MUSIC

In fact, Organisation was the first iteration of Kraftwerk and if the band had managed to overrule its record label, RCA, Tone Float would have been credited as such. But given that the album was to be released only in the United Kingdom, the label opted for the more Anglicized name, "Organisation". Tone Float is the only album produced under this name and is a seminal example of the genre. Audiences in West Germany were fortunate enough to watch and listen to the whole album, played live for German television station, EDF, and it is this broadcast featured here.

Reissue of Annette Peacock and Paul Bley's "Dual Unity" album, originally released in 1972 on Freedom Records. Hailed as a pioneer and artistic genius by many, this album captures Peacock in her element alongside husband, Canadian jazz genius Paul Bley. Dual Unity is a landscape of aural vision captured on tape in 1970, during their first European tour. For 33 minutes and 21 seconds, the listener is absorbed by other spirits. Using Robert Moog's earliest synthesizers, Bley and Peacock apply the strategic use of silence to indicate its reflective nature with captivating results. A statement of immensity through synthetic minimalism and a milestone in the avant-garde, free jazz movement. Guests musicians: Han Bennink (drums) on "M.J." and "Gargantuan Encounter", Mario Pavone (bass) and Laurence Cook (drums) on "Richter Scale" and "Dual Unity".

On September 1, 1978, the musical trio Codona graced the stage in Willisau, Switzerland, just before their eponymous debut on ECM. This Swiss FM broadcast immortalised their performance, featuring Collin Walcott on sitar, Don Cherry on trumpet, and Nana Vasconcelos on percussion. Together, they spun a mesmerising tapestry of sound. The opening piece, 'New Light,' spans 16 minutes and evokes pure joy with its enchanting melodies and rhythmic intricacies. Codona's magical encounter showcases the seamless interplay of three masterful musicians and this record captures a moment of musical transcendence that continues to resonate to this day.

LUKAS DE CLERCK brings us the ancient greek instrument, the aulos, of which his new interpretation of long form expression is coaxed forth on this tremendous recording. Lukas de Clerck explores a niche of archaeological research in music; the aulos is a historical Greek instrument that Lukas analyzed and reinterpreted by a luthier in modern times—navigating this impression as an artwork or living sculptural object, as there is an absence of historical partitions or written information about how to recreate technique on the instrument. Lukas de Clerck has interpreted information from the rare archaeological resources and visual art of the classical Greek period to recreate both playing technique and possible sound timbres with the instrument. With his contemporary approach to drone, post-minimalist music, and contemporary folk, we find a deeply satisfying and compelling, even playful set of songs, timbral exercises and compositions.“The morphology of the aulos is defined by its reeds... The tubular memory inside the fibre of the plant will ensure it closes and opens naturally like the mouth that will blow breath inside... The reeds are the core, the sound source—the naked instrument.... They behave like two oscillators, bending high-pitched notes into beatings. The pipes are a context, a channel for the sound. They create a narrative.” An important document of new music meets contemporary archaemusicological research via Stephen O’Malley of SUNN O)))’s label Ideologic Organ.::::THE TELESCOPIC AULOS OF ATLAS The telescopic aulos is speculative: might it have existed? It takes on features from the historical aulos, a double-reed instrument of which we know how it looked but little about what music was played on it or how it would have really sounded. It's an instrument without the limitations of canon or manual, providing creative freedom and awakening curiosity. The new instrument featured on this album is ancient and futuristic at once. The aulos has no tone holes; instead, each of the two tubes consists of three parts that can slide into each other. In this sense, the metal pipes bear a certain resemblance to the principle of a trombone. However, since both hands are already in use to hold both tubes, the sliding has to be done by way of gravity and the help of a "phorbeia", a leather mask which helps keep the reeds in place. The aulos's material is metal (instead of wood), which gives it a certain electronic allure and intensity, as well as a variety of sonic possibilities and textures. It produces overtones efficiently and allows them to play with their microtonality. The aulos Lukas plays on this recording was developed at Brasserie Atlas, a temporary occupation of a former brewery in the heart of Brussels where Lukas lives. It is quite a poetic coincidence that the birthplace of the instrument is named after the Greek titan condemned to carry the sky, while this instrument needs to be turned skywards to lower its pitch with the help of gravity. At Brasserie Atlas, Lukas has found collaborators who have shared in the process of building this new instrument: the collective Noir Métal has constructed the tubes, in this way becoming instrument builders; the phorbeia has been manufactured by Jot Fau; a former water reservoir in the vast cellar of the building carried the instruments' resonance for its first sounds. The place has left an imprint on this new instrument.With all of the telescopic aulos' layers, its sonic, musical and extra-musical components are still unfolding their potential as a medium for discovery and research, next to being an instrument of great musical potential. The music on The Telescopic Aulos of Atlas reflects this spirit. In several miniature pieces, it presents an encyclopaedia of musical possibilities that the instrument offers while keeping an intense and corporeal sonic specificity. The short pieces are studies that reflect on the sonic possibilities of this instrument that are yet to be explored. It meanders, searches and interacts with itself and the space. It needs to answer common expectations of old instruments being harmonious or pleasing. It transports a kind of experimental archaeology that, by formulating hypotheses in the present, allows us to reflect on what might have been in the past and simultaneously questions concepts of beauty, harmony or virtuosity. However, in the end, this instrument might have never existed before.–Julia Eckhardt

