MUSIC

9ms is the duo of Simon Popp and Florian König. On their wide ranging debut album ‚Pleats‘ the tech-savvy drummers offer grooves from the dubbier realms of World Music and Krautrock - some meditative and light, some thick as wall and steady as a clock. The album was recorded live in a large wooden hall in the Bavarian Alps with only three microphones. Using various infrared and magnetic field sensors, Popp and König were able to translate their movements into control voltage, which they then used to trigger and tweak synthesizers and a myriad of effects. A way for two humans to become one with their mystic machinery.

A late ‘90s neo-noir ambient jungle masterpiece, Christoph De Babalon’s 'If You’re Into It, I’m Out Of It' sounds something like Thomas Köner re-assembling fierce, unrelenting D&B with his frozen gear. Now a quarter of a century old, it still occupies its own distinct notch on the continuum; copied endlessly, never bettered. Christoph De Babalon was a key member of Digital Hardcore, the mutant Berlin-based splinter cell who fused UK rave music with more experimental, Teutonic techno, Ambient and hardedge politics to brutal effect during the mid-late ‘90s. CDB was always somehow on another level to most of his peers and labelmates at DHR, less interested in purely aggy breakbeat energy, his was a sound that also embraced windswept, ice-cold ambient atmospherics and a bleak sort of romance that was at odds with the almost cartoonish “sound terror” aesthetic of the label. For us, ‘If You’re Into It, I’m Out Of It’ really distills a feeling of that era, as the utopian outlook of rave’s early years had given way to something much darker, more maudlin, perhaps symptomatic of an ennui with dance music’s hyper-commercial land grab, a kind of pre-millennial tension. Either way, it provided the perfect soundtrack to ravers who were spending more time developing virtual lives online, or (speaking from experience) who weren’t yet old enough to go raving, but were shelled with media images and 2nd hand impressions of the culture, which had by then morphed into the prevailing trends of garage, trance, and prog house, and was but a ghost of its original, loony self. It’s an album torn between extreme states; on the one hand going harder than the rest in killer rave moves such as the hardcore rattler ‘Dead (Too)’, the epic amen + drone blow-out ‘My Confession’, or the cut-throat beast ‘Water’. But on the other, it gets properly haunting on the remarkable 15 minute opener ‘Opium’, or with the sublime, Gas-like suspension system of ‘Brilliance’, and the funereal, bombed-out bliss of ‘High Life (Theme)’. Christoph De Babalon effectively plotted out terrain that bridged DJ Scud’s rugged jungle breakcore with soundscaping more commonly associated with Thomas Köner or Deathprod, and in the process set the ground for myriad contemporary producers and sounds ranging from Raime and Blackest Ever Black to Demdike, Pessimisst and beyond. ‘If You’re Into It, I’m Out of It’ was, and still is, a deadly statement of intent, with an aesthetic that still strongly resonates and influences today. Classic.

'Faith In Strangers’ was recorded between January 2013 and June 2014, and was edited and sequenced in July 2014. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a deep sense of familiarity. Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that turn this album into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

The music on this recording is performed by a kind of fictitious chamber ensemble situated in an imaginary room outlined by textures that alternate between gestural foreground and passive landscape. The three pieces contained within this release are tied together by sharing similar harmonic material and instrumentation and could ideally be perceived as parts of one long performance stretching through the two sides of the record. The textural room in which this musical performance operates is unreliable, unstable, constantly shifting in size and activity from sparse and open to dense and claustrophobic. Inside this non-euclidean performance space a chamber ensemble made up of zithers expanded through analog tape transposition, harmonium and organ, double bass, digital FM, feedback-convolution and Serge modular synthesizer perform a music made from justly tuned intervals arranged in a way that blurs the distinction between traditional minor and major tonal harmony in favor of harmonic progression within an essentially modal framework. In terms of the material used to make these pieces, essentially all non-harmonic sounds are contaminated field-recordings. They have gone through a sort of feedback process between digital and analog, or acoustic, processing where field-recorded material has been edited, processed and re-amplified and recorded again in acoustic spaces that shape the character of the material and imprint acoustic identities on the recordings. The tonal instruments were treated in a process analogous to this - harmonic material built from recordings and digitally generated synthesis was recorded, transcribed, rearranged and overdubbed again with additional electronic or acoustic instruments to form a composite electroacoustic instrumental sound.

An exceptional masterpiece that must be heard by all shoegazing enthusiasts. The 2023 cassette reissue version of the 2021 digital work "_____" by the one-man post-black metal act "Sadness", which is one of the most popular blackgaze acts, will be released from in Italy. Stocked! Sweet and gloomy, aetherial and nocturnal, anthemic and prayerful, a solitary masterpiece in the 2020s! Limited 97 copies.

