MUSIC

Companion offering to the recent LP, Aquarealm: Sub-Aquatic Compilation interweaves an array of new album tracks with a selection of discography deep cuts for a one-hour saga of shape-shifting aquatic bliss. Drawing on the classic X.Y.R. palette of Formanta Mini, Korg M1, FX, a loop station, and field recordings, the mix’s 16 songs slipstream seamlessly despite being sourced from across a decade of work – testament to the constancy of its creator’s vision and the renewable vastness of his muse.

Yamaguchi electronic landscaper Tomokazu Fujimoto aka Multi-Surface returns from an eight-year hiatus with a slow-blooming suite of radiant terrains and looping lullabies, named for a geometric technique utilized in Japanese gardening: Aesthetics of Inequality Triangles. Prior tapes for Lillerne and Patient Sounds explored parallel spheres of smeared tranquility, but his recent work skews even more sun-flared and crystalline, percolating patterns of texture, melody, and circuitry into states of suspended transience. The album’s 10 tracks lull, unspool, and refract, lapping like waves against aerial shores, flickering rainbows glimpsed in raindrops. The titles offer further clues, mapping a morning walk beneath too blue skies along a path lined with ceramics and stones, pastel flowers gently billowing in a breeze blowing from tomorrow.

As the latest work of Ricardo Villalobos, the double EP "Agglomeration Of Atomised Souls" is a collaboration work with producer/DJ Ferro (Jasper Verrijzer), who is also known as the co-organizer of VBX Music, a popular collective/record label in Amsterdam, the Netherlands.・Pack is analog release! A powerful board containing 4 songs of hypnotic minimal techno with an experimental and strong skeleton. I'd love to!

Human Pitch is proud to welcome Seoul-based duo Salamanda to the label for the release of their third LP ashbalkum - a portal into unseen worlds, enchanting stasis, & laughter in the face of our evolving realities. Across an effervescent 39 minute runtime, ashbalkum provides a spellbinding view into how we interact with the world around us - one where one’s own being, language, & nature itself are all rendered infinitely mutable.

Written during the surrealist landscape of summer 2021 somewhere between a sweet dream & a beautiful nightmare, ashbalkum accesses a playful tranquility that mirrors our tumultuous present - distantly intimate, static & constantly changing, moving while standing still, all the while narrowly evading the pressures of our pre-apocalyptic world looming just overhead. Through their collaborative energy steeped in joy, friendship, & experimentation, Salamanda transports us towards even further surreality - taking their sound to wholly new frontiers  while aiming to just have fun creating together & living presently.

ashbalkum’s namesake stems from symbolic & phonetic reinterpretation - specifically, a Korean phrase for the realization that what you’ve been experiencing as “reality” is actually a dream. The transmutation of this humorous existentialism into new meaning forms the core of ashbalkum - blissfully maneuvering through life, basking in irreverent states of lucidity, & attuning all frequencies to fellow dreamers within the dream.

Do dreams always reflect what we think? Is what we feel within dreams real?

Ultimately, Salamanda don’t seek to answer these questions, so much as revel in the delightful liminality of it all.

The first full-length vinyl collection by Tokyo-based producer Zefan Sramek aka Precipitation crystallizes his evolving synthesis of new age ambience, tape hiss, and house music into a riveting suite of motion and mirage: Glass Horizon. Conceived and recorded between two formative trips to Sado Island in the spring and late summer of 2020, the album feels both insular and infinite, threading paths through wet grass, along isolated coasts. Field recordings of tidepools, birds, and cicadas crossfade into fluid mandalas of bass, keys, and drum machinery, while synths glide and glisten, rising like heat off sand. Sramek speaks of themes of escape and estrangement, solace and desolation, visions of azure waters lapping empty shores. Weeks spent sleeping in a hammock attuned him to the extrasensory; melodies and memories materialized from the foliage, suffused with ocean air and placeless melancholy. All seven tracks swoop and swirl with patience and precision, grid-mapped golden dawns and gradient sunsets mixed live and captured on cassette. This is dance music as portal and pilgrimage, spiral environments for a refracted age.

