MUSIC

Original shoe gazer-turned-ambient electronic explorer E Ruscha V meets Arthur Russell collaborator Peter Zummo on a lush suite of cosmic harmonic projections for back of eyelids and astral armchair flight a la Jon Hassell... “'Thinking A View is a collaboration between E Ruscha V (Secret Circuit) and Peter Zummo, a fourth world meeting of electronics and wind instruments. A joining of East and West. This 14-track soundscape oscillates between ambient, psychedelic, electronic, spiritual and jazz, taking the listener to imagined realms. The sequence flows effortlessly for listening sessions, though each track is cut for DJ use.' Eddie Ruscha on synthesizers, keyboards, drum machines, vibes, tapes, clarinet, various percussion instruments and Mario C. instruments. Peter Zummo on trombone, cornet, euphonium, tuba, conch shell, plastic funnel horn, didgeridoo and voice.”

On November 11th the widely-loved electronic maestro Gigi Masin returns with ‘Vahinè' – a mini album of beautiful and distinct music that is unmistakably his, sounding better than ever. Masin always pours his heart into composing, but here it takes on a potent new level of heavy emotion – as it’s a tribute to his late wife, who sadly passed away last year. “There is a Tahitian dance called ‘Aparima’. It consists of graceful, sinuous and fascinating movements, which tell you stories and legends about love or tradition. The ‘Vahinè' are now dancing, the Tahitian females, with smiles and gestures that could be symbolic or descriptive but are always gentle, harmonious, charming. I was watching this documentary, it was almost 4 in the morning, but I couldn't sleep; I was in front of the television for hours, my wife had passed away the day before, and I was watching hands and arms swaying. I told myself that maybe it’s so, at the end of the road it’s possible to realize dreams, and I’m sure that she is finally able to dance like never before, and is able to move without any impediment, with no suffering, free to make all the movements that she couldn't make for so long, turning to me with a smile and a wink. So, in the clouds, you will discover and see an extraordinary 'Vahinè', because she will move and dance and smile until the end of time.” Gigi Masin A future-retro dreamscape where stripes of early evening sun pour through partially closed venetian blinds; kalimba, piano and steel pans meet on the incredibly evocative ‘Marilene (Somewhere in Texas)’. The Balearic/Italo house heart of ‘Barumini’ throbs throughout a celestial epiphany, whilst ‘Shadye’ is a sun blinded ambient mirage where angelic voices and electric guitar intertwine, before more heavenly music ensues on the trance-like ‘Malvina’. A heart-wrenchingly beautiful evocation of transitioning to the other side, ‘Valerie Crossing’ is Gigi’s compelling and inspirational take on death, with a vivid evocation of something spiritual, existential and metaphysical. His exemplary approach shows decease not as a cause for despair, but a philosophical and poetic exploration of where souls go, when they leave their earthly bodies. Masin closes with ‘Vahinè' – a twitchy, levitational piece of sublime deep techno, which transmits high strength vibrations of powerful emotions. On both this track, and the album of the same name, there’ s no pseudo intellectual ambient posturing with cod academic angles tagged on; This is music of real substance, coming from a real place. It’s saturated with feelings, but turns mourning into affecting art, and even a beacon of hope. Helmed by the deftly talented Alessia Avallone, Language Of Sound is new record label which marks ‘Vahine’ as its maiden voyage. Language Of Sound is also a management company founded in 2017, with singular talents Ron Trent, Lyra Pramuk, Huerco S, Carmen Villain, Gigi Masin, Paquita Gordon and Soundwalk Collective on their impeccable roster. Dedicated to facilitating ideal conditions for artists to flourish, where appropriate Avallone also collaborates creatively, including the video for Gigi Masin’s ‘Marilene (somewhere in Texas)’ which she produced and directed.

Yokobue (transverse flute) player Michiko Akao's 1983 release "Yokobue: The World of Michiko Akao" is being reissued for the first time! Produced with Shigeaki Saegusa as composer and arranger, this is a new age work that goes far beyond the realm of pure Japanese music. This is a definite recommendation for listeners who are following the current new age/ambient music.

