MUSIC

Part of a series of three new archival releases from Ndeya that showcase Jon Hassell and group in the late 1980s exploring a radical tangent on his Fourth World sensibility.

The Living City captures the Jon Hassell Group in September 1989 performing as part of an audio-visual installation inside the World
Financial Center Winter Garden in New York City, with Brian Eno mixing the band live. Eno had designed an audio-visual installation in the 10-story glass-vaulted pavilion, inspired by the hunting, ceremony, animals, and weather sounds of the Ba-Ya-Ka pygmy tribe from Cameroon gathered by Louis Sarno.

Jon Hassell and his then band, the musicians who had recently recorded the City: Works Of Fiction album, played in the Winter Garden Atrium over the course of three nights, with Eno mixing the band live with the installation sounds.

The audio presented here is an edited selection from the performance on the second night, available on vinyl for the first time, cut across four sides by Stefan Betke aka Pole. Gatefold vinyl edition includes download card and extensive sleevenotes.

Holy Tongue are a trio composed of Valentina Magaletti, Al Wootton and Susumu Mukai. Accomplished musicians in their own right, they combined to create psychedelic, free-form, high energy, spiritual dub-dance music across a trilogy of critically acclaimed EPs and their debut album Deliverance and Spiritual Warfare. Their high energy live performances invoke the experimental dub of On-U-Sound, the frenetic rhythms of 23 Skidoo, Liquid Liquid and ESG, and the spiritual energy of free jazz. The trio’s dynamic collaboration extends in their meeting with Shackleton, one of the most original and critically lauded voices in electronic music. Shackleton has moved from the depths of the early 2000s dubstep underground to a diverse range of international collaborations and commissions over the last two decades. After honing his hypnotic beats on the cult UK record label Skull Disco, his unique rhythmic touch is now heard on some of the most adventurous and progressive projects that have emerged from the European dance scene in recent years. Shackleton’s work explores conceptual and spiritual themes with an emotional depth beyond most artists working in European dance music today, and his visions of inner space, apocalypse and dread are more timely than ever before. This record was conceived after Holy Tongue and Shackleton shared a festival line up in Sweden. Holy Tongue were initially keen to get Shackleton to remix one of their existing tracks but they soon decided to have a project together and work on some fresh new music, allowing Shackleton to do something more creative with it in the studio. Thus Holy Tongue recorded a collection of raw material in the studio and sent it to Shackleton. The result is far more than the sum of its parts. A psychedelic, ritualistic, dub trip, oscillating between the maximal and the minimal, the internal and the external, the micro and the macro, ecstasy and agony, all the tumbling psychic joy of now.

Paradise Cinema is a project led by multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves) with contributions from Khadim Mbaye, Tons Sambe and Laurence Pike. The first, eponymous, Paradise Cinema record, released in 2020, was recorded in Dakar and featured the dense rhythms of Mbalax music combining with Wyllie’s textural saxophone and synth playing. New album ‘returning, dream’ was created in London by Wyllie with additional recordings from Dakar and Sydney. While Wyllie’s other projects move between tight-knit electronica, widescreen minimalism and improvised ambient sounds, ‘returning, dream’ contains nods to Jon Hassell, Terry Riley, Don Cherry and Midori Takada as well as more contemporary electronic, ambient and non-western music and even draws inspiration from physics and science fiction.

'Teratai Åkande' explores electronic techniques transforming sounds, melodies, and rhythms from balinese gamelan. It's an interaction and synthesis of acoustic and electronic expressions, exploring an imagined territory between two otherwise separate cultural worlds. On 'Teratai Åkande' the Copenhagen-based producer and electronic musician Anton Friisgaard travels new paths, as he explores gamelan music from his own artistic perspective in close collaboration with Balinese musicians, afliated with Ubud’s acclaimed Gamelan scene. After experiencing a concert with the Gamelan ensemble 'Gamelan Salukat' at Roskilde Festival in 2018, Friisgaard became inspired to contact Dewa Alit from the ensemble. With the aim of bringing forth a unique expression through the meeting of two distinct musical traditions, Friisgaard traveled to Ubud, Bali to record, compose and improvise in close collaboration with artists from the esteemed Gamelan scene in Ubud. The result is 'Teratai Åkande', which features Pande Made Gangga Sentana, I Nyoman Suwida, Dewa Badukz, Suryana Putra and Pande Made Gangga of Gamelan Salukat. Anton Friisgaard (fka Hviledag) is an electronic producer and musician based in Copenhagen. Known primarily for his experimental work with tape loops and ambient soundscapes, he’s become an established figure both in the Danish music scene as well as internationally.