Strawberries ripen in the spring. Or so they used to, in a more reliable world, one that seems to be rapidly receding in our collective rearview mirror. Presently, “spring” is a troubled concept — fraught with anxiety. Our seasons, if they are seasons at all, are paradoxical. Crops fail, or they ripen prematurely, all at once, and into a burst of rot. Impossibly, somehow, the supermarket shelves stay stocked (mostly, for now at least), and there are buckets of strawberries on every corner. But, of course, their nature is suspect. And they don’t taste like they used to. Or maybe that’s just ruinous nostalgia. But somewhere along the way we certainly lost something. Everybody knows. Strawberry Season (Leaving Records, November 9 2022) responds tenderly to this sorry state of affairs, not with false comfort — nor escapism. Rather, the album conveys, often wordlessly, that there remains an abundance of sweetness amidst our increasing unease. While much of twentieth century American popular and folk music may have dwelt on the beauty and plenitude of the prairie, More Eaze applies a similar Romantic focus to the small bursts of fecundity that now hide in plain sight. Blending found sound, generative music, a knack for elegant, classically-informed melodic arrangement, and a sort of Liz-Fraser-by-way-of-hyperpop approach to vocals, Strawberry Season offers unique solace — providing an occasion for the kind of deep listening that our overstimulated and undernourished spirits require if there is to be any hope at all (and of course there must be hope). More Eaze (serving as composer, songwriter, multi-instrumentalist, producer, and sound artist) guides us incrementally to this locus of attentiveness. Strawberry Season begins with the softly sweeping gentle pets. Early intimations of Velvet Underground give way, indeed, to a string arrangement that John Cale might have saved for Paris 1919. The second track, Suped, features a kaleidoscopic swirl of grocery checkout scanners that eventually coalesce and release with the subtle strumming of a harp. On known, in the midst of a nearly elegiac outflow of feeling, a shower starts to run. Someone steps inside, pulling the curtain back, sending the plastic rings clattering. Moments later, the unmistakable sound of the showerer blowing their nose — an inclusion that is at once light-hearted and jarringly, movingly intimate. Strawberry Season’s second to last song, low resolution at santikos, serves as a sustained meditation on all that has come before it. Building slowly throughout its nine minutes, teetering, at times, on the edge of danceability, it dissipates suddenly, and Strawberry Season concludes with the rustling of clothes, snippets of distant conversation, creaking floorboards, an exhale and a sniff. There is a feeling of having arrived, of temporary reprieve in the face of uncertainty. A hint of a season yet to come, or one that is perhaps only now accessible in dreams.

The inaugural LP by Tokyo Metropolis electronica entity UNKNOWN ME, Bishintai, is a sublime synthetic suite of cosmic wellness transmissions exploring “the unknown beauty of your mind and body,” appropriately named for a kanji compound meaning “beauty, mind, body.” Crafted with software, synthesizer, steel drum, rhythm boxes, and robotic voice by the core quartet of Yakenohara, P-RUFF, H. Takahashi, and Osawa Yudai, the album unfolds like a holographic guided meditation, soothing but cybernetic, framed by subways and sky malls. Latticework electronics flicker with texture, glitch, wobble, and mirage, themed around sensory perception and body parts. A diverse cast of collaborators assist in actualizing the collection's uniquely urban expression of new age ambient, from psychedelic footwork riddler foodman to multi-instrumentalist institution Jim O'Rourke to Japanese underground shape-shifters MC.Sirafu and Lisa Nakagawa. Although the group cites a therapeutic muse (“made for the maintenance of the minds of city dwellers”), Bishintai shimmers with an alien strangeness, too, like decentralized relaxation systems obeying sentient circuits. This is music of utopia and nowhere, channeling worlds within worlds, birthed from a sonic ethos as simple as it is sacred: “in pursuit of beautiful tones.”

All Genre artist & beatmaker in anonymity Droopy Eye debuts the full-length album Embruja. After nearly a decade of exchanging genre-fluid demos and audio email attachments with Leaving Records founderperson Matthewdavid, Embruja surfaces as the perfect anomaly with playfully aligned experimental sonic & philosophical influences that include Terence McKenna x Underground UK Dance Music Culture, and The LA Beat Scene.

