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人気作『風物詩』や『In A Landscape』といった実験的テクノの大傑作でも知られるベルリン拠点のサウンド・アーティスト、Sa Paの最新12インチ作品が新鋭レーベル〈Short Span〉から登場！この人の特徴である幻想的で重厚な音響が4つの新たな方向へと展開。サブベースと濁ったアトモスフィアが絡み合う8分間のビートレス・トリップ"Captigon"、グリッドレスなドラムパターンと断片的なヴォーカルサンプルが交錯する抽象的なリズムトラック"So Simple"、13分に及ぶミニマル・テクノのグルーヴに熱処理されたベースラインが絡む"Boredom Memory (Extended Memory)"（サブウーファーでの再生が推奨！）など、全体を通して、ダブ・テクノ、アンビエント、実験音楽の要素が融合し、内省的で深遠な音世界を構築した秀逸タイトル！
Available on vinyl for the very first time: “The Trance Of Seven Colors” by master Gnawa musician MALEEM MAHMOUD GHANIA and free jazz legend PHAROAH SANDERS. Produced by BILL LASWELL and according to The Attic “one of the most important albums of Gnawa trance music released in the ‘90s”.
Originally released in 1994 on BILL LASWELL’s AXIOM imprint, “The Trance Of Seven Colors” is the meeting of two true musical masters: MALEEM MAHMOUD GHANIA (1951 – 2015), son of the master of Gnawa music MALEEM BOUBKER GHANIA and the famous clairvoyant and "moqaddema" A'ISHA QABRAL, and a master of the traditional Gnawa style in his own right. MAHMOUD learned this craft as a youth along with his brothers, walking from village to village, performing ceremonies with his father BOUBKER and was one of the few masters (Maleem) who continued to practice the Gnawa tradition strictly for healing (the central ritual of the Gnawa is the trance music ceremony – with the purpose of healing or purification of the participants). With 30 cassette releases of music from the Gnawa repertoire with his own ensemble and performances at every major festival in Morocco, including performing for the King in various contexts, MAHMOUD GHANIA was also one of Morocco's most prominent professional musicians.
In 1994, BILL LASWELL and PHAROAH SANDERS went to Mocrocco, equipped with just some mobile recording devices, to record GHANIA and a large ensemble of musicians (to a good part family members) in a very intimate set up at a private house with the legendary free jazz musician contributing his distinctive tenor saxophone sounds that gained him highest praise as a truely spiritual soul right from the days of playing with JOHN COLTRANE and his wife ALICE and on seminal solo albums like „Karma“.
The aptly titled „The Trance of Seven Colors“ ranks among the best Gnawa recordings ever released , made it onto the list of “10 incredible percussive albums from around the world” by Thevinylfactory.com and is 25 years after its original CD release on finally available on vinyl!
'Sweet England' along with its sister album 'False True Lovers', was recorded in the spring of 1958 when I was twenty-two years old. I had been living for the previous two years in London with Alan Lomax, the American folklorist, working for him as editorial assistant on his book The Folk Songs of North America and on his field recordings from America, Great Britain, Italy and Spain. The tracks that make up these two albums were recorded by Peter Kennedy and Alan in two days at Peter's home 'studio' in Belsize Park. English traditional music, at its best, expresses and provides everything in song that I need and feel, both musically and emotionally. Sweet England represents the first shaky steps of a journey that I have been on all my life, and that, happily, I still am." (shirley collins)
Ewart Brown aka Cobra (later, and more prolifically known as Mad Cobra) released the Goldmine LP in 1993 for Prince Jazzbo's Ujama label. This is the first LP pressing for a collection of dubbed out versions in Jazzbo's inimitable prouction style, showcasing the talents of engineer Albert Thompson aka Junior Chemist at I&I recording studios, alongside Delroy Thompson otherwise known as the prolific mastering engineer Spiderman
Two tracks taken from his first and third album released early/mid 90's - both previously never released on vinyl. Space was newly mixed by Ryoji Ikeda for this EP.
Ryoji Ikeda was born in 1966 in Gifu, Japan. He lives and works in Paris, France and Kyoto, Japan. He's one of the most influential minimal electronic musicians and sound artists of our time and also works as a cutting edge visual artist
Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.
Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”
After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.
This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.
Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.
Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell’s music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.
Often regarded as Japan’s first female singer-songwriter, Sachiko Kanenobu created an enduring legacy with Misora, a timeless classic of intricate finger-picking, gently soaring melodies, and rustic Laurel Canyon vibes. Originally released in 1972 on URC (Underground Record Club), one of Japan’s first independent record labels, the Haruomi Hosono-produced album remains one of the most beloved works to come out of Japan’s folk and rock scenes centered around Tokyo and Kansai areas in the early 1970s. Born and raised in Osaka in a large, music-loving family, Kanenobu picked up the guitar as a teen just as the “college folk” boom swept through university campuses in the Kansai area in the mid-60s. The Pete Seeger and American folk-leaning scene didn’t appeal much to her, however, and instead gravitated towards the British sounds of Donovan and Pentangle, teaching herself guitar techniques by listening to their music. Kanenobu made her songwriting and recording debut as part of Himitsu Kessha Marumaru Kyodan, whose sole single was released on URC in 1969. After years of being pushed aside by the label in favor of newer male artists who were more “folky” in a traditional sense, it was her friendship with the groundbreaking band and labelmate Happy End that ultimately helped her secure the opportunity to record a solo album. With Hosono on board as producer, Kanenobu spent seven days recording the songs that would become Misora, with most songs recorded in a single take. By the time Misora released in September 1972, Kanenobu was gone. She had left for America, eager to start a new life with Paul Williams, a music writer who had founded Crawdaddy Magazine in 1966. Without the artist to promote it, “_Misora_ was asleep for a long time,” she said. Meanwhile Kanenobu settled near Sonoma in Northern California, retiring from music and concentrating on raising her two children. It wasn’t until Philip K. Dick, the famed writer and family friend, heard Misora and encouraged her to get back into music, that Kanenobu felt the urge to pick up the guitar again. Soon new songs started flowing, and Dick helped finance a single for Kanenobu in 1981. He was committed to producing a full length when he died unexpectedly in 1982. While she enjoyed success (especially in Germany) with her hard-hitting group Culture Shock in the 1980s, and continued to release albums in American and in Japan in the 1990s, it’s Misora that keeps coming back to her. Every few years a new generation of fans discover the album. Devendra Banhart, Jim O’Rourke, Steve Gunn, and many others continue to tout its greatness. Kanenobu played a series of sold-out homecoming shows in Japan in 2018, playing Misora in its entirety. Surviving members of Happy End came out to support, some even playing in her backing band. Audience members included old and young, some young enough to be her grandchildren. “I love it,” she said. “They love Misora, they’ve heard it so many times. And here it rose from death…because for them, they can’t believe it—she’s still alive!”
Johnny Sais Quoi makes his entrance to Music From Memory with the 7-track EP entitled ‘Love On Ice.’ Channeling the spirit of Italo-pop and New Wave, ‘Love On Ice’ was crafted in the whirlwind of spontaneity and energy that changing circumstances often bring. Born from transition and exploring themes of leaving, arriving, coming together, and breaking up, ‘Love On Ice’ serves as an outlet to process, escape, and celebrate the challenges of a new life.
Johnny crafts exquisite dancefloor-focused pop—familiar yet unique, imbued with his own touch, a distinctive sensibility, and a knack for infectious hooks. The opener, ‘No Guilty Pleasures,’ sets the tone immediately as Johnny works his magic with a palette of synths, drum machines, picked guitar, and processed vocals. The title track, ‘Love On Ice,’ delivers a classic Italo-infused dancefloor bomb, featuring a driving synth bass line overlaid by hypnotic arpeggios. There is much here for the dancer, but ‘Love On Ice’ also ventures beyond the dance floor; the closing tracks ‘Ref 23’ and ‘Let's Find A Home’ are prime examples, both showcasing Johnny’s depth and range with their melancholic, mellow atmosphere.
‘Love On Ice’ will be released on September 18th on vinyl LP and digitally.