This Trio is very Californian, even though Surya is based on the East Coast . . .We swim together in the Pacific Ocean, Vibing, bonding, talking, listening, riding the Waves . . .as often as we can. - Carlos Niño Together these three adventurously creative Musical Artists have played in Portland, Oregon, Manhattan and Brooklyn, New York, London, England, Amsterdam and Zaandam, NL, Köln, Germany, San Diego and Ojai, California, and many times throughout Los Angeles County, since February 2022. They first came together in July 2021 at the Glendale, California Home Recording Studio of Jesse Peterson and Mia Doi Todd. Nate was invited by Carlos to meet Surya and to possibly play. No specific plans were set other than to explore with Surya. (Multi-Reedsman Randal Fisher was also there.) That Session turned out to be Day 1 of what became Surya's debut album Everyone's Children released by Spiritmuse Records on November 4, 2022. Suyra and Nate were both featured extensively on the Carlos Niño & Friends album (I'm just) Chillin', on Fire released by International Anthem on September 15, 2023, though not together on any of the same pieces. The first in-depth representation of the Trio was in collaboration with André 3000 on his album New Blue Sun released by Epic Records on November 17, 2023, where they are featured as co-writers and co-creators of 5 of the 8 album pieces. Niño also Produced that album in collaboration with André. Nate enthusiastically took it upon himself to be the Trio's Archivist and would get to Mixing and playlisting the group's recordings as soon as he received them from Live and Studio recordists. He took the lead on Producing and Mixing this album, Subtle Movements. His unique perspectives, thoughts, feelings and intense heart energy went into telling the story of how these pieces, recorded in different settings, with a wide range of gear, by an array of characters, all flow together. "It is a blessed opportunity and Cosmic Gift to be at the keyboards with Nate and Carlos," Surya gleams. "In appearance, I play a few keyboards at a time: a MIDI controller that I use in tandem with music studio software, my absolute FAVORITE analog sensibility synth Roland SH-201 (although it is digital), and typically another 88key board (the Roland SV-1). If there is a piano available, I will also use that with us for a total of 4 keyboards at my station, (that my cousin Georgia Anne Muldrow has forever deemed “Praise Console no.3”), Surya enthuses. "My instruments and sound are the last thing I consider about this Trio. For me, it is about us as human beings first; as members of our respective families and soul tribes before anything else. I think whatever sound that comes forth is a result of that inner connected soul conversation. That, at least in my view, is the Sound." "I play guitar, guitar synthesizer, and midi-guitar sampler," writes Nate Mercereau of his Instruments on Subtle Movements. "In addition to my main GR300 guitar synthesizer sound, I am sampling the band live as we perform and using the sound . . .It takes many different shapes, but I am often playing something like the sound of Carlos's percussion from 30 seconds earlier in a new key and tempo, or as a chord — or a quick slice of a pad from Surya’s keyboard pitched down into sub frequencies, anything can happen," Nate details. "I live-sample and expand, magnify, permutate, repeat, live-remix, live-edit, and reframe moments of our sound within our sound while it's happening. Worlds Within Worlds and Worlds Upon Worlds, Currents Within Currents. I also use previously recorded and created samples from my library in this context, allowing my guitar to be anything." Nate also offers: "I consider what I do in this trio to be a part of and extension of the greater sound of this group, which is often oceanic (which represents everything to me), waves, it's full communication. Love and support in sonic form. Going beyond together in all ways." Carlos Niño plays everything that you hear in the Aerophone, Drum, Percussion and Plant realms . . . He was the group's "Connector" and its first advocate. Depending on who received and accepted the opportunity to present the Trio their names have appeared in different orders. Hear, on Subtle Movements the order is Alphabetical by last name: Botofasina, Mercereau, Niño