Eagerly awaited yet patiently bubbling under the surface, UwU dust bath emerges with its primal offering, a deeply generous and authentic sonic array from low-key prolifics Purelink. Despite the Chicago trio’s humbly mysterious presence, the transcendental music speaks resoundingly. UwU 001 is rooted in the group’s most sincere and early jams; exuding an innocent magic almost impossible to recreate, tranquil effervescence of the highest nature; three otherworldly originals harmoniously colluding with an intercontinental all-star cast of remixers. xphresh (special guest DJ & Ben Bondy), Low Flung & Nice Girl each respectfully contributing to the synonymous mutual (& virtual) affiliation, kindredship and vision entrenched in the UwU ethos. An immersive sense of bliss exudes from even the initial vibrations of the A side. Soaked in textural pleasure, Butterfly Jam feels suspended; gloriously hovering with organic ebb and flow. Preparing to bloom, the harmonic design starts to flourish, thriving together with rhythmic and dynamic nuances to form a mesmerizing spherical habitat. Fantasize the interior of a bubble with Fine Pink Mist, effortlessly floating and entirely balanced; rich, assured subs anchor the glistening percussive texture and pads, providing a soft bed for experiments in melody and tone; hypnotic movement propelling throughout. The concluding original Dozen Sunbeams evokes a dance of flickering light, dynamically subtle motion maturing in each voice. Everything has a perfect place; an evolving trademark of Purelink’s delicate, yet deliberate, chillout ecstasy. Each track is thoughtfully paired with a complimenting remix on the B side, preserving and echoing the ethereal essence while adding a personally inspired touch, nurturing fresh existence and perspective. Arguably the most unforeseen plot twist comes via xphresh (Special Guest DJ & Ben Bondy), causing Rih✫nna’s notoriously iconic vocals to drip like honey, seeping into the fuzzed post-dancehall daydream; a sunkissed celebration. Low Flung carries the brightly burning torch, contributing a deep-haze rendition which exhibits elevated harmonics and pulsing drum delays, tripped out extraterrestrial heaven. Lastly, Nice Girl’s semi locked groove percussion heavy mix plants our feet firmly back on earth; infectiously spirited and euphoric like the original, the luminous stabs glow alongside a bulked out beat and vocal whispers - witness the transformation to full dancefloor status. In case you aren’t fully satisfied, the Good Girl No Infringement Dub comes as a digital treat, stripped back sublime and mesmerized. UwU dust bath is inaugurating its anticipated catalog with pure, unadulterated aural alchemy. The synergy throughout this entire release reveals an unspoken affinity and divine love language between the label and artists that can translate to how we feel and absorb music, its sound and a subconscious sense of intimacy and connection.

Brunhild Ferrari's Stürmische Ruhe, her first duo with Christoph Heemann. "A legendary figure in underground music, Heemann has quietly produced a unique body of work since his beginnings with the absurdist cutups of H.N.A.S. in the mid-1980, including collaborations with Merzbow, Organum and Nurse With Wound, the eerie psychedelia of Mirror (with Andrew Chalk), In Camera (with Timo van Lujik) and Plastic Palace People (with Jim O’Rourke), and the precise cinema pour l’oreille constructions of his solo works. Created together in Ferrari’s Parisian studio (once shared with Luc) between 2011 and 2014, Stürmische Ruhe is a single half-hour piece that folds rain and storm recordings into a intricately woven fabric of haunted electronics, unexpected edits and disorienting processing."

An extended repress of an album that sold out in a flash and is now a rarity! Daisart is home to renowned artists such as Nico Niquo (Orange Milk), Midori Hirano, and ju ca (phinery, angoisse). This is the best ambient album of 2021 by Picnic, a collaborative unit of labelmates ju ca and mdo, who are also members of angoisse. This is new masterpiece of around the scene of West Mineral and Motion Ward,etc. Deep and melancholic soundscapes, with remixes by Huerco S., Dj Paradise (uon), The Humble Bee & Dntel.

Micro soundscapes for fans of Visible Cloaks, Aylu, Uio Loi. “Puzzle Music is the desire to create images out of diverse pieces of sound. To collect timbral colours in a gradient procession and connect them until they create reason. Principally not knowing how the image will turn out, or what the picture even is. It is the act of placing sound shapes next to one another in the hope that clarity will gradually be revealed. When grouping the songs together I was thinking of them as mechanisms in a timepiece. I have something of an obsession with Swiss watchmaking, although I think this stems from a desire for creative mastery and the design of an energy source independent of electronic needs. Hopefully the songs all serve a purpose towards the end goal of the album... but also, the way the Oberheim Xpander pans sounds is in a very clear circular pattern, which makes me think of gears turning.”