Cucina Povera and Ben Vince’s debut full-length collaboration deploys an engrossing suite of noirish nocturnes based around Maria Rossi aka Cucina Povera’s muzzy vocal loops and Ben Vince’s accompaniments on saxophone, synth and piano. Born out of wonder, innocence and creative discovery, it’s the sound of two exploratory collaborators swimming into each other's ideas, from Terry Riley-esque transcendence to late-night sax swirls shrouding Rossi’s distinctive voice in dimly lit psychedelic smoke. London’s abundant waterways and parks provide an oneiric muse for Cucina Povera and Ben Vince’s resounding debut full-length collaboration, an engrossing suite of weightless sax, synth and disklavier-bedded soundscapes that land somewhere between Grouper and Terry Riley. As a newcomer to London, Rossi was caught up in a sort of wondrous reverie - a feeling that seeps through every movement of thia almost hour long album. Vince's plasmic echoes and Rossi's aerial delivery form a poetic union, twisting and painting each sound in pearlescent shades, finding a musical confluence between Rossi's words - fluid, dreamy, hazy ideations - and Vince's shadowy renditions. Rossi's folk roots shine through like cracks of dawn sunlight on 'Sumu Puistossa' ("fog in the park"), reverberating over organ and dream-zone sax; her words tip into muted surrealism thanks to the controlled chaos of Vince's bleak treatments. His grasp of jazz is transfixing: bending sax motifs like ghostly memories of music from another timeline, smudging them into the soundfield. It’s most effective on the title tracx, where sickly, dissonant notes flicker like an almost-extinguished candle alongside motorised furniture music courtesy of a Disklavier. From the Terry Riley-esque transcendence of '∞' to the sacred incantation of long-form closer 'Pikku Muurahaiskeko' ("little anthill"), the pair expose a new layer of creativity with each turn, gradually zooming out from discreet, vulnerable beauty to encompass a gently orchestrated chaos of sustained, sublime tension. Stunning.

After their celestial Arcturian Corridor opened proceedings on Quindi, London-based brothers Clive and Mark Ives are back with a new record. When Woo first began recording at home in the early 70s, Clive and Mark were the embodiment of furtive genius. Since re-emerging in 2013, they’ve released scores of albums, collaborated with Seahawks, and have now struck up a productive relationship with Quindi. On Paradise In Pimlico, you’re hearing a very different sound to the one gently creaked out on early classics like Into The Heart Of Love. This is fulsome, contemporary production rich in detail and artful sound design, but crucially, Clive and Mark’s gorgeously melodic approach remains open and inquisitive, even with the sheen and shimmer of modern studio techniques. Woo sound more confident than ever in their composition, too. The crystalline, fragile tones of ‘Cadenza D’Innocenza’ glide through key changes that spell out an engrossing narrative, while the cascading melodies on ‘Moment To Moment’ pirouette across the space between notes with masterful poise. ‘Paradise In Pimlico’ is an illustrious suite of orchestral composition played out with the lightest touch, framed by the slightest of synthesized fauna and topped off with tender sax and flute. Album closer ‘In Case Love Fails’ takes on a subtly cinematic urgency with its undercurrents of walking bass and the strike of the string section (synthetic or otherwise). There’s space for markedly new approaches, too. The rhythm section on ‘The Motorik Mirror’ clunks and pops with a tactile, high-definition quality which teeters between electronic sculpture and clockwork, organic machination. The deft, lightly-brushed drums coursing through ‘Even More Notes’ see Clive and Mark step into a different mood, celebrating the beat as another fluid, tonally-rich texture in the mix and adding a smoky, jazzy hue to the Woo repertoire. It’s far from a drum-focused exercise though. At every turn, you’re confronted with aching beauty and timbral surprises. If there’s one constant throughout Paradise In Pimlico, it’s the omnipresent chimes. These twinkling drops of light scattered throughout are something of a hallmark of Woo, ensuring the lilting, lullaby-like magic of their music persists whichever direction they head in.

Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing 10-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work’s debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards.

40th Anniversary Edition - newly remastered from the master tapes, with an additional bonus LP of instrumentals and the previously unreleased “Narration Theme.” 

Daytime Viewing (1979-80) is an extended narrative song, based on a casual analysis of daytime television drama and the audience phenomena such programming addresses. The piece explores the use of fantasy as a survival mechanism against loneliness, illustrating the human compulsion to inflate the mundane to mythological proportions. A central female character weaves tales, using threads of personal experience and the idea of TV as friend, as mantra, and as transformational window between imagined spectacle and the pedestrian plane. 

Originally released as a private cassette edition [recorded, 1982; Chez Hum-Boom release, 1983] documenting the collaborative performance piece of the same name by Jacqueline Humbert & David Rosenboom. This heady, thoroughly enjoyable work was first made available on CD and LP in 2013 by Unseen Worlds. Jacqueline Humbert (aka J. Jasmine) is a songwriter of brains and wit on par with Robert Ashley, with whom she's worked extensively. David Rosenboom's complex, harmonic electronic arrangements are accentuated brilliantly by percussion from William Winant. Daytime Viewing can happily be added to a small but significant group of work that, through lesser-known paths, engaged in an equally revelatory reexamination of the Great American Songbook as Minimalism did with 20th Century composition. 

