” to the cooly nocturnal atmosphere of “Abu Nidal 1987” and then to the dubby bass pulses and rattling hand percussion of “Hand of Fatima 1999” (possibly the most misleading to longtime listeners - it has indeed been heard on it’s almost-namesake album, but there it’s known as “Mint Tea With Gadaffi”) is an experience unlike much else in Jones’ oeuvre, even though all three modes are ones he has worked in before. The result doesn’t touch on every single mode explored throughout the vast body of Jones’ work (you’d need a box set for that), but does prove to be a multifaceted experience that also serves as an excellent introduction to or refresher on Muslimgauze as a whole.

Arguably one of the highpoints from both these UK sonic pioneers (John Bolotten aka The Rootmsan and Bryn Jones aka Muslimgauze). This is the first vinyl issue of original material previously published in 1997 on CD by Third Eye Music (Rootsman’s own CD imprint). Another collaboration between Muslimgauze and The Rootsman following the Amahar release.

Jin Mu is taken from the Chinese Zodiac and translates to the elements of Metal (Jin) and Wood (Mu). this is essentially the concept of this record.. Tucceri plays a selection of wooden and metal flutes and Zeitgeist plays drums and cymbals. In this sense it's a musical connection to the natural elements and spirits embodied in these instruments. Having worked together for several years on the project ‘Zeitgeist Freedom Energy Exchange’ Zeitgeist and Tucceri come together here in a very intimate and vulnerable setting. This recording offers a place of reflection and healing amongst an ever imposing and disposable pop culture. In a time where we fight for each others attention in 10 second social media grabs. The duo offer something of the opposite. An opportunity to tap out of the technological bombardment and allow the listener the place to reflect, to ponder, to imagine. This record is especially poignant at a time of rising tensions in Australia about the acknowledgment and rights of the indigenous peoples and an ongoing fight for the settlement of refugees in what is essentially a nation of immigrants.

Elodie is the first full-length album by Andrew Chalk, a solitary musician, and Timo van Luijk of Belgium, who also shows his talent in Af Ursin and In Camera. The sound is a mix of field recordings of birdsong and murmuring rivers, and performances of various instruments (bagpipes, guitar, koto, percussion, synths, etc.) and non-instrumentalists, resulting in a very varied sound, but still stateless. Like the works of both artists, it is a small and compact worldview, but all of the sounds, including quiet and beautiful drones, abstract playing with/without melody, and improvisation, are wonderful, reaching the realm of meditation. The sense of time, similar to that of Andrew Chalk's work, is clearly alive here as well, as one forgets the passage of time. This is an ideal type of music. I think you will experience a very fresh sensation. Daisuke Suzuki and Ian Middleton also participated. The artwork is as wonderful as ever and sounds just like this.

オリジナル盤カセットは最早入手不可能にも近い一枚！配給元最終ストック。ウクライナ出身の作曲家、映像作家、ライターであり、70年代中盤から90年代にかけてスペイン・マドリッドの前衛音楽シーンで絶大な影響を誇っていたIury Lechが同国地下実験音楽の聖地〈Hyades Arts〉より1989年に発表した1作目のアルバム『Otra Rumorosa Superficie』が〈Utopia Records〉からアナログ・リイシュー。〈Grabaciones Accidentales〉の〈El Cometa De Madrid〉（マドリッドの彗星）シリーズで紹介されたアクトを筆頭に筆頭に独創的なアーティストたちが世界でも類を見ないクリエイティヴなシーンを興隆させたマドリッド音響派周辺のシーンを代表する１枚。先に再発されていた次作同様、天上風景を醸すモダン・クラシカルの傑作ですが、こちらにはよりアヴァンギャルドかつ仄暗い影を滲ませており、深い内省を感じさせる一枚となっています。そこ知れず幽玄にして幻影的なモダン・クラシカルの傑作。180g重量盤。限定300部。