Yara Asmar is a 25 year old multi-instrumentalist, video artist and puppeteer currently living in Beirut with her cat, Mushroom. Hive Mind are thrilled to be working with her and to bring you this wonderful debut album of music she recorded at home on cassettes and a mobile phone over the past few years. On it you'll hear her play a range of instruments including the piano, her grandmother's old accordion which she found in the attic of her grandparent's home in Lebanon, the metallophone, synth, and various deconstructed and disassembled toy pianos and music boxes. You'll also hear her field-recordings of hymns sung in churches around Lebanon which Yara has turned into waltzes. These beautifully melodic works contain recognisable elements of classical music wrapped in layers of tape hiss, synth wash, reverb and delay and disturbed by the metallic percussive sounds of the dissembled music boxes. The atmosphere of melancholy that pervades the album should be familiar to anyone living in the 21st Century.

Marking the 20th release on Invisible, Inc. is this special limited edition double-vinyl gatefold compilation featuring tracks from some of the most highly respected musicians of the last five decades. The astonishingly diverse palette of styles comes courtesy of renowned ambient innnovator Laraaji, multi-Grammy Award-winning producer and ground-breaking synthesist and sound engineer Malcolm Cecil (in his Tonto's Expanding Head Band guise), Italian 'Cosmic Disco' pioneer and DJ Daniele Baldelli, avantgarde experimentalist K. Leimer, New York electro synth-pop legend Richard Bone (all five of whom have been active since the '70s or earlier) as well as dub techno locked groove aficionados log(m), West Coast psychedelic electronics maestro Secret Circuit, Berlin-based synthesist/composer Eva Geist plus a veritable "who's who" of some of the finest producers of ambient, dub, downtempo, leftfield and experimental electronica ever collected together on a single piece of wax (or two in this case): Baikonour, Sordid Sound System, Causa, Ulysses, Epsilove, Luv*Jam, Higamos Hogamos, Randweg, Bronze Savage, Komodo Kolektif, Bal5000 and Natural Sugars. Eliciting a distinct sense of musical other-worldlyness, the title is perhaps more than just a nod to Philip K Dick's "Blade Runner" and hints at the idea that if these transmissions 'from beyond' are 'lost' they may in essence be more rooted in our distant past than in some science fiction future. Putting needle to record, ancient rhythms and hypnotic mantras merge with synthesized soundscapes and deep basslines to propel us upward from the primeval forest floor into steady orbit before engaging the hyperspace drive on a trajectory deep into the Great Mystery.

The latest act to emerge from MFM's new album series is another super-powerful one. Heisei No Oto" is a masterpiece that presents even Japan's unique book-off style digs to the world, and "Virtual Dreams" is a must-have 90's techno and house compilation that looks through the prism of the new age revival. The Zenmenn, a mysterious new band from the newly established Music From Memory label, has released their debut album. Their fresh and organic indie music is a combination of oriental lefty pop, new age/ambient, Sufjan Stevens, and even Shintaro Sakamoto. The band's name may also come from the word "Zen"? Their timeless sound and vibes make for a great listening experience no matter where you are!

When not overseeing A&R and label operations for Isle Of Jura, label boss Kevin Griffiths makes time for music creation in his garden studio in Moana, a sleepy suburb of Adelaide in South Australia. It’s an idyllic location surrounded by palm trees and tropical birdlife and an inspiring spot to fire up the machines, typically with the studio door wide open to soak up the soundtrack provided by mother nature. The resulting tracks, recorded in the midst of the pandemic with no gig distractions, were all heavily influenced by this backdrop of tropical birdsong and wind blowing through the palms, field recordings of which made it into most of the tracks. The album traverses Deep House, Nu-disco, Balearica and Ambient along with some Leftfield samples and a heavy dose Dub throughout. The LP is Pressed on heavyweight 180 Gram Vinyl with sleeve design by IOJ resident designer Bradley Pinkerton.