“The Concert” is the first discographic collaboration between percussionist Alexandre Babel and visual artist Latifa Echakhch. The record is intimately linked to the eponymous exhibition presented at the Swiss Pavilion during the 59th Venice Art Bienniale. For her exhibition in the Swiss Pavilion, Latifa Echakhch created an orchestrated and enveloping experience, a rhythmic and spatial proposal that allowed the visitor a complete perception of time and of his own body. What is the origin of rhythm? How does the body perceive time? How does the mind rearrange it? Can we substitute one perception for another, the visual for the sound? Can fragments of memory go back in time and recreate a different story? Her proposal entered a dialogue with the building around it, designed by Bruno Giacometti. The artist revisited its architectural programme as well as the prototypical progression of these exhibition spaces, originally defined for the display of classical art. She appropriated the entirety of the spaces, simultaneously exploring continuity, movement and sequence. Their relationship to light, and the different sounds that emerge from them. Yet the exhibition was entirely silent and the musical composition “The Concert” functions as its sound rendering, by following a similar path. This one-sided vinyl is a complementary and inseparable partner piece to the exhibition and its eponymous catalogue, the latter having been published in April 2022 by Sternberg Press. The music features field recordings made at the Swiss Pavilion itself as well as pre-recorded percussion sounds and significant contributions by the Berlin-based musicians Jon Heilbronn, Rebecca Lenton, Theo Nabicht, Nikolaus Schlierf. The record, available only after the closing of Latifa Echakhch’s exhibition offers a concluding phase to the project. The resonance of its sensory score. It reactivates the experience of the physical journey of the installation, without imposing itself as a transcription or an illustration. Through texture, temporality and its totality, the record stands as a resonance of the rhythms that have structured the pavilion, the harmonies that have composed it and the sounds that have inhabited it.

Foam On A Wave is proud to present the first international issue of this chameleonic, shapeshifting record, from one of Hungary's most prolific musician and film composers, János Másik. At times it calls to mind 23 Skidoo, Talking Heads and The Pop Group, at others it sits in its own corner of the room. 1989 was a revolutionary year. For many in the West the fall of the Berlin Wall marked the Autumn of Nations; the End of History and the triumph of progress. In Hungary, the year saw the Round Table Talks establish a new multi-party democracy and the effective end of communist rule after 40 years - Rendszerváltás; 'regime change'. It's hard to ignore these cataclysms while listening to Trance Balance. After all, its initial release was on Hungaropop, 'one of the first privately owned, independent labels launched after the liberalization of the market in Warsaw Pact-era Hungary' (we highly recommend delving further into their remarkable catalogue). Is music always an expression of the shifting political landscape? Or does it exist beyond it? These are all questions that percolate as the needle drops. Freud, a ghost from the Dual-Monarchy, runs in streams through the album sleeve. Trance Balance itself is reminiscent of a trip, transporting the individual through a semi-conscious dreamland. Synthesisers woosh and swirl overhead. The percussion is propulsive. Voices take on the guise of characters, guide-like, beckoning. There are Brechtian interludes where the musical fourth wall is punctured. At points, the listener awakes to playful refrains, bohemian folk song and calypso detours. This is a masterwork of musical surrealism - an act of pure intuition - free and honest. A manifesto in all but words. We'll let you decide how much it has to do with politics.

Origin of the Alimonies is Liturgy’s fifth full-length album and their first to fully integrate Hunter Hunt-Hendrix’s vision of total art, or what she calls Perichoresis, with her musical compositions. The music amplifies a dramatic narrative addressing the question of the origin of all things, which itself aesthetically grounds the content of Hunt-Hendrix’s ongoing philosophical YouTube series on her System of Transcendental Qabala. The album is by far Liturgy’s most meticulous and radical statement, pushing their characteristic synthesis between black metal, minimalism, experimental club music, and 19th–century romanticism to new extremes. Exploring microtonality, free improvisation, polymetric structures and Richard Wagner’s ideas of musikdrama and leitmotif, Hunt-Hendrix employs her unique “burst beat” technique to bind together the rhythmic signatures of metal, experimental club and classical music in the service of speech patterns and narrative flow. Featuring the virtuosic playing of bandmates Leo Didkovsky, Tia Vincent-Clark and Bernard Gann, the entire album also includes flute, piano, harp, strings and horns performed by a 8-piece chamber ensemble drawn from New York’s various avant-garde music scenes. Influenced by kabbalah, German Idealism and French post-structuralism, the opera tells the story of a cosmogonical traumatic explosion between OIOION and SIHEYMN, a pair of divine beings whose thwarted love tears a wound from which civilization is generated, producing the Four Alimonies of the intelligible universe and the task of collective emancipation. Outside the narrative frame, the piece is meant to foster productive discord between the modes of attention and political commitments that implicitly accompany its various genres, as well as to hover in the liminal territory between the music industry, the art world and the contemporary philosophy community, reiterating the message of Jesus via William Blake by belonging nowhere, only half-comprehensible within any established framework, puncturing hypocritical ideologies while crying out in the name of love. The album is accompanied by a new, eponymous album-length operatic video written, directed, shot, edited by and starring Hunt-Hendrix, who uses her evolving body, in the wake of her recent gender affirmation as a trans woman, as the medium for the story. credits released November 20, 2020