Having assembled 99 collaborators for their previous album The Consuming Flame, on their new album Baltimore-based electronic duo Matmos focus upon just one person: Polish polymath Bogusław Schaeffer. Celebrated in his native land but not widely known beyond, Schaeffer innovated for decades across the boundaries of classical composition, electronic experimentation, and radical theater in playfully form-breaking ways. At the suggestion of Michal Mendyk of the Instytutu Adama Mickiewicza in Warsaw, Matmos were given access to the entire catalogue of Schaeffer’s recorded works to use as they saw fit. Neither performances nor remixes, the resulting encounters between past and present take tissue samples of DNA from past compositions and mutate them into entirely new organisms that throb with an alien vitality. What emerges across this suite of eight new songs is a composite portrait of the utopian 1960s Polish avant-garde and the contemporary dystopian cultural moment regarding each other across a distance. Like the anagrams of the letters of Bogusław Schaeffer’s name that were re-assembled to create some of the song titles, the album itself is a musical re-assemblage of component parts into possible but unforeseen new shapes. Adding harp from Irish harpist Úna Monaghan, erhu, viola and violin from Turkish multi-instrumentalist Ulas Kurugullu, and electronic processes from Baltimore instrument builder Will Schorre and Horse Lords wunderkind Max Eilbacher, the resulting arrangements constantly toy with scale as they move from the close-mic-ing of ASMR and the intimacy of chamber music to the immensity of processed drones and oceanic field-recordings that close the album. Offering a “life review” of production styles, Regards / Ukłony dla Bogusław Schaeffer builds temporary shelters out of the panoramic wreckage of modernist composition, sixties tape music, seventies dub, eighties industrial music, nineties postrock and dark ambient, 2000s era glitch fetishism, and contemporary post-everything collage sensibilities. The contrary poles of humor and morbidity for which Matmos are known show up on the album’s distinct sides. Balancing structure and texture, side one of the LP is spiked with plunderphonic surprise edits and unexpectedly pop pleasures, while side two opens out into more extended, sprawling and ominous forms. On the opening track “Resemblage / Parasamblaż” the choral harmonies and analogue electronics of Schaeffer’s work jostle against distinctly contemporary sub-bass drops and spiky high-end fizzes. But just as often historical dividing lines seem to blur, soften or melt, as when “If All Things Were Turned to Smoke / Gdyby wszystko stało się dymem” cuts and refolds fragments of harp and aquatic musique concrète from Schaeffer’s 1970 composition “Heraklitiana” into a faintly swinging polychronic elegy. Throughout, nostalgia is repudiated in favor of creative re-use. To facilitate the transcultural exchange that is the album’s essential premise, all song titles and liner-notes are provided in both English and Polish. The album was mastered by Rashad Becker and features illustration and design by Robert Beatty.

Mouse on Mars’ Andi Toma and Jan St. Werner return with their most inventive album to date, Dimensional People. The new album finds the Berlin-based duo reunited with Thrill Jockey, a powerful aesthetic partnership marked by such seminal albums as Radical Connector (2004), Idiology (2001), and Niun Niggung (2000). After a series of notorious dance floor releases, Dimensional People reveals them working deep within their own vernacular, digging into fertile terrain of their inexhaustible vault of digital and acoustic experimentation, and charismatically making elemental components new again. This album makes clear how their craft is of discovery, of finding new contexts for places, sounds, memories, sensations, ambiences, technologies, relationships, and of course, people. A number of prolific guests joined the production: Justin Vernon (Bon Iver), Zach Condon (Beirut), Spank Rock, Aaron and Bryce Dessner (The National), Swamp Dogg, Eric D. Clarke, Lisa Hannigan, Amanda Blank, Sam Amidon, Ensemble Musikfabrik, and about 20 more musical collaborators. The cast of characters are as unique as they are vast, clearly a rich quarry for the prodigious duo. Dimensional People, initially titled new konstruktivist socialism, gives each participating guest a platform to imprint the album as whoever or whatever they want to be: a narrator, a perfect moment, a jam, an ensemble member, an abstract sound, a multiple persona, a mood, a soloist. Originally premiering as a spatial composition using object-based mixing technology playing with the possibilities of sonic design and collective musicianship, the recording expands upon these ideas. Dimensional People expresses itself as a dynamic 50-piece orchestra, telling a story in sound. Each player is a multifaceted character, the recording an imagined stage, and the production is direction, lighting, and setting changes. Mouse on Mars offer sound as a means to encourage open-minded societies, aided by cutting-edge technology including their own MoMinstruments music software or a spatial mixing technique called object based mixing, with which a spatial version of the work was created. It is a conceptual puzzle composed around one harmonic spectrum within one rhythmic scheme, mostly in the tempo of 145bpm (inspired by Chicago footwork, so the dance floor is not entirely absent). Looking ahead, Dimensional People will also be realized through installation, presenting the work as an immersive listening experience, as well as performance.