Shadowy London duo Two Shell continue mischievously subverting and twisting the norms of UK bass on their third EP ‘Icons’. Although the overall feel of these five tracks is one of stability - accelerated vocal samples, synths pinging around all over the place, post-Joy Orbison bass heavy techno - the results are uniformly pulse-raising and intense. For fans of Bicep or Jamie xx.

*Berlin-based ambient artist N Kramer is releasing his new album Altered Scenes and Slight Variations on May 17 via Leaving Records. *Created over 2020-2022 as a variation on themes Niklas revisited over time with playful adjustment, Altered Scenes is the result of curiosity for complex harmony and composition techniques pursued via searching Youtube for tutorials on music theory. *Inspirations were drawn from a variety of sources such as the mixing of Studio Ghibli chord progressions with Jon Hassell soundscapes. We can also hear the retain of acousmatic percussive/harmonic processes & performance established on 2021's Habitat w/Berlin percussionist J Foerster. *Compiling a series of scenes (or tracks) soundtracking an imaginary film in episodic fashion, these scenes feature various musical motives used in alternating contexts. *Presented with a scene sequence, the listener is invited to experience the album as an “Opening” scene, continuing through a “Soft Lit Room”, “Wading Through The Grass” in the next moment, and so on. *Altered Scenes reconciles opposites amidst ASMR backgrounds: serendipitous or random vs. designed or composed, static vs. the free-flowing, sparse & quiet vs. dense & pulsating.

MONOBIRDS From Ahmedabad to Xenon, 1969 / 1979 In December 1969, David Tudor made a series of recordings at the Electronic Music Studio at the National Institute of Design in Ahmedabad, India, using Moog Synthesizers that he himself had brought from the United States and installed there. Ten years later, on March 1, 1979, Tudor used one of these recordings, which he now called Monobird, as the primary source track for a recording session at the New York discotheque Xenon. This album includes two 33rpm vinyl records of these works and an essay by You Nakai, When David Tudor Went Disco, that provides an in-depth study of Tudor’s performance at Xenon and its relation to Monobird. VINYL 1 A: Monobird (NX) 26”28’ / B: Monobird (SX) 29”31’ Recorded at the Electronic Music Studio at the National Institute of Design, Ahmedabad, India, December 1969 VINYL 2 A: Laser Performance (Take 1) 29”23’ B: Laser Performance (Take 2) 27”43’ Recorded at Xenon, New York City, March 1, 1979 David Tudor: Monobirds - Edition of 200

