MUSIC

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE. Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink. Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent. Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.” Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.” ‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.” On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

2022 repress! LP version. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo -- but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings -- which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow (PAL 056CD/LP, 2019), there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith -- but unlike Odds, other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound, we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room -- we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..." --Tom Carter

2 rare historical recordings (1983 and 1986) originally released as single sides and gathered here for the first time. "Conductor might be my favourite composition and Life & Death Of Pboc might be my most sincere. Conductor was my first composed piece with no obvious reference points ... Life & Death Of Pboc was the second. these two compositions gave me the title Godfather of Dark Ambient."

Born out of an underground Buenos Aires party and first launched in 2008, ZZK Records has spent more than a decade at the forefront of Latin American music, carving out space for artists putting a futuristic (and often electronic) spin on classic rhythms and folklore traditions. Along the way, the label spread across the globe and helped launch a few stars—Nicola Cruz, Chancha Vía Circuito, La Yegros and Son Rompe Pera among them—but ZZK’s search for new artists, sounds and perspectives is never complete. ZZK Sound Vol. 4 brings together a fresh crop of talent from across Latin America, along with a pair of choice selections from veteran acts Maga Bo (Brazil) and Tremor (Argentina). Compiled by ZZK co-founder DJ Nim—the label’s original A&R (and Chancha Vía Circuito’s older brother), he’d actually taken a five-year hiatus from the project prior to 2020—the compilation’s origins can be traced back to the early days of the pandemic. As the world went into lockdown, he put out a call for submissions, and within three months, he’d received more than 1000 tracks. Nim literally listened to them all, whittling the pile down to his 11 favorites, and after hearing his selections, Grant C. Dull—another ZZK co-founder, who runs the label’s day-to-day operations—couldn’t believe his ears. Nim had done it again. There were no notes, and no changes to the tracklist. ZZK Sound Vol. 4 was quickly put into production. While previous ZZK Sound compilations were primarily focused on the club, Vol. 4 follows a deeper, more introspective path. It’s not an ambient record—no ZZK release would be complete without drums—but the hypnotic rhythms here are far more concerned with the collective unconscious than the dancefloor. Opening with spellbinding tracks from Pawkarmayta and QOQEQA—both hailing from Perú—the compilation immediately exudes a sort of ritual magic, calling upon both African and indigenous musical traditions while tapping into modern electronic music and a uniquely Latin sense of mysticism. Sebuky, a native Ecuadorian currently stationed in Barcelona, adds a bit more low-end heft to the proceedings, and that percussive weight continues through the similarly transportive contributions of Mangle (Colombia), Cruzloma (Ecuador) and Selvagia (Perú/Argentina via México). Elsewhere, Yoyoyo transforms the cueca music of his native Chile, Akilin enlists American rapper Bomani Armah to help him explore Afro-Venezuelan traditions and Maga Bo’s “Cadê Zé”—the first Brazilian track to ever appear on a ZZK release—is a bass-loaded (albeit undeniably spiritual) banger. Galo Vermelho (Argentina) delivers a polyrhythmic lesson in digital folklore, following in the footsteps of Buenos Aires outfit Tremor—one of the first acts ever signed to ZZK—who close out the compilation with a rousing bit of almost Lynchian revelry. At this point, few music fans need to be sold on the appeal of Latin music, but ZZK, which has been operating in this sphere since long before the genre became the “next big thing,” is dedicated to the idea that the potency of these sounds extends well beyond the pop charts. Hopping between continents and recontextualizing rhythmic lineages that date back centuries, ZZK Sound Vol. 4 is both an arresting snapshot of Latin America’s electronic avant garde and a thrilling preview of its next wave.