In 2004 Jan St.Werner and Andi Toma, aka Mouse On Mars, celebrate their 10th anniversary. Many will claim their music already was so revolutionary and pioneering back in 1994, that it could well have been written today without sounding the slightest bit dated whatsoever. Starting as an avant-garde experiment in electronic music and philosophy, Mouse On Mars has evolved into one of the biggest music exports from Germany. After a decade of producing music, the duo have released eight full length records including their newest: Radical Connector. In true Mouse On Mars style, Jan St.Werner and Andi Toma came up with a perfect way to celebrate their anniversary. In conjunction with the prestigious Kunsthalle Düsseldorf they worked on an art exhibition called "doku / fiction: Mouse On Mars reviewed and remixed" in which artists delivered their visions of Mouse On Mars, but and here's the special twist (or should we say 'twift') without being able to use Mouse On Mars' music or to generate any sound. The exhibition opened on April 3rd to huge acclaim in both the art and music worlds alike and, as such, constitutes the perfect start for the launch of Mouse On Mars' new album Radical Connector. Due for release in the second half of 2004, it is the follow up to 2001's Idiology. Critical acclaim has been heaped on Mouse On Mars for their significant contribution to the development of electronic music, their importance for the German music scene as a whole, and for their innovations using live instrumentation in performance and recording long before it became common place in the power book scene. Mouse On Mars are true innovators. Jan St.Werner and Andi Toma provide positive proof that despite it being an incredibly difficult undertaking, it is nevertheless possible to write and perform sophisticated music as part of a theoretical framework and still rock like hell. Anyone who has ever been to a Mouse On Mars show will testify to the latter; anyone who has ever talked to Jan St.Werner or Andi Toma will confirm the former. Mouse On Mars' unique way of creating music demonstrates that intelligence and playfulness are not mutually exclusive terms. Their music is both challenging and funny - complexly layered yet with a simple driving beat. Mouse On Mars has a unique vision and a unique way of expressing this vision, resulting in an unmistakeable sound which functions on a universal level and makes people move their minds and their bodies. In a musical genre not noted for longevity, Mouse On Mars has not only found their own distinctive voice, but have remained a force of imaginative innovations for a decade. The new album Radical Connector includes nine new tracks which took Jan and Andi three years to write and produce in their famous St. Martin studio in Düsseldorf. Long-time musical collaborator Dodo Nkishi was part of the recording team once again, and the album fe atures both his drumming and his strangely recorded vocals most prominently in the aptly named "Wipe This Sound". Never has Mouse On Mars written a more danceable track with such irresistible drive. Expect to see dance floors from Tokyo to Santiago de Chile full to overflowing. Sonig recording artist Niobe also participated in the recording her wonderfully aloof vocals ("the end is near...") adorn two tracks. With Radical Connector Mouse On Mars is taking an important step forward both in terms of musical vision and international standing. Their Touring will focus for the first time on North America. Making appearances not only with Drummer Dodo, but as both a duo and as DJ's. When you show up remember to bring your dance shoes and your thinking cap! If in 1994 Mouse On Mars sounded like 2004, then Radical Connector is a portent of what the year 2014 will bring. Enjoy!

音楽フリーク注目のレーベル、Warp傘下の〈Disciples〉からPhewの最新作『Vertigo KO』がリリース！

"このアルバムは、2017年から2019年、10年代の終わり、この閉塞的な期間に制作された音のスケッチです。
言い換えるなら、幻想に浸るでもなく、音楽へ逃避するでもなく、また世界観を提示するものでもなく、2010年代後半のある個人のドキュメンタリーミュージックです。
このアルバムの隠されたメッセージは、「なんてひどい世界、でも生き残ろう」です。” - Phew

日本のアンダーグラウンド・ミュージック界の伝説的なアーティスト、Phew。1978年に大阪で最も初期のパンク・グループの一つであるアーント・サリー (Aunt Sally) のフロントを務めたのを皮切りに、80年代にはソロ・アーティストとして坂本龍一、コニー・プランク、CANのホルガー・シューカイ、ヤキ・リーベツァイト、アインシュテュルツェンデ・ノイバウテンのアレクサンダー・ハッケ、DAFのクリス・ハースなど、多くの著名なアーティストとのコラボレーションを行い、近年では、レインコーツのアナ・ダ・シルヴァ、ジム・オルーク、イクエ・モリ、オーレン・アンバーチ、ボアダムス/OOIOO/SaicobabのYoshimi (Yoshimi P-We) などとのコラボレーションも行っている彼女が、最新作のリリースを発表。

本作は、これまでに、ブラック・ロッジ、ボグダン・ラチンスキー、ヒズ・ネイム・イズ・アライヴといったカルト・ヒーローたちの未発表音源を世に発表して音楽ファンから一目置かれてきたレーベル〈Disciples〉の審美眼に適った初の日本人アーティスト作品となる。