Though Dean Blunt and Danish singer-songwriter Fine Glindvad Jensen are credited, the overall identity of the project remains a mystery. This self-titled debut album by the unit The Crying Nudes has been released on the label World Music Group. Comprising nine songs and clocking in at a compact 15 minutes, the album feels like a collection of short sketches, centered on fragmented acoustic guitar phrases, ambient sounds that make use of empty space, and ethereal vocals enveloped in reverb. With a musical style that prioritizes atmosphere and texture over melody and harmony, and an intentional anonymity that keeps the artists' identities ambiguous, this album exudes a minimalist aesthetic and a captivating mystique.
Deeeeeep from the Ariwa archives... all unreleased music on here. Sounding absolutely essential to us. Dates of production uknown at time of writing... The A Side is a Mad Professor produced version of Aisha's 'Give a Little Love', given the UK treatment. The Dub is a proper roller. Side B is the unheard African Message Dub (Parts 1& 2). Recordings ft Jah Shaka on bass, Norman Grant (Twinkle Brothers) on Drums, Sgt Pepper and Mad Professor on the desk. Masterful UK Dub from these key figures.... pulled out of nowhere.
Discover New Decade Of Dub by Mad Professor and Jah Shaka on Ariwa Sounds. A UK Dub collaboration from 1996, with Phasers set to stun. Musical and restrained throughout. TIP!
Harnessing the chaos born from endless jams in a remote, rented farmhouse, the album dives deeper into their punk approach to jazz, while opening up space for long-nurtured fascinations with electronic textures and cinematic oddities. Their third album, it features previous singles feely, and bamboo.
The title was pulled from a bank of favourite names after the band saw Ez’s artwork; a quirky world of three cell-like flats housing absurd creatures. 'frank dean and andrew' nods to the anonymous, everyday passersby whose lives quietly unfold in the background of a nondescript town.
Pulling back the curtain on its creation further, the band reveals, “The album was recorded at the end of a year of extreme highs and lows. The tensions play out in the music in weird ways... the feeling of the music is very particular, and peculiar. Most UK Jazz music can end up too arranged and neat, or generally optimistic in mood, whereas this album goes the other way in all aspects.”
At the album's core, the glitchy, late-night focus track red in tokyo features Chinese-Vietnamese-British rapper Jianbo, whose grimey, distorted flows cut through growling guitar riffs and a dragging, drill-like drum line. “It’s a weird, grimey anger with a touch of no-wave and post-punk,” the band explains, “Hari’s bass ended up sounding like a Japanese Koto”. The intensity is fitting, as Jianbo recounts a tense moment in Tokyo that left him “seeing red.”
Shifting through moods, the second track oscillates to life with a dubby bassline and bursts of distant, animalistic commotion, like a flock scattering after a disturbance. With unsettling keys and guitar, the instrumental upends the familiar contours of jazz and leaves a lingering unease as part of what the band calls the album’s “weird, off-key” side. Equally unexpected, the title, horticulturalists nightmare (birds), taps into the surreal fear lurking in the pulsing soundscape.
That freeform, borderless creativity carries into grilly, where the keys lay out the pace and mood. “The tempo and the ambience frame the track to be like a dance tune, but with a darkness from Burial-type ambiences and pulsing drill-style delays,” the band notes. As horn layers clear the haze, the jam’s raw energy and feeling come together as a transportive piece.
Taking a dip into the melancholic, toucan opens with a whir and solemn, ceremonial horns, underpinned by a mellow harmony that moves into far-off, choral-like overlays. Opening with a similarly dystopian eeriness is location, the band’s favourite. From the heavy slump of the drums to the three-piece horns of Dan, Akers, and Jonny, which counterpoint each other in a sea of reverb. The tune is named after a Playboi Carti song of the same name, inspired by the opening synth movement.
The title track, frank dean and andrew, flickers with a bittersweet nostalgia, capturing for Ebi Soda, a modern sense of indifference, a stay-at-home, it-is-what-it-is kind of resignation. It mirrors the mood of the figures on the album artwork: sitting alone in flats, suspended in quiet isolation. Lou’s chords, Hari’s chordal bass, and Sam’s laid-back tempo lay down a "loose, Midwest, emo undercurrent, a tone that runs deep in much of the hyperpop" the band had been absorbing. Will vocalises through the trombone, making it sound as though someone is singing down a crackling phone line. A flugelhorn overdub adds more warmth to the track’s slow-burning atmosphere, with trombone and sax joining the mix in the second half.