Benny says, “First and foremost, I’m a beat-maker. I started making music in the mid-90s while listening to De La Soul. When I write songs, I always start with the beat. Like a songwriter strumming their guitar, I drag kicks and snares.” After releasing his album Music in April 2021, Benny had several beats he hadn’t used, and decided to follow up his original self-released Beat Tape (2018) with a new collection. “The idea came to me to ask some rappers to join on the beats, to pay homage to where it all started: hip-hop. It was all very effortless, because there wasn’t a higher goal of wanting to write the perfect song. I was just having fun doing what comes naturally.” The many guests on Beat Tape II include British R&B singer JONES on “Look What We Do”, Stones Throw MC The Koreatown Oddity on “Song 13”, and Mocky, Cola Boyy, and Marc Rebillet on “Beat 100”. Kenny Beats produced “Don’t Look” with Cory Henry, while Canadian rapper and singer Rae Khalil appears on “Beat 5” and “CGEOOL”. PawPaw Rod, MadeInTYO, St. Panther, Oddisee and Faberyayo also feature. Benny says: “I feel so grateful to have all these new and established talents on here that make Beat Tape II what it is. I got people who are not very well known for rapping to rap. Mocky’s first albums, which I played a lot when I was younger, were rap albums, so it was great to ask if he would do that again, go back in time. Cola Boyy is a great singer, but his voice is perfect for rapping, so I was really excited to hear him do that. I’m also excited for my first collab with Kenny Beats. Hope this can be a start of some new stuff, who knows :)”

Another Timbre releases a new CD by Barbara Monk Feldman, wife of American avant-garde music legend Morton Feldman, featuring five chamber and solo pieces composed between 1988 and 1997. Performed by the "GBSR Duo" consisting of George Barton & Siwan Rhys and Mira Benjamin from Apartment House! This is a fantastic chamber music piece that envelops you in a very ethereal tranquility.

A 4-disc box-set with Apartment House playing all of John Cage's 'number pieces' for mid-size ensembles (from 'Five' to 'Fourteen', with 'Four5' as an added extra, along with alternative versions of three of the pieces). These extraordinarily beautiful works were all composed in the last 5 years of the composer's life, as Cage approached his 80th birthday. These recordings by Apartment House are the first recordings for 15 years of almost all of the pieces. An essential release of wonderful but somewhat neglected music. Downloads include a pdf of the 44-page booklet with extensive notes about Cage's number pieces, and the cover artwork

As a grade-schooler listening to the radio in his dad’s car, Stimulator Jones thought Prince was singing “round spiritual ring” on the hook of “Raspberry Beret.” The adult Stimulator Jones, aka Sam Lunsford, now knows all the lyrics to “Raspberry Beret” – and can play the song on virtually any instrument, from bass to sitar – but when the time came to title his new album, he decided to name it after that misheard lyric. Round Spiritual Ring shows a more personal and vulnerable side than Stimulator’s debut Exotic Worlds and Masterful Treasures, with lyrics that touch on his struggles with depression and chronic pain. But Sam is an optimist at heart, and his album’s overarching message is that love and connection are the forces that will ultimately save us. Round Spiritual Ring also symbolizes the connectedness of everything, what Sam calls “repetitive forces in the world” – think DNA, the planets, or vinyl records.

Dance Ancestral is the latest addition to producer and keyboardist John Carroll Kirby’s fast-growing and distinctive body of work. Dance Ancestral sees the acclaimed solo artist teaming up with Canadian producer Yu Su for an album whose central theme is the “intuitive dance” we perform throughout our lives. More electronically focused than Kirby’s previous albums, the result is a vividly imagined yet eminently listenable instrumental record.

TIZIANO POPOLI - Sull’accordo mimetico
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SV30 / 1st time on LP Limited edition. Side A: 1. Sull’accordo mimetico - Parte 1 (28:00) Side B: 1. Sull’accordo mimetico - Parte 2 (28:00) Total time: 57 minutes Tiziano Popoli: Yamaha Dx7 synth, Korg MS1O-MS50 synth, Akai S900 sampler, tapes, FX.