2023 marks the tenth year of Music From Memory; a decade of groundbreaking archival releases, cross-generational collaborations and long-standing creative partnerships with our ever-expanding community of artists. To celebrate this milestone, earlier this year we asked our roster of artists to submit a piece of music for an anniversary compilation. As submissions gradually came in, we were blown away by what we received and slowly began to piece them together into what was to become “10”. Featuring work from artists who were present during the formation of the label, such as Gigi Masin, Joan Bibiloni and Michal Turtle, as well as artists like The Zenmenn, RAMZi and Dea, who have helped the label expand over subsequent years, “10” serves as a natural bookmark of where we are musically, whilst simultaneously reflecting on the label's rich musical past. In keeping with the Music From Memory ethos, the music of “10” spans both time and space, with submissions ranging from Vito Ricci's 'Da Hamptons' (1985) to Yu Su & J. Wilson's 'Mitti Atar' (2023). It crosses the globe, with a total of 10 countries represented across 17 tracks. The final result is an immersive musical compilation that flows perfectly from start to finish. Tragically, during the last few weeks of finalising MFM066, label co-owner Jamie Tiller passed away in a sudden accident. “10” was always intended to be a way to reflect on the journey of Music From Memory. The fact that it is now also one of the last releases that the team all worked on together adds a whole other level of reflection and makes it all the more special.

Music From Memory is excited to introduce the self-titled debut album of Habitat Ensemble, a new musical collective headed up by musician Marius Houschyar. The collective originates deep in the south of the Czech Republic, on the border with Austria, amongst the idyllic hills and fields of a village called Maříž, where a summer school of outsiders and creatives have been gathering since the 1990s. Enriching each other through intercultural exchange, summer school participants have created a unique gathering of artistic expression and interdisciplinary research. Originally grown out of the idea of translating the unique energy of the community and its environment into a musical journey where each member makes their own individual contribution, during the summer of August 2022, Habitat Ensemble became an exciting vehicle for connection and co-creation. Whether it be musical experimentation, composition, poetry, song or dance, Habitat Ensemble, having started as a series of multidisciplinary workshops, slowly developed into a unique musical recording. The album serves to conjure the unique nature, community, experimentation surrounding the school and the collective’s search for harmony across all of these, both musical and spiritual. MFM065 will be released in LP and digital format, comes with artwork by David McFarline, and is expected to release in November 2023.

Both noted for strikingly forward-thinking bodies of solo work dating back to the 1990s, the duo of Andrew Pekler & Giuseppe Ielasi - collaborators for the better part of a decade - reemerge with 'Palimpsests’, their first outing with Shelter Press. Built from deconstructed layers of texture, tone, and arrhythmic percussiveness, the album’s 2 sides distill 6 years of work into 9 splintered, airy reimaginings of minimalism - each surprising, creatively rigorous, and startlingly beautiful - that rest at the outer reaches of contemporary electroacoustic practice and musique concrète. Based in Berlin and Milan respectively, Andrew Pekler and Giuseppe Ielasi have individually carved singular paths across numerous disciplines within experimental music for more than 20 years, each deploying sampling, synthesis, and acoustic sources to weave their own, distinct worlds of sonorous abstraction. Brought together by years of friendship and a shared devotion to layered texture and complex, fractured structure, the pair first joined their creative energies in 2013, a collaboration that culminated as the LP, ‘Holiday For Sampler’, issued by Planam. 'Palimpsests’, the duo’s second outing, draws its material from a series of improvisations made by the Pekler and Ielasi in Milan during 2015. Over the ensuing six years, those recordings would undergo various transformations - cut, reworked, sampled, and added to by each artist, working at geographic distance between Berlin, Kyoto and Monza - before culminating, like the album’s title suggests, as a unique manifestation of musical palimpsest; “an object reused and altered, while still bearing visible traces of its earlier form”. With each of the album’s compositions nodding toward a city with which Pekler and Ielasi hold biographical connections, 'Palimpsests’ constructs sound as poetic metaphor; a series of ghosts - traces of memory, image, and action - cut and reassembled, in cycling permutations, before been set into action at a glacial pace with layered, transparent forms. Defined by remarkable restraint and pointillistic precision, across the album’s two sides Pekler and Ielasi weave the fractured remnants of their sessions - reduced to glitches and warbling fragments of texture and tonality - into pulsing expanses of spatial ambiance that defy imagism, blur the boundaries between the synthetic and organic - reducing their sources to a series of unknowns - recast the boundaries of electroacoustic practice on markedly singular terms. Shelter Press is thrilled to present 'Palimpsests’, another brilliant outing from the duo of Andrew Pekler and Giuseppe Ielasi. Issued in a limited edition of 500 copies on black vinyl, with artworks on printed inner and outer sleeves by Traianos Pakioufakis.