1983’s Waves of Peace is an album of gentle reflection. The sound of ocean waves permeates every track. Sitar, tambura, synthesizer, and bamboo flute are among the instruments that Aziz & Friends use to conjure their blissful oceanic meditation. “Waves of Peace was born in the beautiful oceanside town of Santa Cruz, California.” Aziz recalls. “Living there in 1982 was the first timeI had ever lived so close to the ocean. I would walk down to the beach on a daily basis. Nature has always been a major source of inspiration in my quest to create beautiful original music. Equally important to me has been recognizing the healing potential of harmonious sound.” “Waves of Peace was my first album to combine instru- mental music with the sounds of nature. Graced by the presence of some truly exceptional local musicians, most of the music was performed and recorded live in the studio.” Aziz explains. “Waves of Peace was created to facilitate relaxation, meditation, healing, and awakening for the body, mind, heart and soul. Let the rhythmic waves of the ocean nourish and inspire you to find your peace within.”

Kita --------! It's like presenting a new style and outlook on music through a "book-off" music dig that is unique to Japan. also got a score of "8.4" and BEST NEW MUSIC, but 10 points are necessary for historical significance ... The last sanctuary released on CD in Japan in the 90's Heisei. It's no exaggeration to say that the overwhelming piece "Heisei No Oto", which is a compilation of unknown left-field pop music, has ignited various revival since the 10's and is a prestigious name in Amsterdam, the Netherlands. Appeared from the label ! Including Jun Sato and Love, Peace & Trance, which were also published in "New Age Music Disc Guide", Haruomi Hosono produced Yosui Inoue's Japanese realic "Pi Po Pa", and Toshifumi Hinata produced Xácara, Sakurai. Keisuke's statement Deep House "Harai", Yoshihiko Yokokawa (P-Model, 4-D, etc.) and Kazuko Hashimoto's new-age, ambient, and experimental sounds, as well as An ambitious compilation album that includes the abstract texture peculiar to 90's J-POP, which has not been revival yet like POiSON GiRL FRiEND and Tomoko Kino, which were mentioned before. It seems to be the freshest lineup among the editing boards released from the neighborhood that has promoted the obscure analog recurrence boom since the 10s. The music was selected by Norio Sato of and Eiji Taniguchi of , both the managers of a well-known niche store in Osaka. Supporting is a heart-warming gem called ! And the perfect liner notes by Chee Shimizu. It's a monument! MUST !!!!!!!!!!!

EM Records celebrates Roland P. Young’s 80th adventurous year on the planet with “Spontaneous Bounce”, the sixth RPY solo release on the label. After a musical youth in Kansas City followed by audio activities in San Francisco and New York and elsewhere, he began releasing self-produced solo music in 1980 with “Isophonic Boogie Woogie”, the title of which hints at the forward-thinking yet earthy nature of his sound, a soulful and spiritual multi-world avant-music, drawing on elements of ambient, jazz, soul, new age and electronic music. His ‘Isophonic Music’ concept crystallizes these elements through a comprovisational use of soprano sax, keyboards, drum machines and the possibilities of the recording studio. This release features 13 new pieces, a diverse array of appealing and joyful celebrations of music and life. Available on CD, LP and (DL/download). Come and join the celebration!

EM Records celebrates Roland P. Young’s 80th adventurous year on the planet with “Spontaneous Bounce”, the sixth RPY solo release on the label. After a musical youth in Kansas City followed by audio activities in San Francisco and New York and elsewhere, he began releasing self-produced solo music in 1980 with “Isophonic Boogie Woogie”, the title of which hints at the forward-thinking yet earthy nature of his sound, a soulful and spiritual multi-world avant-music, drawing on elements of ambient, jazz, soul, new age and electronic music. His ‘Isophonic Music’ concept crystallizes these elements through a comprovisational use of soprano sax, keyboards, drum machines and the possibilities of the recording studio. This release features 13 new pieces, a diverse array of appealing and joyful celebrations of music and life. Available on CD, LP and (DL/download). Come and join the celebration!