In late 1965, Billy Klüver, a research engineer at Bell Telephone Laboratories, arranged for ten New York artists -- John Cage, Lucinda Childs, Öyvind Fahlström, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor and Robert Whitman -- to meet with a group of his fellow engineers and scientists from Bell Laboratories to work together to develop technical equipment to be used as an integral part of the artists’ performances. 9 Evenings: Theatre & Engineering took place at the 69th Regiment Armory at 25th Street and Lexington Avenue in New York City, October 13 to 23, 1966. More than 10,000 people attended the performances over the nine evenings, where each artist presented his or her work twice. 9 Evenings is recognized as a major event of the 1960s. It was the culmination of extraordinary activity in art, dance and music in New York in the late 1950s and early 1960s, as well as the beginning of a new era in which artists in these fields explored the use of technology in their work. Variations VII was the next to last of Cage’s Variations, a series of indeterminate compositions begun in 1958, for a variety of instruments and performers which in the mid-1960s made increasing use of electronic equipment and systems. Cage described the work in the 9 Evenings program: "It is a piece of music, Variations VII, indeterminate in form and detail, making use of the sound system which has been devised collectively for this festival, further making use of modulation means organized by David Tudor, using as sound sources only those sounds which are in the air at the moment of performance, picked up via the communication bands, telephone lines, microphones together with, instead of musical instruments, a variety of household appliances, and frequency generators." For the performance, these sources were from radio stations, Geiger counters, and contact microphones placed on household appliances like a food blender, juicer, fan, and toaster, as well as sensors attached to one of the performers to pick up body sounds. In addition, Cage had ten open telephone lines to bring sound from places in New York City, like the restaurant Luchow’s, The New York Times press room, the ASPCA stray dog holding pound, the 14th Street Con Edison electric power station, choreographer Merce Cunningham’s dance studio, and the turtle tank in composer Terry Riley’s apartment. The mechanical and electronic components were placed on two long tables facing each other. The four performers, David Behrman, John Cage, Anthony Gnazzo and David Tudor, worked in a free and unscripted manner connecting, activating, and modulating the various sound sources. Photocells were mounted on the performance tables aimed at lights placed at ankle level under the facing tables. As the four performers moved along the aisle between the tables, the light beams were broken and different sound sources were triggered and sent to speakers around the Armory. The shadows cast by these lights created what Cage later described as “enlargement of activities” as “inside composers picked up outside sources... Fishing.” For the second performance of Variations VII, Cage invited the audience to leave their seats, and they approached the performance tables, wandered around the Armory space, or sat on the floor listening to the performance. A sound recording of Variations VII was made on 7" reel-to-reel audio tape. TOPOS proposed making vinyl records of the full recording of the performance; and they worked to prepare this master recording to fit the requirements of the vinyl medium: dividing it into four roughly equal parts, but preserving the integrity of the composition by making breaks where there was a transition happening in the sound, for example when one sustained sound would die out and another begin. - Julie Martin, New Jersey, 2019

West Mineral return with a followup to Mister Water Wet’s 2019's subtropical ambient slow-burn debut ‘Bought the Farm’, expanding Iggy Romeu's horizons to contrast feverish Afro-Caribbean ambient jazz with jaunty illbient and atmospheric freakouts. Low-lit heat that’s highly recommended if yr into Nick León, Carlos Niño, Kelman Duran, Gonçalo F. Cardoso. Mister Water Wet continues to excavate the tropical soundscapes that simmer the producer's Kansas City home with his Puerto Rican roots, on a new album of extended vignettes and mood pieces that cross a late 90’s Mo Wax instrumentals vibe with present day feelings of displacement and ennui. LP opener ‘Bory’ tunes us into Water Wet’s weirdly fuzzed frequencies, where tremeloed strings and found sounds resemble what might have been a lost dean blunt x dean hurley sound design concept for Inland Empire, while ‘I Saw the Green Flash' opens a swirl of strings and traditional rhythms caught in a reflecting pool of canned classical orchestrals and 1950s theremin wails. 'Good Apple’, meanwhile, cranks up the mood with aged x looped piano paired with an undulating, bass-heavy shuffle that wouldn't sound out of place on a Kelman Duran x Martin Denny mixtape. 'When Kennybrook Burned to the Ground' leans into heady jazz vapours, spreading crackle over pitch-fucked horn samples, but it’s the producer's weird use of percussion that keeps us gripped: scattering his arrangements across the grid, mimicking an ensemble of players deployed in irregular formations. Romeu embraces trip-hop on 'Any Other Time', blending Afro-Caribbean percussion with a swung downtempo beat, while ‘Isthmus’ reminds us of the clatterbox plunder of Moonshake’s PJ Harvey hookup ‘Just a Working Girl’ - with all its asymmetric hooks. The extended closing track 'Losing Blood' takes a leaf out of Fennesz's glitched rulebook, stretching and folding disintegrating loops through an 11 minute descent into the elegiac aether.

A work by Makoto Kawabata, leader of Acid Mothers Temple, and Toyoyuki, cosmic sound synth hermit. It is another extreme sound of Acid Mothers Temple.