 Recorded at home on Teac A 3440 4 tracks tape recorder, mixed on Revox 2 tracks. Sull’Accordo Mimetico (On the Mimetic Chord) dates back to the end of the 80’s. It was commissioned by the artistic director of the ParcoScenico Festival, held in Treviso, Italy. Since the area where artists and the public gathered after the Festival was located to a very busy street, Marco asked me for a sound installation that could work as some sort of a defensive barrier for the street noise. I suggested that my work, rather than hiding the noise, should aim to harmonize the disturbances coming from the street within musical structures and forms, without burdening or saturating too much the acoustic spectrum of the place. In this way, I thought about sonic veils, consisting of repetitive – but also light and discreet – harmonic-rhythmic structures. Since the Festival took place in a beautiful centenary park, I also integrated the music with natural sounds and animal calls, always as an attempt to bridge these sound events and the other materials that made up the composition. The human voice constitutes a central element in this musique d'ameublement project, as a constant source of memory of places and times – here with many references to traditional music for children. A pearl of ambient electroacoustic minimalism with field recordings components in which the nostalgia of Maestro Tiziano Popoli shines through in painting landscapes that slowly change to be seen with the ears. Nocturnal, emblematic, Lynchian.

»江戸 Edo« is a cosmic ambient experimental piece conceived in 1977 by Masashi Komatsubara and developed alongside with Hideki Matsutake (a.k.a. Logic System and reductively defined by many as the "fourth member of the Yellow Magic Orchestra"). As a true sound scientist, he pours all his efforts into this record, and aimed at the widest possible use of an electronic instrument that was at the forefront at that time — the Moog IIIc.

Recorded live at Morden Tower, Newcastle-upon-Tyne 8th. June, 1983. Originally released together with Changez Les Blockeurs as part of a 2LP box set, has since been released as a single LP. Limited edition of 349 hand-numbered copies.

The popular work is repressed! Coco María, a Mexican DJ / musician based in Amsterdam, the Netherlands, who also hosts the program at the online radio station operated by Gilles Peterson, the "music preacher", has been cued for . Introducing "Club Coco", a compo board with a unique perspective. Summery outer national Latin & Afro Roots Music Nuggets packed with the essence of the community that gathers in your own broadcast frame! Nico Mauskovic brings together creative acts such as Meridian Brothers, Graham Mushnik and Romperayo that harmonize both pride in Latin American and Afro culture with an interest in cosmopolitanism in the big European cities. Introduction! A masterpiece that Bongo Joe presents “Club Coco”, a summery outernational Latin and afro rooted music compilation curated by Coco María. An attempt to give back something to music lovers around the world and print on an object a piece of the essence of the community that has been gathering around her weekly radio show at Worldwide FM. In many ways, the tracks of the album showcase how these artists use music to reconcile both their pride in Latin American and Afro culture as well as their interest in being part of the cosmopolitanism of big European cities. Thus, each track adds a particular detail into building a perfect soundtrack for a community that is always travelling back and forwards between both regions, always looking for songs that explore the furthest frontiers of tropical music while staying true to the roots of their genres. This LP gathers some of the inescapable artists that have been part of Coco María’s shows. The list includes Nico Mauskovic, La Perla, Meridian Brothers y Grupo Renacimiento, Graham Mushnik, La Redada, Alex Figueira, Frente Cumbiero, Les Pythons de la Fournaise, Romperayo, Malphino, Max Weissenfeldt and even Coco María herself.

Another Interplanetary Star Creature team up for a Chicago <-> Tokyo expedition across a fusional soundscape ranging from bossa nova lounge to pre-vaporwave exotica; new age city pop to minimal library boogie. June Chikuma is best known now for her ground breaking Video Game soundtrack throughout the late 1980s and early 90s, most notably the now cult-classic status Bomberman Hero OST for Nintendo. During this same period of the late , she produced many recordings for a wide variety of clients including Japanese Public Transit Commercials, Video Game Arcades and VHS Nature Documentaries. We reached out to June in 2019 with the hopes of combing her archives to present the modern listener base here on Earth. We selected a nice mix of tracks as entry point in June's work. These tracks have been rescued from obscurity, remastered and waxed up for contemporary universal enjoyment. Hear Chikuma & Co. interpret influence's from Kraftwerk to Steely Dan, Herbie Hancock to Eric Dolphy, and Composers Ali Sriti to Paul Hindemith across a legendary line up of hardware synths ranging from Yamaha DX7, Korg Polysix, Roland D-550, and Oberheim Matrix-1000.