Felicia Atkinson and Jefre Cantu-Ledesma's Limpid As The Solitudes cuts through sound-making techniques to enter a new zone of sonic revelations. The record recalls the turn-of-the-century Mille Plateaux glitch era, the warmth of La Monte Young's drones, acousmatic non-space recordings made by GRM artists, 4AD's floor-gazing guitar sound, and blissfully diverse field recordings. But, one could equally equate it with entirely different recording sources. Limpid As The Solitudes has a widescreen sound that is both familiar and unfamiliar. Warm, comforting and also unsettling in unpredictable ways. Deliberate yet exploratory, it's a record composed of opposites and contrasts, following historical guidelines yet also throwing them out of the window. To describe the album as ambient would indicate passive engagement with the sound; leave it to play in the background and one could miss a lot of the joy. Atkinson and Cantu-Ledesma describe the record as a series of postcards - things and sounds that happen vertically as a slow ascension, vessels communicating in dreams. In this collaborative recording, there is a feeling of "becoming" - a concrete sound turns into a electronic sound that turns into a spiral-like melody which then furls/unfurls at the same time. The album title as well as track titles, are all verses stolen from Sylvia Plath's poems, Atkinson notes, "like dropped pearls from a lost collar." Trying further to capture the record's poetic impulses, it reflects "Empathy to objects and nature's elements, meteorological states, seasons that answer to your heart, granular etchings carved and sustained to create a blurred sentimental landscape. The finale is more optimistic than Plath's poetry. Love and lyricism win, the music soaring from deep water to interstellar galaxies." The cover is another key, an image by Julien Carreyn of a young woman wearing destroyed jeans, playing with bubble wrap. The image is intended to give the viewer an eerie 1990's feeling that echoes the recording and films by Hal Hartley or Wong Kar Wai. Be sure to come back to this record more than once; it's then that it's power will work. Recall the sound of a lover, a garden once walked through, an echo of a record once loved. To be appreciated, "Limpid As The Solitudes" requires immersion as if in a hot spring, letting the sounds float and alter perceptions and memories. Mastered and cut by Helmut Erler at D+M. Printed photographs by Julien Carreyn on glossy inner and outer sleeve.

This is the Italian electronic producer’s debut album for Munich’s Ilian Tape label; for a record coming out of post-industrial Turin, its aesthetic is surprisingly luminous. The roster of Munich’s Ilian Tape may be headlined by locals like the Zenker Brothers and Skee Mask, but the label’s Italian contingent has long been one of its biggest strengths. Turin natives Stenny and Andrea first connected with the crew in 2011, when the former organized an Ilian Tape night and spent a couple of days driving the Zenker Brothers around his hometown. The following year, both Stenny and Andrea debuted on the imprint, and the two have been part of Ilian Tape’s core membership ever since, sharing similar trajectories and helping to solidify the label’s distinct brand of broken techno. In 2019, Stenny leveled up when he released his debut full-length, Upsurge, which impressively brought together angular breakbeats, dalliances with drum’n’bass, and headier ambient sounds. Now it’s Andrea’s turn to tackle the album format, with excellent results. His productions have always fallen toward the dreamier end of the spectrum, and he’s leaned into that here; it’s not often that Ilian Tape releases could be described as shimmering, but the album’s palette is a lot closer to Café del Mar than Cafe OTO. The sparkling arpeggios of aqueous opener “Attimo” and the dreamy synths that idle atop the peppy breakbeats of “LS September” are just two of the LP’s more Balearic elements, but golden hues and languid melodies drift and linger throughout. For a record coming out of a cold, post-industrial corner of northern Italy, Ritorno’s aesthetic is surprisingly luminous. Despite its sunny overtones, there’s plenty of low-end weight in the album’s foundation. The fluttering basslines of “TrackQY”—the LP’s most obviously club-ready tune—sound like something lifted from late-’90s drum’n’bass, while the crunchy wobble of “Liquid” is a classic dubstep throwback. There’s an abundance of DJ material, yet the album is practically devoid of staid, linear rhythms. Cribbing from house, techno, electro, breakbeat, jungle, trip-hop and IDM, Andrea’s hybrid creations have a lot in common with the more intriguing strands of bass music coming from UK outposts like Timedance and Livity Sound. From the soaring jungle mutation “Drumzzy” to the shuffling serenity of “Isabelle’s String,” the drum programming taps into a unique sort of organized chaos, with loose-limbed beats regularly teetering on the edge of collapse but somehow never losing the groove. Ritorno is Italian for “return,” and it’s easy to detect a ’90s vibe in its cosmic inclinations and freewheeling rhythms, which hark back to a sunnier, more lighthearted era when genre lines were less defined and the electronic music world wasn’t quite so balkanized. But Ritorno isn’t a strictly nostalgic effort, and the production is unmistakably modern, even as Andrea criss-crosses through numerous styles and eras. Outside of his long-running affiliation with Ilian Tape, he has never been locked into any particular trend or scene; instead, he has quietly developed his own artistic vision during years spent working in the background. That patience has paid off: Ritorno is a remarkably confident and cohesive work. Nearly a decade in the making, it’s Andrea’s first big statement, and proof that this low-key Italian producer has something valuable to add to the conversation.