Onimikìg [Algonquin]:(n. an.)- thunderTimothy Archambault’s unaccompanied flute pieces for this album have been inspired by Indigenous brontomancy (divination by thunder).Each piece highlights a different extended flute technique metaphorically related to types of thunder sounds: claps, peals, rolls, rumbles, inversions, and CG (cloud-to-ground).An important document of new music meets contemporary musicological research via Stephen O’Malley of SUNN O)))’s Ideologic Organ.The Indigenous flute used in this recording is made of cedar respective to the traditional woods used by the Kichesipirini and other tribes who live along the Ottawa & Saint Lawrence Rivers. To the Algonquin the flute (Pibigwan) is the wind maker or essence of the wind. Unlike other tribal nations whom the majority used the flute as a courting instrument, the Algonquin generally utilized the flute for more contemplative singular usage to mimic the sounds of nature or as a signaling device during times of conflict. When love songs were required, they were usually more plaintive in character expressing sadness, loneliness, or concerning the departure of a lover. The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear claw, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener’s attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in all the pieces traditionally represented the “throat rattling” vocalization of the tonic note, sometimes known as the horizon of which the melody floats from. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with similar traditional ceremonial practices.

Gather your loved ones, Together is here. Duster’s fourth album is a 13-song exploration of comfortable, interplanetary goth. A sonic vaseline of submerged guitars, solder-burned synths, and over-driven rhythm tracks. “I know people say, ‘Oh Duster music so sad, we've even said it ourselves before,” Clay Parton said. “But it's a lot more like absurdism than nihilism.”

Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014’s Hello World immersed him in the heart of Vancouver’s underground dance scene, and sometimes it follows, like 2018’s Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project’s fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Edmonton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft — the tone, pacing, and dynamism of new material — arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin’s dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he’s never sounded better doing it. The album title borrows from the “release spirit” mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go-around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds — including the classic Casio SK-1 presets he’s used since the start — mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. “I think it’s my best sounding record to date.” We begin on “HV Road” or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia’s Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin’s most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of “Lovely,” a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of “3 pz” offer a cosmic/comic interlude and also speak to reflections on his family’s move to Canada two generations ago, and the audio tutorials they used to learn English. “I can only imagine my grandparents repeating some of the bizarre phrases.” “Fountain, Growth” finds Khotin in collaboration with Montreal’s Tess Roby (Dawn to Dawn) for the project’s first-ever vocal track. Roby’s soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of “Life Mask” and seamlessly reaching “Unlimited <3.” The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of “Techno Creep,” a hyperactive REM state before the digitized ambient sprawl of “My Same Size.” In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded “Sound Gathering Trip” to soundtrack a genre of YouTube videos he’s taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin’s project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur at the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I'm Here was it.Artistically, the album is a definitive statement; this is to say it was crafted by heads for heads, a genuine article and a profoundly deep listen, but the mainstream dove in too. Pitchfork acknowledged the rarefied nature of the album’s electricity with a "Best New Music" rating. This crossover success is a result of the tracks' potency and wonderfully engineered and succinct structures. It's dialed in. Still creating their distinct yawning cosmic sound, Elliott and Hauschildt shower the stereo spectrum with shimmering arpeggios, dusty, melodically dynamic swells, rippling FM textures, and canyon-wide waveshapes. McGuire's signature guitar playing echoes emotive new age pathos and cascading astral space rock trance states. Their previous albums found many tracks hovering past the ten-minute mark, but these new songs were short, potent. "Candy Shoppe" opens the album with polished elegance; Emeralds' throbbing synthetic sound made bite-sized, an incandescent morsel wrapped in waxed paper. On "Goes By" the languid electric guitar strums and swooning synth pads peel apart into enveloping sheets of synth gargling and soaring leads. Both tracks are entire worlds kept neatly under five minutes. If previous albums like Solar Bridge and What Happened were lysergic sprawls, Does It Look Like I'm Here presents itself as a tin holding a series of psychonautic blasts. This is all to say, the album lived up to the hype.A twelve-song expedition across a dusty and shimmering dreamscape, Does It Look Like I’m Here, with its iconic cover presenting the aesthetic, was a radiant tube tv left humming, collecting space-dust in a darkened room, grandma's vase filled with oil-dinged polypropylene flowers. The album seems aware of the cultural flood/void that the internet was then and would only further create, and yet there is a beauty here, an embracing of the past, both authentically and through a kind of tripped-out kitsch, as a way to find a new ecstatic present. Hallowed pioneers – think Tangerine Dream, Ash Ra Temple, Kraftwerk, Can – had felt legendarily out of reach across time and culture; a star-pocked thing of the distant misty past. Emeralds took that sound and made it contemporary, made it punk, made it American-outsider. Thus, an entire wave of American DIY ambient music was heralded into mid-if-not-mainstream attention; Emeralds, and the acts that followed their lead after, dared the experimental and noise community to embrace more melody and structure, and too invited the quasi-academic world of deep ambient to become crusty and home-spun. DIY venues would suddenly need to make space between droves of scuzzy indie acts or punishing no-input mixer debacles so the ambient zoners could astral project while Emeralds, or groups following Emeralds' lead, created soundscapes on piles of synths and pedals. Listening to it now, 13 years after its original release on Editions Mego, the album sounds however timeless, still immediate. There is a wide-pupiled and cotton-mouthed awe sewn into these radiant folds of sound; for those newly into this sort of thing, let this reissue serve as an initiation, a history lesson, and a heroic dose. For those who've come up in the scene and have worn out their mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I'm Here became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).

aja monet’s poems are a work of gravity. A surrealist blues poet, storyteller, and organizer born and raised in Brooklyn, NY, aja won the legendary Nuyorican Poets Cafe Grand Slam poetry award title in 2007. In 2018, she was nominated for a NAACP Literary Award for Poetry and in 2019 was awarded the Marjory Stoneman Douglas Award for Poetry for her cultural organizing work in South Florida. Her work moves, constantly, between origin and outcome, allowing them to exist in converse. In her debut album when the poems do what they do, releasing June 9 via drink sum wtr, we glimpse her indefatigable commitment to speak. Those thematic origins of this album at times center around Black resistance, love and the inexhaustible quest for joy. In when the poems do what they do, aja monet appears as a woman of letters and storm, her poems do not roar in pentameter - but rather in storm surge because, “Who’s got time for poems when the world is on fire?!.” And this work isn’t one to pull apart into one liners, these are poems of things felt. There is a fullness here that can’t be encapsulated in even the boundaries that language offers. aja is joined in effort on this album by musicians Christian Scott (trumpet), Samora Pinderhughes (piano), Elena Pinderhughes (flute), Luques Curtis (bass), Weedie Braimah (djembe) and Marcus Gilmore (drums). Together, creating music that is insistent and unrelenting. When you finally reach the end of this album, you are left with a similar feeling you get when heartbroken, the gravity of barrelling back down to earth, sopping wet with tears, out of breath, overcome with love, despair, hope, and all too aware that all of this, is over far too soon. When the poems do what they do, they do absolutely everything.