Recorded from 1984 to 1986, The Impossible Humane is the sole album from The New Blockaders side project Mixed Band Philanthropist. Originally released on the German Selektion label in 1987 and impossible to find nowadays, Staubgold makes this rare gem of industrial-goes-musique concrète available again in a strictly limited edition of 400 copies. Furthermore, the reissue contains two bonus tracks taken from the 7" single The Man Who Mistook a Real Woman for His Muse and Acted Accordingly. The album is assembled of exclusive source material by the who's-who of the industrial music scene of the time, including contributions from Nurse With Wound, Organum, Andrew Chalk, The New Blockaders, Etant Donnes, H.N.A.S., P16.D4, Asmus Tietchens, Controlled Bleeding, Smegma, Merzbow, and many more. "A classic chunk of destroyed concrète. Assembled from a variety of musical and spoken sources, this is a nonstop barrage of genius. Filled with headsnapping changes, sexual innuendo and general confusion, it's a totally great listening experience," said The Wire. Idwal Fisher wrote: "This car-crash tape collage still stands today as one of the best examples of the genre. Its perpetual barrage of split-second samples are a dizzying mess of '60s pop songs, scrapes, industrial whirr, uncategorizeable racket, ghostly voices, electronic beebles and burrs, sped-up records, tape whizz, machine rumble, snatches of reggae, bucket damage, kazoo farts, disco spots and about three-thousand or more (I'm guessing) other samples that really shouldn't work, but, by some sleight of hand or genius, actually do. On paper, snatches of steel bands shouldn't be found on the same side of tape as Geordie MCs, Michael Jackson, pneumatic drills, early Merzbow and '50s doo wop, but here they are and it works. Totally. Then comes the added bonus of being able to listen to this to the point of ad nauseam, mainly due to the fact that there are so few reference points that every listen brings something new."

¡ÆA sea of clouds casting silent shadows on frozen time A sky of flickering waters curling over the immense permanence Fractured light shrouded in mist dissolving into shaded pigment The frontier of solitude melting in the winds of patient eternity.¡Ç

Edition of 180 copies in digipack. First official re-issue. The New Vortex Blockaders Compaign was released on tape in 1984 and was bootlegged on LP in 1998. Both editions are now sought after collectors items. This release went down in noise history as a big classic, and is now reissued, in nice remastered form. 'Extreme, nihilistic Musique Concrete which creates unrelenting walls of sound... Images of chaos, collapse and extreme violence dominate.' Aeon 'This will rip your face off and wear it as a mask!' CMS Foundation

"Always take from the past - avoiding the empty longings of nostalgia - with a view to understanding the new place it might hold in the future. Good Morning Tapes has done just that, and with the 90’s revival in something of a full swing, the label finally gets the chance to release a pivotal 10 year old mix that didn’t just ignite a curious wave of reflection and appropriation, it marked a culmination in the shifting sonic sands for its creator Mr. Alexis Le-Tan. His name needs little light thrust upon it in these hallowed cosmic halls, with his enduring and ever present mixes being a staple for those that know. Back to Disco Valley is arguably his most important mix - it both recontextualised a dirty and forgotten sound of the past, and facilitated a wave of new freedoms for those wishing to look backwards in order to move forwards. Most importantly it planted the seed for everything Full Circle to come. Back to Disco Valley is above all else a personal reckoning for Alexis and Joakim, it marked a moment when many problems inherent in a trapped older sound - with a sublime yet dated history of its own - could breath fresh life in the present day; a new slower realm was born. The slowing down of dance music is nothing new, and certainly where peak time beats have existed a spiritual shadow that revels in a slower ethereal space to dance has never been far away. Stylistically on one level, Back to Disco Valley might seem to build on what Baldelli or Loda were doing many years ago, and it certainly has that effortless charm, but it goes much further, not just in its re-appraisal of the frenetic fast paced sounds of Goa, but as a signifier of where many wanted to head on the dancefloor - towards a slower oasis - incorporating new releases and modern sounding rarities along the way. Indeed, in selecting the 33rpm dial rather than that marked 45, Full Circle at once opened up the new space inside a music some of us went bananas to 30 years ago, and at the same time made sense of a crucial yet forgotten heritage; a confession became a badge of honour. Coming back to Full Circle and its genesis: it was only a matter of time before the old Goa records would come back down from the racks and spawn a new life, and perhaps whilst Le-Tan cemented something a lot of us knew, Back to Disco Valley somehow liberated many of those early records from their stylistic shackles initiating a creative project that - along side the collaborative work with Joakim - has released a wave of inspirational edits and re-imaginations. Full Circle - in all its conceptual & metaphorical majesty - really has come to represent the most stylish of takes on past sounds, both in the realm of selection and re-working. It is certainly true that Back to Disco Valley - sounding now as it did then (to the select tuned ears that got to listen) - reflects a perfect meeting between an off-tempo past, present and future, being more than a functional assemblage, it revives many a lost memory, inspiring a new batch of ideas, and always looking back with a purpose.