теплота is the London-based duo of Grundik Kasyansky & Tom Wheatley. Their work interrogates the haptic, social and liberating relationships with technologies old and new; using feedback synthesizer and computer-acoustic bass, they fuse a spontaneous interplay orthogonally over cyclical structures, with techno as perpetual fulcrum. Following their debut HEAT/WORK on Cafe Oto’s TakuRoku label and the monthly ЭС research series, Skynned will be landing on Accidental Meetings. Half techno, half free jazz, the music is both hypnotic and open-ended, relentless and ephemeral.

As the resident bass player for renowned Manhattan comedy club Catch A Rising Star, Lloyd George Mair, Jr. worked alongside a host of iconic entertainers and comedians from the past 50 years inc. Robin Williams, Jerry Seinfeld, Andy Kaufman, Billy Crystal, Eddie Murphy, Larry David, Chris Rock and plenty more. This was a creatively vibrant and socially dynamic period in New York’s history marked by the unique meeting and synthesis of post-disco, post-punk and early hip-hop; shaped by a hybrid party culture in which cross-cultural music scenes (Afrika Bambaata, Anita Sarko) collided with artistic ones (Keith Haring, Jean-Michel Basquiat) as well as intellectual spheres (Sylvère Lotringer, Antonio Negri) on NYC’s dance floors (Danceteria, Mudd Club), offering unique social and sonic possibilities of interaction, openness and exchange. As the 1980s progressed, together with increasingly tough Reaganomics, the crack epidemic, real estate inflation, demographic shifts and musicians and clubs catering to increasingly segregated audiences, the synergistic elements that first set the scene apart weakened severely from 1984 onwards. However, thanks to a dedicated underground, the forward-looking sensibilities of Mair, Jr. found an audience, gripping the imaginations of a select group of collaborators and peers from the so-called ‘cassette culture’ movement. These were not simply ‘demos’, but fully realised art projects primarily traded with other like-minded artists around the world. All kinds of folk found this a simpatico space to make music, think aloud, drift in and out of focus. Mair, Jr. started recording a dizzying array of home-baked cassettes, most of which remained unreleased or traded internationally. Captivated by the promise of possibility, his sound totally embraced the plastic potential of MIDI and digital, in all their unreal perfection. The sound of placeless, dream-like environments: movie sets, photo shoots, videogame backdrops. Dense webs of flickering neon, laser-strafed minimalism and thick saw-wave synths. This expansive second volume of rarities is drawn from Mair, Jr’s ‘Selected Rhythm Tracks 1988-1994’, a hidden archive of introverted electro-minimalist songwriting culled from over 30 years of private and unreleased cassettes. There's the boogie of the opening ‘Rhythm Track’, rendered in such perfect hi-res, it approximates digi-Motown via sci-fi Library Music soundtracks. ‘The Escape’ strings the most plastic of trumpets over an avant-funk stroll that’s so laidback you feel like it must be hiding something. The Afro-tropicalia of ‘Winefride XL’ is a beatific series of polyrhythmic kalimba lines that you can imagine gathering and drifting over and over again, like tides. There’s a distinct cinematic quality in Mair, Jr’s sequencing, and most of all on the outro to the blissful sweet-sour synth spirals of ‘Winefride LIV’, which sounds like Angelo Badalamenti scoring Perry Henzell instead of David Lynch. Available for the first time on vinyl and produced in cooperation with the artist’s estate for chOOn!!, a label specialising in obscure, archival and forgotten releases.