An outstanding raga-like drone lp with a distinctive cosmic vibe, Futuro Antico was a short living collaboration between the two italian Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso). The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes.Originally released in 1980, the sound is completly analog and warm, this reissue maintain the first tape artwork + info and photos.

Caracol is one of the first examples of fusion between Brazilian percussive music and electronics. Synthesizers, samplers and sequencers were still a novelty in Brazil in the 1980s, but João de Bruçó and R.H. Jackson created an avant-garde masterpiece.

Using popular references and an eagerness to escape any retro / stylistic cliché that came to haunt Brazilian youth music at that time, they plunged into an audacious, intuitive and improbable sound journey in Caracol.
This rare adventure of Brazilian music was released independently in 1989, financed by the artists themselves. The original small pressing sold-out, belonging now to record collectors around the planet. For the first time Caracol is re-released on vinyl, with two extra tracks found after decades!

Remastered from the original tapes, this reissue includes a reproduction of the original graphic art, new testimonies from João de Bruçó and RH Jackson and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.

Limited 200 copies, Black Vinyl. On behalf of re:discovery records, it is with great excitement that we announce the release of 'Ambient7 - Excepts from 1995-2000' compilation. Ambient7 was a threesome out of Japan that included Chica Asamoto, Masayuki Momo and Shuichi Ikebuchi. Chica Asamoto, an accomplished saxophone player while Masayuki Momo and Shuichi Ikebuchi both talented synthesizer players and producers in their own right. Together, they released 3 full albums during a 6 year span from 1995-2000. Ambient7's sound was a blend of chill out styles including ambient, techno, balearic house and everything in-between. A unique and heartfelt far east version of chill out techno music . 'Escape' is a soft ambient techno track with a touch of dub that is sure to sit along the greats of genre and the time. Surrounding 'Escape', are two short but worthy examples of the Ambient7 sound. First, is the unique tribal attention getter that is 'Prologue' then ending with the beautiful balearic saxophone serenade that is 'Epilogue'. Flip the record and you 'Deep Sea' that comes in just under 11 minutes. A very unique track that we will just encourage you to take the trip and describe it how you would like. Lastly, is the balaeric ambient house lullaby that is 'Orange Sunshine'. Some who have heard this track call it a reason to buy the record alone for not even hearing the other tracks on this EP. A standout and a perfect set opener or closer, this is sure to be the re:discovery track for the summer for 2022. Genre: Techno, ambient, balearic, chill out, dub

The second release on Tonight’s Dream Records is delivered by Baltimore-based ambient and new-school Kosmische guitar musician PJ Dorsey, better known as Tarotplane. The Ektachrome Dawn follows on from the stunning Horizontology (12th Isle) and Light Self All Others (Impatience). He describes the album as a collage of work collated since 2017. Drawing in on inspirations from guitar-oriented psych and modern ambient music, using elements he values and revere in older 70’s head records and mixes it with modern techniques and influences. The tracks fuse traditional rock music, ethereal ambient textures and downtempo electronica, blended together seamlessly to create an engaging and unique listen throughout. The album has been mastered by prolific producer and mastering engineer Rafael Anton Irisarri at Black Knoll Studio who has worked on album for artists such as Inhmost, Juliana Barwick, Grouper, Steve Hauschildt, Loscil, Telefon Tel Aviv and Tycho amongst hundreds of others.