The improvisational session by trumpet, shamisen, tabla, and electronics creates light and shade. Through J.A.K.A.M.'s reconstruction, it becomes a wellspring of time and space, reflecting soundscapes reminiscent of a Japanese garden. - Chee Shimizu

A floating drift toward a mysterious reality, between Nature and Cosmos, poised between sleep and wakefulness, temporal co-presences and impossible spatial ubiquities. In this phantasmagorical saga, inspired by TV science-fiction as well as 60s and 70s horror movies, Nicola Giunta/Lay Llamas creates a miraculous balance between original inserts and retrievals of freely chosen fragments from old audio documentaries on vinyl, perfecting the art of sound collage in an absolutely psychedelic way. Nonlinear dream textures become labyrinths of sudden openings, empty rooms, interstellar platforms, narrating voices from other worlds or ghostly churches from beyond the grave. A piercing electronica of cosmic synths, dense with the mists and dusts of distant times, past and future at the same time, where lysergic percussions merge with echoes of flutes vibrating in endless tropical forests and natures. Until the final awakening, in the reality of the first light of dawn. Originally released on cassette by Miracle Pond.

Lamin Fofana has been killing it over the past few years with ace records on Hundebiss, Avian, Peak Oil and The Trilogy Tapes to name but a few. Here he unites with The Doudou Ndiaye Rose Family (check their Twenty​-​One Sabar Rhythms), respectfully and sensitively applying his electronic magic to the mesmerizing mbalax drumming, taking things even further into cosmic realms - somewhere between Mark Ernestus Ndagga project, T++, Jon Hassell and Popol Vuh.

Wave to Mikey, the fourth album from the Los Angeles-based actor, musician and photographer Danny Lane is a nocturnal, neon-lit ode to the friendships that shape us. “I made this album for my friend Mikey from back home,” Danny explains. “We were pretty much inseparable for a large part of our lives, and our musical and social minds were always in sync in a special way. Then with age, we drifted apart, especially since I moved to Los Angeles. This album is just a little wave hello to an old friend and a kindred spirit.” Equal parts avant-garde composition, instrumental city-pop, ambient, Kankyō Ongaku (environmental music) and Fourth World music, Wave to Mikey is an impressionistic and reflective cycle of eleven richly detailed memory portraits. Throughout the album, the influence of Jon Hassell, Arthur Russell, Hiroshi Yoshimura and Yellow Magic Orchestra hangs in the air like late-night mist, adding character but never overshadowing the rhythmic ambience of Danny’s musical visions. Wave To Mikey began as a series of sketches on analog synthesisers, guitar, sample and found percussion sketches, initially recorded in Danny’s home studio. Once he’d located the vibe, Danny called on his friends E Talley II, Solange collaborator John Carroll Kirby and Destroyer session musician Joseph Shabason, who respectively added flute, spiritual synth textures and saxophone to the record. For Glossy Mistakes founder Mario G.R., who originally discovered Danny through his photography, Wave To Mikey captures a vivid feeling of melancholy and peace. “He's able to encapsulate emotions in a very straightforward way, either in his portrait or songs,” Mario says. “I think that's a kind of virtue or skill given to talented artists, no matter the field.” Born and raised in Staten Island, New York, Danny began playing music with his friends when he was thirteen, before putting that passion on pause to study Fine Arts (Theatre) at Rider University in Lawrence Township in pursuit of an acting career. Acting led him to photography, after playing a photographer in a film, he was inspired to pursue the medium. Danny began shooting photos on film for magazines and lifestyle brands, spent a stint living in New York’s Chinatown neighbourhood, and eventually relocated to Los Angeles in 2017. Four years ago, Danny started recording and releasing music under his own name, leading to the trilogy of releases that preceded Wave To Mikey, How To Empty A Cup (2019), Memory Record (2019) and CAPUT (2021). Over the course of these releases, he’s revealed himself to be a sophisticated composer and producer with a studied ear from years spent digging through record bins for ambient, experimental, new age, jazz and electronica records from around the globe, with a particular emphasis on Japan. “Music is something that’s always been involuntary for me,” Danny reflects. “It’s unconditional, always there. It’s something I just have to do. I’ve taken breaks and it’s always gloomy when I’m not playing. I just want to get better and better and understand more and more.” Here at Glossy Mistakes, Wave To Mikey marks our second contemporary album release, following on from Evenings by Japanese composer Metoronori. We’re proud to be able to present Danny, Metoronori and other modern musicians' work alongside reissues of classic works from Stevia aka Susumu Yokota, Akira Ito, Yuji Toriyama & Ken Morimura, and Takashi Kokubo. Mastered by Damian Schwartz, Wave To Mikey will be released on Vinyl LP Glossy Mistakes on June 27 2022. Besides the regular black vinyl, a limited clear vinyl will be available in an edition of 100 copies. Both editions come packaged with original cover art photography shot by Danny.