Best Available TechnologyやAzu Tiwaline、Ghost Phoneといった実験的なアクトなども作品を残す英国のレーベル、パーティー、ポッドキャスト〈Accidental Meetings〉からは、AusschussやBruce、Rupert Clervaux、Jay Glass Dubs、FUMU、Robin Stewart (Giant Swan)など、豪華面々が参加したパキスタン洪水被害者へのチャリティー・コンピレーションCDを発表。Bruceの"Self Doubt"の冷たい音色の抽象化とグラインド、Abu Amaの踏みつけるようなアラビアン・ドラムに焦げたドローン、Jay Glass Dubsのオートチューンド・ダブ"The Creatures in Defence"まで、沈静的なアンビエント/エクスペリメンタル・クラブ・サウンドを収録。限定盤。

"Dark Haired Girls" There Must Be Someone by Tor Lundvall Share / Embed In Wishlist view supported by Nightflyer thumbnail Nightflyer Can't wait to receive this beautiful box by one of my absolute favourite dark ambient artists ! :-) Erik A. Ingmanndsen thumbnail Somewherecoldfan thumbnail foccil thumbnail Chris Hibler thumbnail little_black_cat thumbnail nk11clouds thumbnail Leather thumbnail yukbon thumbnail Mick Zeuner thumbnail miosotide thumbnail Brian Nelson thumbnail Concrete Violin thumbnail treehandthingy thumbnail CMB thumbnail cjrfel thumbnail Jeff Irish thumbnail kholkhoz thumbnail eyespark thumbnail swensej thumbnail infiniteinalldirections thumbnail Bruce Levenstein thumbnail diespach24 thumbnail keith schuerholz thumbnail pinofalcone thumbnail selectrecs thumbnail apossession thumbnail noddyprof93 thumbnail ANTOINE LOGUILLARD thumbnail LELONG CHRISTIAN thumbnail Exbtn Records thumbnail Matthew Stradling thumbnail Forget It! 03:22 / 05:53 5-CD Box Set Compact Disc (CD) + Digital Album package image PREORDER - Out December 9th, 2022. Includes 5 albums: Passing Through Alone, A Strangeness In Motion, A Dark Place, Beautiful Illusions, and the long out-of-print Ghost Years - with art & lyrics booklet. Includes digital pre-order of There Must Be Someone. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released. digital album releases January 27, 2023 item ships out within 3 days edition of 1000 Pre-order Compact Disc $34.99 USD or more Send as Gift Digital Album Streaming + Download Pre-order of There Must Be Someone. You get 3 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released. releases January 27, 2023 Pre-order Digital Album $29.99 USD or more Send as Gift 1. Original One 2. Procession Day 3. The Clearing 4. The Melting Hour 5. Flight 6. Watched 7. Hidden 8. The Night Watch 9. Lessons That Kill 10. August Rain 11. Violet Bird 12. South Pacific 13. He's Falling 14. Power Failure 15. Dangerous Snakes 16. Days 17. Forget It! 05:53 video lyrics buy track 18. Where is She? 19. Pollen 20. Dark Angels 21. Ghost Years 22. Raven Eyes 23. Cloaked 24. Poison Symbols 25. Birds in Spring 26. Murder 27. The Pathway 28. Midnight Question 29. Grey Sunday 30. Pollen (4-Track Mix) 31. Dark Angels (Demo) 32. Ghost Years (Demo) 33. Raven Eyes (Demo) 34. Cloaked (4-Track Mix) 35. Murder (4-Track Mix) 36. Grey Sunday (Demo) 37. Grey Sunday (Video Version) 38. Ghost Years (Alternate Version) 39. Evening 40. Leaves 41. Winter Song (Original Version) 42. The Watchers 43. Birds Asleep 44. Tears and Rain 45. Aliénor 46. Lost At Sea (2) 47. Routine 48. My Weakness 49. The Falling Snow (Remixed Edited Version) 50. Winter Song (7-Inch Version) 51. Last Rays 52. A Room By The Sea 53. Quiet Room 54. Haunted By The Sky 55. The Moment 56. The Invisible Man 57. Negative Moon 58. The Void 59. A Dark Place 60. The Next World 61. Dark Haired Girls 04:02 video 62. Negative Moon (Early Version) 63. Their Souls 64. Forever Rain 65. Drowning 66. Blessings Counted 67. Love Song 68. Four Bluebirds 69. Lonely Boy 70. Two Windows 71. Dark Sea 06:45 about To commemorate the quarter century anniversary of Tor Lundvall’s self-released debut, 'Passing Through Alone', Lundvall and Dais have joined forces for a fresh 5-CD box set of long out-of-print titles, vinyl-only releases, and unheard bonus tracks: 'There Must Be Someone'. Spanning 33 years, the collection showcases the subtle but striking evolution of Lundvall’s sound, from brisk autumnal synth-pop to desolate dark place devotionals to fragile winter moon meditations and beyond. What remains constant is his exquisite sense of mood and movement, qualities reflected in his iconic oil paintings of willowy figures amidst luminous, liminal landscapes. The box set begins with 'Passing Through Alone', Lundvall’s first full-length, issued in 1997 on his Eternal Autumn Editions imprint. Engineered, mixed, and co-produced by his brother Kurt, and sold primarily at Lundvall’s gallery exhibitions, the album is an intriguing entryway to a world still dawning. Brooding and melancholic but distinctly more linear and melodic than later work, the songs flirt with the fringes of new romanticism, sketched in his signature palette of synth, sequencers, guitar, drum machines, and hushed, spectral voice. Next included is an expanded edition of the eclectic 2010 collection 'Ghost Years', an array of stray singles, alternate mixes, and compilation tracks dating between 1995 to 2020. It’s bracingly varied but effectively immersive, showcasing Lundvall’s sharpening gift for spatial dynamics and icy minimalism. The other three discs are inaugural CD editions of a trio of Dais vinyl titles from 2018 to 2021: 'A Strangeness In Motion (Early Pop Recordings • 1989-1999)'; 'A Dark Place'; and 'Beautiful Illusions'. The first is an archival anthology of material predating his debut, bedroom synth-pop born of solitude and the supernatural, alternately anthemic, wounded, and windswept. The latter two are shadowy recent full-lengths capturing Lundvall at the height of his powers: refined, remote, revelatory. Reflecting back on this vast body of work is “strange and bittersweet,” but Lundvall fin