Daucile Moon, which follows Unknown Mobile's releases on No Bad Days, Normals Welcome and Young Adults, started four years ago in Vancouver when Levi Bruce was recovering from a broken toe and collecting MIDI files he found in an old Geocities archive. It was finished earlier this year in Montreal with help from Mike Silver, AKA CFCF, who added plaintive guitar to complete the album's placid and stargazing style of ambient and downtempo music. The album takes its name from an old, obscure Canadian jazz song that Bruce describes as "pretty but also with a serious amount of melancholy," which could also describe his new record. In the vein of Pacific Rhythm label-mate Khotin's standout New Tab album, Daucile Moon comprises drowsy beats and spaced-out loops, referencing the pinnacle of early '90s chillout and ambient while infusing it with the dazed sound of Canadian electronic music in the 2010s. Bruce's process in making Daucile Moon was long but leisurely. He took the melodies from those MIDI files and moved them over to his analogue outboard setup and then back to his computer, creating a digital-analog hybrid that sounds as pleasantly worn as a dog-eared novel. Live instrumentation, like Silver's classical acoustic guitar stylings on "A Windless March Ouest," mingles with occasional dance music references like the subtle acid squelch of "Ravers Sojourn" or the hazy breakbeat of "Oenology." The album was inspired by various happy memories, from sharing wine with friends ("Oenology") to a dog that Bruce met ("Simone Can't Swim"). The result is a patient and personal record that highlights the best qualities of Bruce's previous work as Unknown Mobile, with his distinct style of melody and soundscaping set free from kick drums and the dance floor. It's telling that Bruce originally sent the record, at first called Melancholic Songs For Dogs, to his parents and two grandmas—this is beautiful, relaxing music whose appeal is universal. Thanks for listening!

Considered by many one of the most gifted and outstanding players in the Electone community thanks to his fresh, energetic, rhythmic and sometimes humorous style of playing, from 1975 to 1977 Shigeo Sekitō released a four-LP album set titled Special Sound Series for the iconic Nippon Columbia. On the first chapter of this series, Sekitō revisits, in his own colourful style, compositions such as "You Are The Sunshine Of My Life" by Stevie Wonder, "Oh, My Love" by John Lennon and Yoko Ono, "Andalucia" by Ernesto Lecuona, alongside some of his own composition such as "My Sweet Girl" and the title track "Catch In Alice", creating a blend of easy-listening jazz with funk and soul influences. Long out of press, we are very proud to bring this "brilliant electone" album back on vinyl under exclusive license from Nippon Columbia. ©℗ 1975, Nippon Columbia Co., Ltd. / Licensed to Holy Basil Records by Nippon Columbia Co., Ltd.

Exemplum Rhythmicus is Bi Nostalgia’s minimal wonder from 1990 (originally released under the artist’s name Luca Rigato on the Veronese cassette label Diagrapho).

Long coveted and hunted by collectors, it falls among the strange and definition resistant artefacts of Italy’s remarkable avant-garde music scene of the 1980s. An emblem of sonic diversity rendered through electronic sound, distilling a daunting number of traditions and ideas, while sculpting its own world of creative singularity, standing apart from the rest.

While a great many of Italy’s avant-garde and experimental music practitioners began within the spectrums of popular music, slowly pushing into more explicitly ambitious and challenging realms as the years wore on, Bi Nostalgia represented a change in the directional tide.

Exemplum Rhythmicus was part of a movement towards the incorporation of popular forms within avant-garde music which swept across the globe during the 1980’s.

As challenging and complex as it is seductive and inviting, Exemplum Rhythmicus weaves a world without boundary, of collision and harmony. A vision of possible futures rendered in its present day. A melodic realm almost entirely constructed through the use of synthesizer, with subtle interventions of electronic rhythm, piano and bells.

Exemplum bridges the metronomic territories explored by American minimalists and the highly cultivated harmonics of Balinese percussion, with the adventurous spirit of the avant-garde.

Available for the first time on vinyl and produced in cooperation with Luca Rigato for chOOn!!, a label specialising in obscure, archival and forgotten releases.

Remastered for vinyl and digital by Josh Bonati with artwork by Luke Bird and liner notes by the artist.

The full digital release is accompanied by two bonus tracks - radio edits, mastered and mixed by Bi Nostalgia (in Verona, Italy, August 2020). 