Greville returns to Mad Habitat, accompanied by the Lonely Voices. This incorporeal chorus gives voice to the tribulations of ''Blue Dreams'' and the interplanetary serenade of ''Sun, Moon, Stars''. This record takes Greville's keen interpretation of natural sonics and considered sound sculpting into the realm of cosmic synth-pop, recalling luminaries like Sheila Chandra's Monsoon or the fourth-world exotica-pop or Water Melon Group. Digi-dub basslines add a weight to the celestial melodies and jalatharangam-esque percussion. It’s a transportive suite of songs and an insightful reflection of Greville’s evolution as an artist; showcasing how his world-building makes room for a myriad of voices.

“I had the honour of remixing all of the Bamboo tapes that J.Derwort ever recorded. Most of my mixes were approved by the master himself during the last days of his life in Oliva, Spain. For ‘Eleven’, I sampled from his last live performance at Jazzcafe Dizzy in Rotterdam on February 11th, 2018. He died on the day of the release of our latest Chi Factory album, ‘The Mantra Recordings’, on February 11th, 2019. We will miss him, life will not be the same. Farewell soul brother!” Words by Hanyo van Oosterom.

FLOCKS is a new duo, formed by drone specialist WERNER DURAND and ULI HOHMANN. Musical landscapes that move between traditional as well as experimental sounds with influences from Krautrock and JON HASSEL's "fourth world" aesthetics. WERNER DURAND has made himself a name with various projects with Dhrupad singerAMELIA CUNI, playing with URBAN SAX, ARNOLD DREYBLATT, HENNING CHRISTIANSEN, DAVID BEHRMAN, ELLEN FULLMAN, CATHERINE CHRISTER HENNIX, as the co-founder of THE 13th TRIBE, ARMCHAIR TRAVELLER and TONALIENS (with ROBIN AYWARD and HILARY JEFFERY) plus numerous solo albums, released on labels like Black Truffle, Unseen Worlds or Edition Telemark. Having studied saxophone as well as Indian / Persian flutes, the Berlin based DURAND is a highly reputated protagonist in the drone scene, famous for his self-built wind instruments like buzz-clarinets or his PVC neys & horns. His partner in FLOCKS (and longtime personal friend) is ULI HOHMANN whose early encounters with music from Asia, India and Africa led to studies with the Ghanaian master drummer MUSTAPHA TETTEY ADDY and later Tombak and Daf with NEMAD DARMAN (Iran). HOHMANN played in a couple of projects that explored the language of classical Persian music, and started building his own stringed instruments (being an educated carpenter). In 2014 he joined DURAND and AMELIA CUNI for the album "Clearing", and 2018 DURAND and HOHMANN decided to continue as a duo: FLOCKS was born. On their selftitled debut they shape drone-y soundscapes based on their self-built wind- & stringed instruments, Persian percussion and subtle electronics, drawing additional inspiration from Krautrock (listen to the irresistible, hypnotique groove of "Quicksand") as well as JON HASSEL's "fourth world" aesthetics, placing the duo nicely between tradition and experiment!