Closing the album is insectoid creatures are infesting the land, beginning as a dissonant, scattered hellscape of wailing improvisations, freewheeling robotic noise, and buckling delays that eventually rupture into a cinematic scape, giving way to an ascending sequence of hopeful, mood-settling melodies.
As a whole, the album’s character arises from stylising with production and mixing. The approach fluctuates between focusing on ambience and reverb, drawing from UK dubstep influences like Zomby, Burial, and Joe Armon-Jones’ collaborations with Maxwell Owin, and embracing the raw, grainy DIY ‘mixtape’ sound, inspired by artists like Athletic Progression, Yameii Online, and Playboi Carti.
1993 debut album by the trio of Andrew Weatherall, Jagz Kooner and Gary Burns. Unavailable on vinyl and CD since original release. Remastered from the original tapes by Matt Colton, contains “Smokebelch II (Beatless Mix)” for the first time on the 2LP edition.
<iframe style="border: 0; width: 100%; height: 406px;" src="https://bandcamp.com/EmbeddedPlayer/album=1463976360/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless=""><a href="https://warprecords.bandcamp.com/album/sabresonic-remastered">Sabresonic (Remastered) The Sabres Of Paradise</a></iframe>
Drag City reissues Land of Plenty, the recorded debut from Chicago guitar duo Bill MacKay and Ryley Walker. Captured live during a January 2015 residency at the Whistler, these performances showcase two kindred spirits in full creative flight, blending their influences into a seamless, intuitive exchange. Meeting only a year before the recording, MacKay and Walker found common ground in artists as varied as Albert King, Laura Nyro, Nick Drake, Bert Jansch, Ali Akbar Khan and Jimi Hendrix. Across six-strings, twelve-strings and requinto, they weave a dialogue that draws from blues, folk, jazz and global traditions, folding them effortlessly into each other in real time. The set brims with interplay, each player listening and responding with precision and imagination. The stereo mix keeps their guitars distinct while capturing the shared headspace where improvisation and composition meet. Live recording adds an extra charge, amplifying the richness and detail in their sound. Originally released on Whistler in 2015, Land of Plenty stands as one of the most dynamic and engaging acoustic guitar records of its era — a document of two musicians discovering just how far their combined energies could take them.
Eric Broucek was the ur-engineer of the most fertile era of DFA Studios, from about 2003 to 2008 (no one knows anything precisely about that time, as it’s all lost in the fog of chaos). His hand was on all of the remixes, LPs, dance 12s. He was there in that over-designed gear dungeon almost every day, recording, mixing, struggling to not roll his eyes at Tim and me. And somewhere in that fog, he quietly dropped limited runs of three 12-inch delayed reaction bombs on his own label Stickydisc Recordings—two under the name Babytalk, and one as Watussi with another DFA regular, Morgan Wiley.
Back in the day, Eric did not want his music released on DFA. He wanted to forge his own identity, which he did, sending out music that wandered from the DFA path with its uniquely wonky, upended and understated power. His music is so unlike everything else of that era, so profoundly singular, that it still sounds completely out of time.
A few years back, I started DJing the tracks again, and saw how the world was still surprised by what Eric had made, and the idea of this compilation was born.
So, in the end, Eric, we totally got to release your records anyway. We heart you, man.
-James Murphy
All Portrait, No Chorus is the new album from indie rap pioneer doseone and NYC producer Steel Tipped Dove, dropping January 10, 2025. Together, these two artists have crafted an uncompromising masterpiece. Knowing the caliber of MC he is paired with, dove skillfully paints with every color on the palette, and doseone skates effortlessly on every track, whether skating languid figure 8s or landing lyrical triple axels. Somehow the veteran sounds sharper than ever and the songs are lean and hungry, cut to the quick.