Consummate selector and veteran of a pair of mixtape percies for The Trilogy Tapes, DJ Sundae racks up the rarities for a killer new edition for Good Morning Tapes, a recording of his set for Alexis Le Tan’s Oddity Radio, Paris. Sundae’s selection skills are already a thing of low-key legend and on this new one he picks an arc from sylvan synth glydes to punky reggae dub via ample armfuls of spirited music, each cut a stepping stone to the next in a proper example of DJ as storyteller. Aye, you can forget about any easily identifiable gear and expect to snag the attentions of earnest spotters licking their nibs for hits of rustic folk, proggy psych, druggy grunge and punk hymns that give way to brooding bass music and stepping post-punk.

The third folk song series supervised by the Tayo Mountains, this time in Gunma! The definitive version of the heavyweight Bon Odori "Kizaki Ondo", in which abnormal boost bass and distorted Kodama swirl, is released in the original version of the local preservation society and the old and new doubles of the current TRAP version. This will overturn your view of folk songs! ??

"Yagibushi" is the first folk song to be recorded in Japan and is popular as one of the largest dunks in the folk song world. .. This song is just crazy. The killer of killer that makes any folk music dance tune hazy in front of the dangerous force! Did you make a mistake in adjusting the EQ in the studio? A massive low beat with distorted bass and strange reverberation that makes you doubt your ears. And the lyrics in the form of a persuasion (Note 2) that tells the story of Meshimori onna (Note 1) who lives at night in Hanamachi. It's neither a Chicago-born ghetto base nor an Atlanta-born trap. It is a Japanese folk song that was brought up in the life of Kita-Kantou.

This time, with the cooperation of the Kizaki Ondo Preservation Society, we remastered and recorded the locally recorded versions of 1980 and 1965 that trapped the hustle and bustle of the night of Bon Odori. As a new attempt, Clark Naito's new recording Kizaki Ondo was also recorded there. MC / track maker Clark Naito, who raps garage punk on sampled tracks and is also active in the Gorge area, has a sense of connecting Bo Diddley and bass music with the term "3 minutes R & R". The collaboration between Minyo Mountains and Clark Naito created a modern version of Kizaki Ondo with contemporary trap beats and sweet synths. This is an extension of the act of "putting folk songs on a turntable and making a roaring sound" at the Soi48 party, and is a proposal for "a new way to enjoy folk songs." Please enjoy it simply as cool music.

The influence Steve Reich had on contemporary music can hardly be put into words. As one of the great innovators, he started playing around with tape loops and created rhythmic and tonal effects while recording the sounds of rain, it formed the basis of his ambitious project called " It's Gonna Rain". The great depth and complexity make this an outstanding song in his repertoire - an incredible tape loop piece that starts with the words of a gospel preacher, then takes a snippet ("it's gonna rain") and repeats it over and over itself, endlessly looping, and messing with the words and tones as it goes in and out of phase. Incredible stuff – and far more revolutionary than a lot of Reich's later work. The A-side of the LP contains “Violin Phase”, featuring Paul Zukofsky. This masterpiece in minimalist music is grand and epic. The two pieces were recorded live together under the title Live/Electric Music.