5AM is a band, and a group effort by long time adulthood friends 5ive, Andry and Moko. 5ive is known for his ongoing contribution for music-duo Cos/Mes and other various projects, Andry is a multidisciplinary designer and Moko works as DJ and producer under her project Powder. After a long period of hanging out and sharing music to each, the band 5AM was naturally found in 2019, and soon made a small debut. 5AM plays about time, sings about observation and thinks about texture, atmosphere, and listening-space and random other stuff. Caring of subtle things for the big picture. Pre Zz is the first album by 5AM, recorded through 2020 and 2021, packaged day to day remixed feelings about that time, but not necessary just about that time. The album captures the moment of changes — Pre something — as like before a sleep after a long stay up Zz.

tarting in 2019 with ‘Life In A Shell’, the then new and upcoming Japanese producer yolabmi lay the foundation for a triptych of releases on Vaknar in the span of 3 years, all of which formed an ongoing sonic interrogation with his own past, while also consequentially reflecting on his growth as an composer and individual. The final stage of this album triptych, ‘For Wind Poetry’, once again underpins the natural world of yolabmi’s past with the technocratic eccentricity of his present self, yet rather than letting his matured proficiency over his modular synthesizer reign throughout the span of the album, yolabmi chooses to end this chapter via an introspective sonic long-form of redemptive stimulation.

When we can no longer move forward or look outward, some reflect and seek truth in themselves – some sharing, through the language of music, what might be impossible to say through words. --- Amidst the budding tempest of 2020, Jeremiah Carter, originally hailing from Tennessee, found himself embroiled in a near suffocating air of uncertainty and anxious tension, mainly brought upon by the first spikes in a soon to be world-wide pandemic. Only having recently relocated to the bustling city of New York, an unprecedented series of events took shape over the following months, isolating and alarming the city's residents in the process. It was during this time that Jeremiah fully turned his attention to music, discharging the emotional turmoil surrounding him, into newly composed work. Beginning with the album ‘Rejoice’, which was completed in the wake of 2020 and released on A Sunken Mall that same year, two more albums took shape in a quasi-self-induced creative tremor that materializing a wealth of work and formed a triptych of three unique albums, all produced within the span of only 6 months. Finally, presented here is the second part of the triptych; ‘Speak, You Also’, dedicated to Paul Celan and giving further insight into the heart of a beloved southerner, tangled in the mesh of existence, crisis and communication, far away from the prairies he once called home.