It is no accident that this project is released under the Backwoodz Studioz imprint; the road that leads to this collaboration starts with, of all things, a ShrapKnel demo. Here is how dose explains it:
“I have been inspired by Backwoodz for a while, in many ways, but the most potent being all these distinct pens. September 2023, I had heard a nearly done version of ShrapKnel’s latest record, and something snapped in me. Hearing that perfectly hungry, inspired rapping turned my power back on. For me, being inspired warrants telling those who are inspiring you, so [once I heard Decay] I reached out and sent Fatboi Sharif and dove some kind words about that record. The rest is history.”
At the end of December 2023 dove sent dose the first beat pack. Somewhere around the second week of January 2024 dose already had five songs written and recorded. By the middle of March, a rough album framework was essentially done, and they brought on Minneapolis producer Andrew Broder to freak the turntables across the whole project. Then, as a final piece, dose and dove added select collaborations from some of their favorite rappers. By the end of April it was done.
“I’m not really a features guy, but to align with and connect with those who inspire me, I called in some beautiful humans I had never worked with but always meant to: Open Mike Eagle, M.Sayyid, billy woods, Fatboi Sharif, and Myka 9 connect eras, artists, and styles of unconventional rap I hold incredibly dear,” doseone explains.
Listening to All Portrait, No Chorus you can hear the battery in doseone’s back as he pythons his way through each instrumental. For his part, steel tipped dove—a prolific producer over the last two years—delivers some of the most diverse work of his career. The result is a dynamic, propulsive listen that casts its crackling energy in every direction except backwards.
Pick a small spot (a point) in front of you (a small knot of wood, a dog down the way). And tightly focus on this spot. And now slowly unfocus your gaze. Widen your gaze. Pan out without moving your eyes. Take it all in.
A smeared and pixelated surface, swelling of contour and light. (Monet’s seepages of light, Altman’s overlapping nomadic dialogue.) Once you have unfocused with little to no center of attention, slowly close your eyes. And please feel very free to notice the light. All of the light that your eyes knocked back as you dilated your focal point. This exercise can be repeated a few times. Unfocusing does not always come easily. And it is probably best to not put too much effort into it. Best to not employ too much pressure.
And we will not put too much pressure on this exercise to help us explain away the humidly, saturatedly psychedelic canopy of moan-‘n-twang and slackelastic-groove of The Dwarfs Of East Agouza’s Sasquatch Landslide.
Mitch Hedberg has a great joke about the Sasquatch: “I think Bigfoot is blurry. That’s the problem. It’s not the photographer’s fault. Bigfoot is blurry! And that’s extra scary to me, because there’s a large out-of-focus monster roaming the countryside.”
Sasquatch Landslide. A landslide of hazy configurations. Blurriness, far from a lack of detail, is an embroidering of detail, a horizontal expansion of surface and swarms of light. The name “Sasquatch” derives from the Salish word se'sxac, which means “wild men.” And Sasquatch Landslide is wild. Everything is unravelling. Offset. Décalage. A whole host of slippery tempos and pulses as the organs, guitars and saxophones loiter and lope over a skipping hop of beats, and everything emerges always mid-stream. It is all middle with no halfway point, no dead center, no bullseye. Everything twangs, moans, sweeps, slips, swings, skitters, slides, and grooves out of nowhere. And the almost-human voice with no mother-tongue.
There is something ecstatic (an elatedly miniscule frenzy) going on here but it is pushed beyond the ecstatic: a joyous-grotesque rolling right past trance to dance. Psychedelias appear out of the infra-spaces in between the apparitions and overlapping ‘regimes’ and registers—pushed and squeezed far beyond the recognizable. And these spaces groove joyously hard like some kind of illusive House music, houses completely submerged in molasses. BigFoot-work? (Oh my!) There is not a place to throw your anchor here in the furrowing humidity. That does, and it does, sound like some kind of landslide.
A psychedelic encounter is a brush with the marvel of otherness. The point from which we speak of other, becomes other itself, in an ever-storm of other-production that shreds ideas of knowing and understanding what we think is going on. Time unhinged from the clock. Space unhinged from the frame. An unpinpointing hallucination, a hot get-down, an untethered throw-down of oscillations, fiercely, joyously, exuberantly incomprehensible. Listening to Sasquatch Landslide, a wildly unhinged reverie.
Eric Chenaux and Mariette Cousty
Condat-sur-Ganaveix, February 2025