FLOCKS is a new duo, formed by drone specialist WERNER DURAND and ULI HOHMANN. Musical landscapes that move between traditional as well as experimental sounds with influences from Krautrock and JON HASSEL's "fourth world" aesthetics. WERNER DURAND has made himself a name with various projects with Dhrupad singerAMELIA CUNI, playing with URBAN SAX, ARNOLD DREYBLATT, HENNING CHRISTIANSEN, DAVID BEHRMAN, ELLEN FULLMAN, CATHERINE CHRISTER HENNIX, as the co-founder of THE 13th TRIBE, ARMCHAIR TRAVELLER and TONALIENS (with ROBIN AYWARD and HILARY JEFFERY) plus numerous solo albums, released on labels like Black Truffle, Unseen Worlds or Edition Telemark. Having studied saxophone as well as Indian / Persian flutes, the Berlin based DURAND is a highly reputated protagonist in the drone scene, famous for his self-built wind instruments like buzz-clarinets or his PVC neys & horns. His partner in FLOCKS (and longtime personal friend) is ULI HOHMANN whose early encounters with music from Asia, India and Africa led to studies with the Ghanaian master drummer MUSTAPHA TETTEY ADDY and later Tombak and Daf with NEMAD DARMAN (Iran). HOHMANN played in a couple of projects that explored the language of classical Persian music, and started building his own stringed instruments (being an educated carpenter). In 2014 he joined DURAND and AMELIA CUNI for the album "Clearing", and 2018 DURAND and HOHMANN decided to continue as a duo: FLOCKS was born. On their selftitled debut they shape drone-y soundscapes based on their self-built wind- & stringed instruments, Persian percussion and subtle electronics, drawing additional inspiration from Krautrock (listen to the irresistible, hypnotique groove of "Quicksand") as well as JON HASSEL's "fourth world" aesthetics, placing the duo nicely between tradition and experiment!

Enter Demi-Monde: A “half world” of botanical sounds and surreal impressions assembled as four tracks for Munjebel’s first release on Mesma Records. Oscillating between Ambient, Fourth world and Environmental Music, Demi-Monde is a peaceful yet captivating promenade into organic and percussive synth scapes — melancholic, escapist and contemplative. Munjebel is the joint project of Royer (Lobster Theremin, Closer) and Aurèle (Demi-Monde, Rinse, Cracki).

Compilation, previously unreleased work from Finis Africae together with the reissue of their first album "Prima Travesía". A deep trip of the roots of organic ambient with the seminal Spanish band. "Pulso de la Madera" comes as the definitive official reissue of the first album by the legendary band, along with previously unreleased remastered material, on a double LP with extensive liner notes and previously unseen pictures of the band. Essential to revisit the work of a band that inspired fourth world and organic ambient as we know it today; these tunes sound immersive and still contemporary. On their short but influential career, Finis Africae proposed an informal and decentralized model of creativity that was decades ahead of current practices linked to technological advances; they explored unknown worlds and imagined landscapes of the “fourth world” apart from their present; they neither affirmed nor denied any of the labels they were to assign to them (“New Age”, “ethnic music”, “world music”, etc.); they recreated, used, and nourished foreign cultures without fear. And most importantly - they shaped a sound “finis”. Your own space. Where there were no rules. A dimension in which the collective was submerged in long sessions of improvisation; where they could be goblins and magical entities; a place where they could imagine scales and structures unreal; where they could play any instrument in the known world; where they could tour the Mediterranean, Africa, and the Middle East in a blink of an eye; where they could be themselves without caring about anything that happened outside. The unreleased tracks come as a careful selection of a deep-dive over hundred tracks and demos, compiled by Urba and Glossy Mario. The license comes from Juan Alberto Arteche's family. Double LP and digital release scheduled for June 21st.

Los Angeles-based saxophonist Sam Gendel ends 2023 with a remarkable run of releases, this time in collaboration with Ugnė Uma to bring us the mind-boggling Tam tikri objektai erdvėje (Lithuanian for Some Particular Objects in Space). Each track on the album is simply titled as a letter from the word "Saturn", and is conceptually cosmic, touching on both inner and outer space. Through improvisation they conjure a genuinely alien soundworld from strange musical instruments, sampling their own music and electronics. Incredibly far-out hybrid forms echo the peculiar mutant images on the cover art. Sam Gendel and Ugnė Uma's Tam Tikri Objektai Erdvėje album sketches a layered, melismatic and intertextual view on what both performers define as a lightness of being. Ugnė Uma's musical stance is influenced by experimental poetry and Lithuania's 20th century underground music scene - jazz and folk, resulting from the liberation of the country's independence movements. Sam Gendel, from Los Angeles, is a saxophonist and producer, proficient on more instruments than the saxophone alone, whose recorded work both solo and collaborative has brought him acclaim as a vital new voice in modern jazz and beyond. Tam Tikri Objektai Erdvėje is Lithuanian and translates as Some Particular Objects in Space. The six tracks on the album stand for every letter of the word Saturn. They sketch out a sound palette both fragile and full of forward momentum. With hints of improv, sampling their own recorded work and sounds of a childhood's Yamaha Portasound PSS-290 synth into abstractions of pop and r&b, some of these tracks reach an almost balearic feel, the more contemplative end of it. With lyrics delving into cosmic phenomena, Tam Tikri Objektai Erdvėje is an album about space, whether cosmic or inward or the one in between. It easily surpasses the sum of its influences and the materials and tactics used to produce it.