On April 7th the Berlin-based Peruvian musicians Alejandra Cárdenas, AKA Ale Hop, and Laura Robles present their debut album together, released via Buh records. With a foundation informed by decolonialism and organology, ‘Agua Dulce’ is a radical deconstruction of traditional rhythms of the Peruvian coast, in which the cajón instrument plays a central role. ‘Agua Dulce’ is named after the most popular beach in Lima, near where both artists lived during their childhood, houses apart, without ever meeting one another. Now, years later, the pair have joined forces, with Robles on a self-built electric cajón and Cárdenas on electric guitar and electronics. Together they explore rhythmical structures that form the backbone of the complex Afro-Peruvian music and dance traditions – a broad term used for the various musical developments that occurred in the last two centuries, at the shores of the Peruvian Pacific. The cajón originated in coastal Peru as a percussion instrument that the black slaves created from wooden fruit boxes, when foot drums were banned at the end of the Spanish colonial-era, in the 19th century. From its birth the cajón was a symbol of resistance, experimentation and transformation, so Robles and Cárdenas strive to maintain the instrument’s spirit and qualities by pushing the boundaries of its sound into the future. However, although buzzing with an intense voltage and proffering a fresh contribution to modern experimental/noise/low fi/percussive music, the duo’s mission isn’t merely capturing something sonically futuristic, but is primarily concerned with shaking off the dust: “These rhythms have become ossified nowadays, heard in Peruvian folklore shows, and on the ‘global music’ circuit, but our desire is to experiment and do something more radical with them, connecting to the instruments more radical past”, comments Cárdenas. The two musicians take the pulses of dances like Landó, Zamacueca, Festejo, Alcatraz, Lamento and Son de los diablos, electrifying and mutating them into pure textures, or reinforcing the physical character of the cajón through repetition and distortion. The LP began with recorded improvisations between the duo at Ale Hop’s studio, which she then edited, adding synths and more guitar. Following that it was performed live for the Heroines Of Sound festival, accompanied by the dancer/choreographer Liza Alpiźar Aguilar, which was described as “nothing short of amazing” by The Wire. Following the show Cárdenas added further edits and post production, resulting in the finished article. ‘Agua Dulce’ is published through Buh Records, on all digital platforms and in a vinyl edition, limited to 300 copies. Cover Art by Eduardo Yaguas. --- Ale Hop is an artist, researcher and experimental musician. Her work includes live shows, record releases, sound and video artworks, research on sound and technology, and original music for film and dance. Her live performances merge the physical qualities of music with raw emotional states. She builds layers of sounds by blending a complex repertoire of guitar techniques processed by synthesis devices, to create a music of deep physical intensity. She came up in Lima's experimental underground during the 2000s, and currently resides in Berlin, where she caught the attention of the city's electronic scene, with her visceral live guitar performances, in which she loops out layers of sound, creating densely woven atmospheres. She has recorded mixes for Crack magazine and The Wire, and performed and exhibited work at Unsound, Rewire, Boiler Room, HÖR, New York’s Museum of Arts and Design and Somerset House. Her previous album, 2021’s ‘Why Is It They Say A City Like Any City?’ featured contributions from KMRU and Concepción Huerta, amongst others. alehophop.com Laura Robles was born in Swaziland and grew up in Lima. She is a percussionist and bassist formed from a very young age in the rich Afro-Peruvian and Cuban musical traditions. Her approach to jazz, funk and free improvisation is informed by the rhythmic elements of Latin American popular music. Robles founded the socio-educational initiative Parió Paula’. She has played with theater and dance companies and renowned folk, jazz and rock musicians worldwide, as diverse as: Maria Schneider, Christian Weidner, Almut Kühne, Pablo Held, Niels Klein, Ensemble Neue Musik Zürich, WDR Big Band, Christian Steyer, Wanja Slavin and Steffen Schorn. Laura lives and works in Berlin. In 2022 she was nominated for the German Jazzpreis award in the drums/percussion category, and in 2014 she won Berlin’s Studio Prize in with her band Astrocombo. She is reputed to be one of the best cajón players in Peru.

Zero Kama was an experimental music project founded by Zoe DeWitt in 1983. The first release of Zero Kama was the title V.V.V.V.V., recorded for the Nekrophile Rekords cassette compilation The Beast 666. In 1984 followed the cassette release of the album The Secret Eye of L.A.Y.L.A.H., which is commonly regarded as one of the key albums of the industrial-subgenre 'ritual'. The fact that all instruments used for this recording were exclusively made from human bones and skulls, its elusive musical style, the implied occult symbolism as well as the short-time existence of Zero Kama, whose backgrounds remained unknown for a long time, have been contributing to the cult status of this project until now.

Following an invitation of the NL-Centrum Amsterdam, Zero Kama played two live concerts in the Netherlands in 1985, and - after two more releases on the Nekrophile compilation The Archangels of Sex Rule the Destruction of the Regime - completely withdrew from the public. While The Secret Eye of L.A.Y.L.A.H. was recorded solely by Zoe DeWitt, the later live performances were realized with befriended musicians such as Didi Neidhart and Muki Pakesch, whom Zoe DeWitt knew from the Austrian music underground of the 1980s.

Since that time there have been a couple of re-releases of Zero Kama recordings, amongst others the 1988 Vinyl version by the French label Permis de Construire, followed by the CD release in 1991. In 2001 the French label Athanor published The Goatherd and the Beast, a 10" vinyl containing tracks from various compilations that were recorded besides The Secret Eye of L.A.Y.L.A.H.. This collection was also included as a bonus CD in the Live in Armhem double CD release by Athanor in 2008. In 2014 Athanor finally published a remastered version of The Secret Eye of L.A.Y.L.A.H. as both vinyl and CD.

Infinite fog Productions presents an anthology release of Zero Kama. The first time ever, everything recorded by the project released as one set on limited CD, VINYL and CASSETE. Recordings transferred from original tapes, carefully mastered by Martin Bowes at the Cage Studios and Micro Majong at Micro Majong Studio. Designed by Cold Graves.

日夜音楽を通してアラビック/ダブに襲撃を繰り返し続け、あまりにも膨大な音源の数々を残してきただけでなく、未だにその未発表音源までもが掘り起こされる今は亡き英国の名手ことMuslimgauze。97年に米国のノイズ/アヴァン系大名門〈Soleilmoon Recordings〉に残したアラビック・ダブ/ノイズ名作『Farouk Enjineer』の2021年度再発盤！エクスペリメンタルとアラビア世界のトラディショナルなリズムがあちら側で溶け合う、Muslimgauzeのベスト作品のひとつ！新規アートワークを起用＆リマスタリング仕様。限定プレス。