ike an unsent love letter to a psychedelic London where everyone is trying to find their way to a secret Television Personalities gig, Cuneiform Tabs emerge with an astounding debut of lo-fi pop and DIY experimentation. A hazy collage of joyful heartaches, twisted children's TV themes and sing-song melodies, the album echoes the sounds of '60s AM radio from a dozen narrow alleyways to the North. Over 18 months, the Tabs' Matt Bleyle and Sterling Mackinnon traded 4-track tapes between the Bay Area and the UK. While they previously played together in indie band Violent Change, the duo's physical distance and their songwriting process of building, blurring and distorting across the Atlantic would create something no one saw coming. Grabbing any instruments at their disposal and splitting vocal duties, Bleyle and Mackinnon pushed their Tascam to its limit to make glittering, odd-shaped gems. There is an insular feel to Cuneiform Tabs, suited for late nights after the entire city has stumbled into dreamtime or lazy afternoons when you can't quite recall where you need to be, but you know you won't make it there on time. It's like a pirate radio show where Bob Pollard alternates Swell Maps and Cleaners From Venus records while randomly unplugging various bits of gear and reading passages from a book on R.D. Laing.。

Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration. Blueprints For A Blackout, The Ex's fifth album and first double LP, combines caustic studio experimentations and loose songs from their gripping live-set at the time. The band consisted of singer G.W. Sok, guitarist Terrie Ex, two new recruits on bass, Luc and Yoke, and drummer Sabien Witteman, along with a plethora of guests including Mekons' Jon Langford and long-serving sound engineer Dolf Planteijdt, among others. Originally released in 1984 on the band's own Pig Brother Productions, Blueprints veers from jagged punk explosions to sharply focused improvisations featuring field recordings that would become a hallmark of their subsequent forays into free jazz and experimental music. The overall effect is not unlike the menace of a slowly building winter storm. Tracks like "Rabble With A Cause," "U.S. Hole" and "Scrub That Scum" stand out as exemplars of this phase of The Ex. Comparisons can be made to contemporaries Einstürzende Neubauten, NoMeansNo and Svätsox as well as later Crass label bands. This first-time vinyl reissue comes with 24-page booklet.

Masami Akita continues his work as the world's premiere extreme dynamicist on 'Circular Reference,' his latest full-length and first for No Holiday. It's a torrent of synthesized tones colliding against punishing layers of feedback and midrange noise. But there are also snatches of lurching rhythms to be found, as well as moments of relative uneasy calm. More than anything, it's distinctly Merzbow. Released on 2xLP and CD formats, the latest from this titan of noise is sure to please longtime listeners and new disciples. We recommend playing this one especially loud.

Our mixtape-style selection of clips from tapes recorded live at soundsystems playing during London's Notting Hill Carnival between 1984 and 1988, originally broadcast on NTS Radio in 2018, is the latest to be committed to cassette as part of our 10th anniversary series. Featuring sounds from the likes of Jamdown Rockers, Saxon, Java Nuclear Power, Killerwatt Turbotronic, Stereograph, Sir Coxsone, Volcano Express, King Tubbys and more.

K.W. Cahill records and plays acoustic and electric guitars, mandolin, karimba, melodica and an AM/FM portable radio on March 2024 time. Mastered by James A. Toth in Toronto. Synchronicity, or plain trying to find connections, or maybe spirits in muted gathering, or fuck it, it’s ghosts getting stirred up and they need to be released. These (ghosts) are mingling and hanging around, peripherally present, lingering and floating off. The (ghosts’ll) waltz in and act like (they) own the place. (I’m) ultimately just trying to get to a zone to let the (ghost) melodies speak, let the wood and metal resonate and ring, playing all the parts that sit in shadow, shapes and notes and patterns, overtones, emotions, hanging by a thread. (I’ll) waltz in and act like (I) own the place.