The latest reissue from chOOn!! is Giedrius Kuprevičius’ Erotidijos, the sixth release from the label that specialises in obscure, archival and forgotten releases. Erotidijos translates from the Lithuanian to “Erotidies” – these were festivals held in honour of Eros, God of Love in Ancient Greece. They were organised every five years and were famous for their celebrations, decorations and luxury. Ritual games were played during the festivals, musicians and poets competed, worshipping Eros. Erotidijos is a haunting yet hypnotic tableaux Kuprevičius originally created for a Stanislovas Rubinovas theatre play staged in 1994 in Kaunas, Lithuania. The Lithuanian composer was one of the founding members of the pioneering electronic pop outfit Argo and has written dozens of scores for stage and film over the past several decades, imbuing his soundwork with a multitude of artful moods and emotive depth. The story of Erotidijos unfolds in both melancholic and serenely lush scenery, in turn mysterious and playful. Memories of places you’ve never been drift into frame, from bedroom womb into a foliage of phantasmal keys and gently psychotropic symphonies. A collection that glissandos between notes, place, and time. Erotidijos is guided by an intuitive, improvisational dream logic that threads the line between waking and sleeping revelations. It offers a hazy, voyeuristic lens into another world with dusty ambience and eccentric keyboard effects, warm synth pads and shimmering vistas serving as soft accents to the angelic murmur of giggling voices. As you listen, you are invited to apply your own interpretation of Erotidijos’ narrative of a new land, its climate, sounds, and geography. A contemplative, celestial electronic work in a gentle, often beautiful ambient style which breezily swings with exquisite analogue synth textures and infinity loops. Jazz spontaneity and organic pop impulses lift the meditative veil, ending with a climactic final scene: a sensuous reverie complete with shedding light and gently opening synapses. Available for the first time on vinyl, including over twenty minutes of music not featured on the original cassette release and produced in cooperation with Giedrius Kuprevičius for chOOn!!