Two sheets to the wind, Perishable, not tinned, Two hands the better, Wet weather and feather. Wilson Tanner come to shore with a new album of floating melodies, lightly salted. Throwing electroacoustic conventions overboard, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new work aboard a 1950s riverboat with a resourceful array of weatherproof electronic instruments and a long extension lead. These eight compositions pull in a by-catch of maritime folklore; of Siren and Selkie, Seagull and engine oil slick. A change of course from their debut album 69 (Growing Bin Records, 2016), the ambient temperature drops as II casts out to sea in uncertain weather and returns to the safe harbours of Port Phillip Bay. The seafarers head out to My Gull’s poised optimism. The birds watch but do they listen? By the arrival of Loch and Key, the shoreline has dissolved completely, the boat floating in serene infinity as the rest of the world spins. Conditions soon take a treacherous turn on Killcord Pts I-III - a 12 minute odyssey that battens down the hatches as these sailors eye merciless waves and blinding ocean spray, jointly channelling Berlin-school electronics and sea legs. In the aftermath, the waterlogged bleeps of Idle survey the damage as our parched crew sound the distress signal and ultimately descend into delirium. Known for navigating individual courses as solo musicians, Wilson and Tanner’s collective storytelling is saturated in detail, buoying between tension and harmony. II modestly stands as some of both artists’ most accomplished material.

Aesthetical in collaboration with Sync presents "Detect" by Marco Monfardini. Originally developed as an audio/video live performance, Marco Monfardini based his research for Detect on the decoding of inaudible sounds, sound generated by electromagnetic emissions left from electronic devices and inaudible to the human ear. By using various electro-smog detectors Marco Monfardini creates a sort of detection mapping where electromagnetic emissions are the starting point for the sonorous development of each single composition. A path that creates a parallel with our lives by questioning how much these emissions affect unconsciously our choices, tastes and perceptions, seeking a relationship between the massive use of technology in everyday life and our emotional state.
The album Detect is developed in 14 tracks in continuous play, an imperfect, faulty mosaic inhabited by invisible beings manifesting themselves in the form of sound streams, mutable entities that find a definitive form in the pattern of the compositional structure. The album opens with “a[R1] detection", sounds of pure detection place themselves in the sound space giving the initial coordinates for the exploration of unconscious parallel areas. The boundaries transform and gradually expand until they flow into the structure of "kernel variations", a growing rhythmic pattern decodes the impulses projecting a perspective that dissolves in the unstable and fluctuating electromagnetic emissions of the subsequent "[a]3020t detection", "binary defect "and "core[2] ". “[A.box]emission” confronts the use of sound downloaded random from internet sample banks and the emissions generated during the download itself, micro sound fragments arrange themselves in an organized and regular pattern, shaping a rhythmic structure. The first part ends with the short “[sa]6030” and “[det]x1a”, absence and presence provide an alternation of movements, inaudible and elusive signals all trying to establish a contact with our perception. “det : scan” opens the second part of Detect, a sort of scanning, leaving EMF (electromagnetic field) textures, a static multilayer that progressively expands until it dissolves into the rhythmic emissions of a common smartphone “[4s]detection”.The track “[rs]zone” " is pushing itself deeper, two minutes of sound speleology that reveal the existence of sound artifacts that seem to vanish getting in contact with the light accented by the bass drum of "[det] 0100+" a constant, rhythmic pumping, a luminous pulsation that reveals an apparent void, which seems to subside entering in the winding and waving atmosphere of "conductive [area]" and "[s3] microfunktion". Detect comes to the end with “[emf]terminal” a mirror of the unarrestable technological acceleration intercepting the flow of data that feeds the system of communication , digital micro waste suffocates the living space by centering up the invisible in an unconscious map. Vinyl Edition of 300 copies, 3mm sleeve, matt lamination, black paper inner sleeve. 14 Tracks. Running Time 46:13 credits

Classic album from 1977, the sixth Kraftwerk album, originally issued by Kling Klang. This is the English-language, U.S.-cover art version. One of the inspired electronically-based pop records of all time. Performed by the quartet of Hütter, Schneider, Flür & Karl Bartos, this is the quintessential Kraftwerk sound recording experience. Tracklist: Side One: A1. Europe Endless; A2. The Hall Of Mirrors; A3. Showroom Dummies. Side Two: B1. Trans-Europe Express; B2. Metal On Metal; B3. Franz Schubert; B4. Endless Endless.