French lifeguard and sonic artist Roméo Poirier’s long sold out debut tape finally gets a vinyl reissue. Plage Arrière is a deep sea meditation on a constellation of Greek beaches across three islands. Trumpets, echo-clicks and Harold Budd-esque shimmer piano whirl together on these sand-caked missives, tumbled and re-engineered by their surroundings like seaglass. Plage evokes the sub-aqeaous ambitions of Jürgen Müller, or Jan Jelinek inspecting a coral reef. The album has been remastered for vinyl by Sam Annand of Esk. Building on its original artwork, the vinyl edition features new photography by Roméo himself. Released alongside our friends SWIMS.

Following its release in the winter of 2018, "Landmarks", a collaboration between veteran ambient artists Celer and Forest Management, initially drew quiet accolades and a steadfast listenership that has since swelled to unimagined proportions (~20 Mil. streams), resonating with listeners perhaps now more than ever and cementing its status as an experimental classic. Inspired by Paul Theroux's novel "The Mosquito Coast" and Peter Weir's 1986 film adaptation of that book, "Landmarks" sets out 14 tracks in a "stunning hour of music" (The Quietus) that creates a "general sense of foreboding, critique of romantic retreat into individualism and colonialism" (A Closer Listen). The album is now offered on vinyl for the first time (originally out on cassette tape), newly remastered by Stephan Mathieu to enhance the depth and richness of this oneiric soundscape. Both Americans, Celer (Will Long) resides in Tokyo, Japan and Forest Management (John Daniel) in Chicago, USA. "Landmarks" was born of their months-long collaboration, trading music back and forth and reshaping each other's work using a series of patches, tape looping, and electronic manipulation. As a throughline in each piece we hear their distinct voices and cultural contexts blend to unique, often otherworldly effect, conjuring a dreamlike tension that refuses easy resolution. We are hooked by a mood that captured listeners back in 2018 and continues to hold us today in the context of current events, related disquietudes, and a nostalgic longing for solutions that may be more imaginary than real.

A 12" outing for the Ø:'s excellent Fermionit + the unreleased Kulmamomentti coming in the form of edits from members of the sähkö recordings crew (Kaukolampi & Jimi Tenor). Huge Tip! Mika Vainio was recording a new Ø-album since 2014. He almost got it ready before his too early passing in 2017. Mika's girlfriend Rikke Lundgreen from Oslo has been going through Mika's notes, numerous versions and takes of the album tracks. Now the collection of the tracks is completed, there were two tracks that Mika thought should not be included the album. They make this release. The shoter track Kulmamomentti is edited slightly longer by Jimi Tenor and Timo Kaukolampi.Ø (Mika Vainio) - Fermionit / Kulmamomentti (12")

Labels Theory Therapy and co:clear come together to release the debut album by Italy-based artist CHANTSSSS. ‘Shyness’ suggests something subtle, intricate and ethereal – but it also demands your attention. Over 10 tracks of spacious, sub-aquatic ambience, CHANTSSSS pulls you deep into his vaporous sound world. The songs themselves, a blend of ambient pop, chamber music and pulsing low end rhythms, feel cloaked in mystery. Layers of reverb and zonked vocals float in the atmosphere, moving between and through one another, mist on mist. It’s not necessarily a quiet record, the low end can shake a room if you turn the volume up, but it does feel extremely intimate – proof that some art speaks loudest in its quietest moments. We acknowledge the Aboriginal and Torres Strait Islander people as the traditional custodians of the Country upon which Theory Therapy and Low End Theorists was founded, and recognise that sovereignty has not been ceded. We pay our respects to Elders, past, present and emerging.