Is this recording an environmental activist art statement or ambient spa music? Maybe both? The fourth release from São Paulo label Lugar Alto is not a Brazilian production but it still has strong ties to the country, it is the psychotomimetically heuristic ambience of The Dreambird by Mitar Subotić (Suba) & Goran Vejvoda. The album was produced in Paris in 1987 and 5 years later was the first release by Suba in Brazil as a limited edition CD put out by the Brazilian Catholic label Paulinas COMEP. Listening to The Dreambird is a deeply immersive organic experience. It is ambient music that actually integrates with your environment. Bird calls and shrieks intertwining with lush synth tones, imagine late seventies Tangerine Dream in a tropical hothouse while sliding into a floatation tank located in the Amazon, an environment of rich and strange sounds. The Dreambird harks back to a time when environmental recordings were being discovered as forms of music, as David Toop writes in his book Exotica “... some recordists stuck to the idea of birdsong as music, a notion that is surely as old as music itself”. The album was made while Goran Vejvoda was living in Paris. Relaxed days were spent sitting around, tinkering with sounds, going out, having lunch, coming back and playing some more. Pascal Humbert, bass player from the French band Passion Fodder, joined the duo for a day. Goran had a Japanese field recording CD called Bird Island Seychelles that contained the exotic bird sounds and sea waves used to create the organic textures of the album. Suba left with the 8-track tapes and rough mix cassettes and adapted the music for a sound art installation/happening by the Danube in Novi Sad where The Dreambird was played, climaxing with a laser show. In the early nineties Suba moved to Brazil, and together with André Geraissati, was one of the producers of Nina Maika, an album by the Brazilian musician, Edson Natale. The album was recorded at the COMEP studio, renowned at the time for having one of the best audio production structures found in Brazil. Edson and Suba got on well with the studio crew and in 1992 proposed the simultaneous release of Sol de Inverno, an album by Edson Natale and Alex Braga, and The Dreambird. In return, COMEP provided studio hours for them to use on further projects. Suba used these hours for the production of Memória Mundi (otherwise known as Oharaska), an extensive musical project that he worked on with influential percussionist João Parahyba, but which was never finished. From this project the track “A Fábula”, with the participation of the singer Natália Barros, came out on the compilation from the Music From Memory label, Outro Tempo II. According to João, Suba managed to convince the nuns who ran the label that The Dreambird was a recording for meditation, which may have caused him to adapt the name and “conception” of the album, adding another intriguing facet to this production. The Dreambird was actually only known by that name in Brazil as the record was never actually intended to be public. The names of the tracks released back then were different from those used on this release, which are taken from the masters maintained by Vladimir Ivković. Moreover, the tracks released on the CD in Brazil were shortened and only 4 of the 6 original tracks were on the CD. This release contains the 4 tracks released in Brazil in their original full-length form, plus the two never released tracks that are available exclusively in digital format. Included as a bonus are Goran Vejvoda’s liner notes translated into French, German, Serbian and Portuguese. New artwork, with drawings by Arthur Longo, a French snowboarder and artist, was commissioned for the album and was conceived by the design studio Sometimes Always, who have worked with Lugar Alto since their first release. Mitar Subotić aka Rex Illusivii aka Suba, was born in 1961 in Yugoslavia. A renowned innovator in his home country but is best known in Brazil for his 1999 CD São Paulo Confessions, a hugely important release that effortlessly walked the line between modern MPB and 90s electronica, influencing a whole generation of Brazilian music makers. Tragically, he died just after it was released and could never benefit from its critical acclaim and success. The Dreambird was recorded in Paris one year before “In the moon cage”, a similar project using the pseudonym Rex Illusivi. This was a recording of exuberant synth scapes, ambient guitar and Yugoslavian folk which was awarded the International Fund for Promotion of Culture from UNESCO, and included a three-month scholarship to research Afro-Brazilian rhythms in Brazil. The album was released in 2015 by Ivković’s Offen Music. In 1994 Suba resuscitated his Serbian band, Angel’s Breath, with Milan Mladenović, and it became a psychedelic samba-rock project with a line-up of Brazilian musicians including João Parahyba and Fabio Golfetti, there were also contributions from Taciana Barros and, implausibly, eventual soap-opera star, Marisa Orth. Key track “Metak” is an unlikely mix of burundi drumming, post-punk, electronics and samba. “Wayang”, his global music project from 1995, further demonstrated his work with textures, loops and samples, and was recorded in Wah Wah Studios in São Paulo. This was also released by Offen Music in 2018. The prolific producer and music critic Carlos Eduardo Miranda, described Suba’s appeal best when he said “He came from the other side of the world and understood everything about this mess”. A hugely in-demand producer who was about to become a key player in the internationalization of Brazilian music. Goran Vejvoda is a multimedia artist born in London. After studying music in Belgrade he’s believed to be the guiding hand behind important releases from the early eighties Serbian scene. After moving to Paris he became a guitarist in various bands and worked with renowned comics artist Enki Bilal. Goran has released several solo albums in Japan, "Fruit Cloud" and "Harmonie". Other records include "Mikro-Organizmi" with Rambo Amadeus and "What" with ZerOne. Goran’s writing can be found in magazines such as The Wire and Vibrö. He has exhibited his art since 1981 and has performed at Beaubourg and Palais de Tokyo and participated in the exhibition "Off The Record" at the Musée D'Art Moderne de la Ville de Paris. More recently he has been working on and showing video art that is a reaction to the covid pandemic, as well as the All Sounds Considered film, which explores the state of sound and silence. It’s challenging to trace the story of this project precisely, very little information is available and what we have are diffused fragments of memory from different actors. So, we return to the initial question: what is The Dreambird? It doesn’t matter if it is either an environmental statement or simply relaxing spa music, what it does is evoke sensations that elevate your mind to a higher and more emotional plane and from there you can travel wherever you like.

Multi-media mystic Andro Gogibedashvili aka Saphileaum’s latest slate expands his “spherical ambient” lexicon into increasingly celestial terrain, inspired by visions of galactical oases, sparkling starscapes, and elemental serenity. Ganbana takes its title from a Georgian word for ‘cleansed by water,’ which aptly characterizes the album’s six liquid-tribal compositions. Rolling oceans of hand percussion flow below soothing swells of electronics, streaked with ocarina, insects, and sitar. Snippets of mantric voice occasionally cut through the devotional trance but otherwise Saphileaum’s world is one of solitude and ascent, attuned to a time and space outside our own, where “a second is a century, and a century a second, as the waterfall of cosmic nectar is poured over your being.”

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

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

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

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

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

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

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