Prescient jazz-techno mutator Jamie Hodge (Conjoint, Studio Pankow) ushers a long overdue solo debut album, of sorts, with Demdike Stare’s DDS label; an archival harvest spanning his earliest experiments circa his Plus 8 debut thru to ’00s anomalies - hybrid ambient techno jazz and incredibly inventive forerunners of dubbed electronica - bookended by two Demdike Stare edits. Essential listening if yr into anything on the axis from Move D to Detroit Escalator Company, Jan Jelinek or Tortoise. Jamie Hodge grew up in Chicago in a jazz-loving family, first forming a band when he was a teenager, using drum machines and keyboards to rattle thru covers of Joy Division and Ministry tracks. His sound progressed into dubbier spaces when he befriended Ted Gray, a local record store clerk, and into off-kilter jazz when he ran into Bundy K. Brown and David Grubbs, who let Hodge watch rehearsals of the first Gastr del Sol recordings. But the transformational moment came when a friend (pictured on the "Diagonals" cover no less) played Hodge the 1991-released "From Our Minds To Yours Vol. 1", the first compilation on Richie Hawtin and John Acquaviva's Plus 8 label. From here, Hodge took his growing obsession with dance music to early Chicago raves, and began to explore European techno and UK hardcore. Eventually he met Hawtin in person after convincing his mom to cut through Canada on the way back from visiting East Coast colleges, and released his Plus 8 debut by the time he'd moved into a college dorm in 1993, using the Born Under A Rhyming Planet moniker for the first time. Hodge was also immersed in Chicago’s famous experimental jazz scene of the ‘90s - later on establishing the short-lived but excellent Aestuarium label that brought the work of Philip Cohran And The Artistic Heritage Ensemble to wider attention. Hodge would release two more 12"s for Plus 8, heading to Germany to connect with David Moufang (Move D) and forming Conjoint, later Studio Pankow. The material presented on "Diagonals" takes us right back to Hodge's vintage era, when he was using a mutating spread of equipment - Korg MS-20, Atari ST, Nord Micro Modular, ARP Axxe, Yamaha TG77 and TX816, and Alesis HR-16B - to assemble tracks that reached through his wide range of musical interests. According to Hodge, more Plus 8 releases were planned but never materialised, so this long overdue set fills in the gaps between records like 2000's classic Conjoint plate "Earprints" and Studio Pankow's still-underrated 2005 slow-burner "Linienbusse”. ‘Diagonals’ sputters to life with a Demdike Stare edit of a track Hodge recorded in Brooklyn while he was on summer break from college and working at a local record distributor. Inspired by music he'd seen at that year's New Music Seminar, he used an Atari ST and Yamaha TG77, a glassy FM module, to conduct a mood that hovers between '80s new age DIY tapes and gaseous dub techno. ‘Handley' digs into the tranquil electrified jazz modalities over a swung drum machine rhythm, squeezing robotic soul from a modest arsenal of gear, lashing the hypermelodic post-Detroit sensitivity of The Black Dog/Plaid to Chicago-axis experiments from Tortoise and Gastr del Sol. The shorter interludes are just as engrossing: Hodge experiments FM spray on 'Trampoline' and dusty Jan Jelinek-esque electroid funk on 'Menthol', ducking further into jazz on 'Hot Nachos...', augmenting his electronics with fretless electric bass. Cherry-picked by DDS, the selection best portrays the mix of soulful depth and atmospheric effervescence that defined that elusive era in electronic music; spanning a late night spectrum of styles from dusty electro-acoustic ambient prisms to supple deep house pearls, with a special strain of gently frayed computer jazz touching on the outer limits of Detroit techno. It's exceptional material that reminds us of a time when electronic music was frothing over with hope, futurism and revolutionary spirit, so whether you're into the post-Artificial Intelligence era or the Jazz-looped investigations of Jan Jelinek and crew, "Diagonals" feels like stepping into a particularly good dream.