Phewの80年代初期のニューウェイブ指向の作品には、日本のみならず海外のコアな音楽フリークやレーベルから多くの関心が寄せられており、コラボレートしてきた著名なアーティストたちの数々も印象的だが、〈Disciples〉は『Light Sleep』『Voice Hardcore』といった近年の作品は、彼女の素晴らしいキャリアの中でもモダン・クラシックと呼ぶべき傑作であり、Phewが今、再び最盛期を迎えていることを確信し、本作のリリースへと繋がった。〈Disciples〉が今回のリリースにおいて探求したいと思ったのは、まさに彼女の今なのだ。『Vertigo KO』は、前述の2枚のアルバムと同じ時期に録音された楽曲と、今回のリリース用に制作の新曲を収録。アルバムには20ページのブックレットが付属しており、Phewについての文章と、表紙にもなっている塩田正幸の写真が収録。

Minimalist music evangelist Terry Riley's 1968 masterpiece "A Rainbow In The Curved Air" influenced numerous musicians.From The Who to many techno artists, this is a classic album that continues to influence us.

The underground music scene in Asia has experimented a notorious rise in the last years, Taiwan, Indonesia, Thailand or South Korea are more inside the radar than ever, contributing actively with amazing djs and super talented producers; creating an effervescence subculture where to keep an eye on. Multifaceted producer Mogwaa is not a stranger anymore, awarded in 2021 with best electronic album of the year in South Korea, his versatility and skills have found a place in labels as "Klasse Records", "Spring Theory" or Sound Metaphors' "Bless You" among others. We are glad to present one of the most awaited records on MM Discos; “Del Mar” is a bliss of fresh air, a story about all this little things that make us dream everyday. “The Sea” as the main actor of the movie orchestrated by Mogwaa and supported by crackles, waves and little islands where to get lost in.

Each of these tape versions contains several additional songs that don't appear on the LP versions, and are 1 hour running length! Professionally dubbed tapes, fancy printed colored shells with color 3-panel covers, and download cards. Shipping now and going fast! The Space Lady began her odyssey on the streets of San Francisco in the late ‘70s, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees. Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. The Space Lady’s Greatest Hits (LSSN021) features the best of these recordings―mostly covers but with some originals―pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. Greatest Hits contains The Space Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also four originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time. In the mid ‘90s The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, she has surfaced with the first ever official release of her timeless, startling music and, even more remarkably, has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of peace, harmony and love.

The fifth instalment of Ilian Tape’s Ilian Beat Series finds veteran Dutch producer Kid Sundance providing a fruitful selection of sample heavy hip hop tracks. ‘Neptunes’ opens with metal creaks and groans, eerie yet smooth, meanwhile Rones plays spacey, dreamy synths on ‘Wooden Loft’. The luscious delivery of ‘Ero’ combines the jazz expertise of Shigeto with loops programmed akin to Brainfeeder's Teebs. Tien Seconden feels like a lost beat tape from the 90s, with the warm crackle of Kid Sundance’s weapon of choice the EMU SP1200 coming through in spades, but an unmistakable modern glamour shines through.

The 2014 debut solo collection by French wind-walker Baptiste Martin aka Les Halles remains a masterpiece of soft light and subdued yearning, woven from grainy panpipe samples, tape hiss, and spectral delay. Recorded late at night in a tiny room in Montpellier, Invisible Cities quivers like a candle by the sea, its fragile illumination flickering against an expanse of sky, silence, and sorrow. The pieces feel both ancient and immediate, glimpsing currents behind the veil, at the threshold of presence and absence. The track titles evoke similarly transient states of echo, memory, and negative mirrors. This is music of solitude and devotion, of empty streets and unremembered dreams, fleetingly captured via the eternal alchemy of FX pedals and a 4-track. (Britt Brown) All tracks recorded by Baptiste Martin, in Montpellier (France), in late 2013. This collection of tracks is named after Italo Calvino’s Invisible Cities.

Lattice-like manifestations are here and although complex in theory, show life though more visceral and ancient means. From infinity and up to infinity. Awakened into an expansive present.

Pitchfork gave it a good score of 7.4! Anthony Naples and Jenny Harris are well known for their work on The Trilogy Tapes and Proibito, and are also known for their work on the Harris' "The Trilogy Tapes" and "Proibito" labels.
DJ Python is also known for the smash hit "Dulce Compañia," his 17-year debut LP on Slattery's hot label, Incienso.
DJ Python's second album is an immersive sound that blurs the boundaries between ambient and dance music. The second album from DJ Python, who has been known around the world as "deep reggaeton", is an immersive work that blurs the line between ambient and dance music, updating Jamaican dance sounds from dancehall to reggaeton to dembow with a deep ambient perspective. The preceding single "ADMSDP" (B2), which features poet/performer LA Warman on vocals, is a masterpiece. The soundscape is a complete knockout!

The follow up to Dub From The Heart. Recorded and mixed at Conscious Sounds. Produced by Jah Warrior.