Brian d’Souza (fka Auntie Flo) teams up with in-demand producer/DJ Or:la, harpist Róisín Berkeley and celebrated artist Jana Nicole for a release celebrating the humble mushroom. Originally commissioned for the Hayes Mycelium Pavilion at Glastonbury Festival 2023, these two pieces represent the artist homage to the unique power of connection within nature - the mychorrizal network that humans could do well from learning from. d’Souza’s piece uses a process of biosonification, picking up electrical impulses from four different mushroom species (Oyster, Reishi, Lion’s Mane and Shiitake) and turning them into musical notes. The 18 min piece is a literal ecological sound walk into the mind of the mushroom. Irish producer/ DJ Orlagh Dooley aka Or:la debuts with her piece created in collaboration with harpist Róisín Berkeley. Glacial textures and delicious harp glissandos form a mushroom habitat that exists in peace and harmony. The bespoke art work was created by multi-award winning artist Jana Nicole, who used a combination of collage, digital photography and manipulation to put together an art piece that resembles the depth and beauty of the mushroom and its mycelium. The limited edition vinyl will include a scratch and sniff smell component and incorporate UV paint that will only show up in dark light, revealing a different perspective as mushrooms do in the wilds.

Genius Loci exorcises the ghosts and spirits residing in the former munitions factory Het Hem, in Zaandam, Netherlands in the latest release on A State Of Flo. In contemporary usage, ‘genius loci’ refers to a location's distinctive atmosphere, or a "spirit of the place"... Genius Loci is a new album by sound artist Brian d'Souza (fka Auntie Flo). Genius Loci references the notion of the protective 'spirit of place' from ancient Roman times, d'Souza used a vintage accordion to capture the acoustic properties of the Het Hem building in Zaandam, Netherlands - enabling him to travel through time using sound. In this music, you can hear ghosts from a previous, more sinister time - the paranoia of cold war panic - echoes of misfiring bullets ricocheting around the 200m subterranean shooting range and the overwhelmingly vast vibrations of the main expo space. The music also instills a sense of hope, a wistful desire for a brighter and more peaceful future where the spirits are vanquished. Are we there yet? A former munitions and gun testing factory, Het Hem is a space full of character made up of a range of rooms that each hold a different acoustic property. On Genius Loci, d'Souza is interested in the connection between sound, space and time. He uses an accordion as a drone instrument to capture a variety of resonances using microphones placed around each room to tell a unique story in each song. The results are released as a vinyl 12” and digital download on d’Souza’s new A State Of Flo label and as part of an audiovisual interactive website which incorporates generative audio technology developed by d'Souza's Swell Studio in collaboration with The University of Arts in London. Recorded & mastered by Karl Choueiri at Modular Mind Studio Artwork and commissiong by Orpheu De Jong Visuals by Simon Dirks

A cloud based rehabilitation center for internet runaways and the socially inept. A dial-up haven for the troubled and angsty. Being the character. Modify the template to suit your style*. You can make your own puzzles. Your* space. Shoot for the moon. Shoot the moons.

//"How long has that been there?"// //"What importance has it lost? Gained? When? Why?"// //"What has occurred here?"// //"..And before that?"//

Oval Angle is the moniker of Geran Knol, a Dutch multidisciplinary visual artist and musician based in Antwerp, Belgium. His instrumental electronic music blends mellow and playful tones, characterized by plucky, offbeat sound design and wavering, askew melodies. Geran’s composition process is akin to a sketch on paper, slowly evolving and mutating as elements are added, subtracted, and altered. His debut LP for Moon Glyph, “Figures of Speech”, utilizes circular, melodic repetition found in minimalist compositions and avant-pop songforms. Like Geran’s visual art, it masterfully captures a sense of child-like wonder and wide-eyed naiveté.

Nicolas Gaunin, the moniker of Italian experimental electronic musician Nicola Sanguin, returns with his latest full-length “Wormhole”. This record bridges the gap between naturalistic polyrhythms and more expansive, cosmic technologies. Contrasted to his previous rain-soaked “Hulahula Kāne” LP, “Wormhole” has even more emphasis on unusual rhythms; propulsive and abstracted yet immediate. The sonic palette is diversified as well, incorporating synthetic real-world timbres alongside crisp and more contemporary textures. The warped and weirdo experience of “Wormhole” is singularly Gaunin, like teleporting between an untouched rain forest and the inside of a super computer.