In 1997 and 1998, the late great Japanese composer, producer, and DJ Susumu Yokota released two of the most eclectic albums of his decades-long career, Fruits of The Room and Greenpeace. Recorded under his Stevia alias for Tokyo Techno pioneer DJ Miku’s Newstage Records/NS-COM, they were Yokota-san’s homage to the foundational days of club music in Japan. This year, Glossy Mistakes are proud to present the first official vinyl editions of Fruits of The Room and Greenpeace, originally released on CD during the golden days of the format. Packaged in reimagined cover artwork created by the celebrated Japanese visual artist Masaho Anotani, these two albums perfectly capture the diversity at the heart of Yokota-san’s oeuvre. Across Fruits of The Room, he takes us on an expansive odyssey through his personal visions for deep house, street soul, jungle/drum & bass, digital dub and the slipstream moments between genres. A totally inspired dancefloor exploration. When Yokota-san wrote and produced the music on Fruits of The Room and Greenpeace in 1997, he was reflecting on the broader culture that surrounded dance music in Japan in the early to mid-nineties. It was an era when the psychedelic culture of late sixties America, the afterglow of UK acid house/rave, the new age movement and cyberpunk dovetailed together. Within DJ Miku and Yokota-san’s social circles, the thinking of Timothy Leary, Ram Dass, Allen Ginsberg, Jack Kerouac and William S. Burroughs electrified the air. By 1996, the moment, brilliant and blinding as it was, was over. “We all felt that the rave scene fizzled out,” DJ Miku says. As he puts it, there was a collective feeling around him that it had all become too much. From the calm that followed, DJ Miku, Yokota-san and their open-eared peers made the decision to switch tracks and start from scratch. DJ Miku believes that with his Stevia releases, Fruits of The Room and Greenpeace, Yokota-san wanted to express the sweet and sour nature of the passing of those wild early days and his wish for true peace. “At the time, we saw eye-to-eye, with an implicit understanding of each other,” he explains. “Even now, twenty-five years later, I am confident it was like that.”

Studio recordings of "Kobeta Piano" by electronic musician and sound engineer KND, keyboardist Shoichi Murakami, and drummer/percussionist Watz Uematsu. from Kyoto Japan. Jazz layers, Afro-essence, and modular sounds are woven together to create Kyoto's advanced music.

Radiohead's Thom Yorke joins on vocals and writing! Their last album "Los Angeles" (2008) received unprecedented acclaim from the world's top artists, including Portishead (whose album "Third" was heavily influenced by Flying Lotus) and Massive Attack! With jazz legend Alice Coltrane as an aunt and John Coltrane as an uncle, this album is truly a thoroughbred. The soundscapes are dark and beautifully colored, melancholic and atmospheric, soulful and introspective, profoundly contrasting to capture the imagination, and the programming is dense and grandiose. The intense electronic whirlpools of layered textures and layers blended together, the deep euphoria induced by banging beats and cosmic and spacey synths, the ever-changing and ever-changing soundscapes, the melancholic atmosphere, the soulful and introspective soundscapes, the profound contrasts that capture the imagination, the meticulous and grandiose programming, and the deep euphoria induced by the blending of layers and textures. The music is a deep euphoria induced by the wildly banging beats and cosmically spacial synths, all of which come together in a variable and mixed state. A futuristic space opera with beats on an unorthodox scale! Flying Lotus has surpassed all sounds and reached another dimension, and is now something else!

This album, released in 2012, continues the themes and sonic textures found in Music for Films, Music for Airports, and Apollo : Atmospheres and Soundtracks, where Eno began his exploration of ambient music. It is clear that he is pursuing further possibilities. Eno himself regards this album as the latest project in his "Music for Thinking" series, which also includes "Discreet Music" (1975) and "Neroli" (1993).

LUX is one of Eno's most ambitious works to date. 75 minutes in length, it consists of 12 parts and was originally developed from music created for the sound installation exhibition "Music for the Great Gallery of the Palace of Venaria" currently being held in Turin, Italy. It evolved from music originally created for a sound installation exhibition [Music for the Great Gallery of the Palace of Venaria] currently being held in Turin, Italy. This is Brian Eno's third work for the label, following "Small Craft on a Milk Sea" with Jon Hopkins and Leo Abrahams and "Drums Between The Bells" with poet Rick Holland. It is Brian Eno's first ambient album of the 21st century, and the one that the world has been waiting for.

First new album in nine years by a musical visionary and hugely influential figure in new music. Forty years since its creation, Jon Hassell's Fourth World aesthetic remains a powerful influence on modern electronic music. Continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing, fragments of performance are sampled, looped, overdubbed and re-arranged into beguiling unexpected shapes. Hassell applies the painterly technique of ‘pentimento’ to the arrangements, teasing out texture by the overlaying of sound upon sound, or a carefully timed reveal of the delicate bones pinning the frame of a track together.

The release of this new album also sees the launch of Jon’s own label, Ndeya (pronounced “in-day-ya”), which will be a home for new work as well as well as selected archival releases, including re-presses of classic sides and some astonishing unreleased music.