The first LP reissue of "Indigo Dreams", a masterpiece album released in 1995 by Steve Shehan, a percussionist based in France since the 1970's.
"This album was inspired by a night when I fell asleep and dreamed of The Indigo Night, a novel by Satyajit Ray," -Steve Shehan 

The album was inspired by a dream I had one night when I fell asleep and dreamt of The Indigo Night, a novel by Satyajit Ray. In the dream I was in the world of the novel, living and tending an indigo plantation. The dream was so intense that I decided then and there to make an album dedicated to Satyajit Ray. I was also strongly influenced by Satyajit Ray's 1958 film The Music Room.

The album was also created in collaboration with a number of guest musicians, who traveled around the world for sessions and were sometimes invited to the studio in Paris, where the band is based. Compared to "Arrows," the songs are shorter, and it was a challenge for me to achieve the same depth of expression in that length of time," says Steve. The environmental sounds recorded in the Amazon, the U.S., Canada, and France are another element of the album. I hope that you will lose yourself in these tones and travel with me through the world of dreams.

after great rework of jan jazz classic “watarase” by fumio itabashi,henrik schwarz,kuniyuki, joe claussell reconstructed “watarase”. it’s an epic cosmic jazz fusion.joe claussell meets kuniyuki are always best. on b side, it’s a rare minyo(japanese folk song) version of watarase. it’s a live version that fumio itabashi played with the local orchestra and minyo singer. a lot of diggers have been wishing to be released on vinyl. so this release is one of the most important catalogue on studio mule. With ‘Drumming Up Trouble’, American experimental music composer Alvin Curran - perhaps known best for his work in live improv group Musica Elettronica Viva - presents an album of unreleased material for the Black Truffle label. Focussing on a largely unknown side of his work - namely, with synthesized and sampled percussion - it’s a collection of work recorded between 2018 and 2021, with the exception of ‘Field It More’ that takes up an entire side and dates back to the early Eighties. Polyrhythmic, wild and unstable, it will be of interest to anybody with even a passing love of beats and rhythm.

Ritmiche Italiane transports the listeners through an anomaly in the fabric of musical space-time, connecting the distant past with the modern era and the plains of a lost continent with the cities of the Italian peninsula. The artists featured in the compilation strongly believed in the absence of barriers and conventions between genres, fully able to effortlessly put together West-African influences, World music, Jazz and crime movie soundtracks to achieve a boundless, meditative and hypnotic kind of music that still feels relevant today.

Having crested the west coast modular-ambient wave in just a few releases- including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records- Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive hanges the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable- or as the album's creator puts it- "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa- using true-to-period gear no less. Even given it's referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds it's parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

Ambient, hip-hop, abstract, jazz, dub, electric sounds.... TALKIE'S MOOD SOUND TRACK#1", a cassette tape work created by DJ KENSEI and Jusanga's sessions, is now available. TALKIE" is a bi-monthly event held at Brooklyn Brewery's flagship store "B" on the basement floor of K5 in Nihonbashi Kabuto-cho, Tokyo, titled Cinematic Art Salon. VIDEOGRAM) are in charge of the visuals, and the brewery's space is designed to entertain the crowds. TALKIE'S MOOD SOUND TRACK#1" will be released with the support of cassette tape label Tastee T Production. The sound sources included in the album are selected and edited from the session recordings by DJ KENSEI + Jusangga played at the event. We hope you will enjoy "TALKIE'S MOOD SOUND TRACK #1" as a complete piece of work as well as feeling the atmosphere of the event.