MUSIC
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![Origin One - Step In Time (12")](http://meditations.jp/cdn/shop/products/a2801626394_10_{width}x.jpg?v=1679567692)
![Origin One - Step In Time (12")](http://meditations.jp/cdn/shop/products/0031263191_10_{width}x.jpg?v=1679567692)
The “Step In Time” EP is the latest release from prolific Nottingham-based producer, engineer, songwriter and DJ Kevin Thomson AKA Origin One. The project features vocal offerings from Rider Shafique, Nadia Latoya (MELONYX), Charlie P and K.O.G, documenting the struggles and experiences of Origin One’s peers during Covid-19 and lockdown. Funded by Help Musicians UK as part of a proposal to support musicians impacted by the pandemic, the release is available on extremely limited 200-press vinyl.
Musically mapping the journey of reggae through the decades, the EP features both vocal stylings and instrumentals from Origin One. Opening with “Babylon 19 feat. Rider Shafique”, reminiscent of 2006 dubstep and steppers music, the track highlights the Tory government’s failures to deal with the pandemic in a considerate way for artists. Referencing the Rastafarian belief system where Babylon refers to the corrupted, capitalist and colonial world, Rider Shafique highlights his reluctance to adhere and agree to the Babylon 19 measures.
Shifting through to a classic lover’s rock groove with a nod to the roots and reggae releases of the 1970s, Origin One collaborates with one half of Nottingham-based duo MELONYX, Nadia Latoya, on “Just Beginning”. With a love of reggae dating back to her childhood, additionally influenced by her uncle King Jammy and the records he would bring round to her house while he was on tour in the UK from Jamaica, Nadia’s timelessly soulful vocals glide across Origin One’s production. On the track, she pieces together a widely experienced tale of a romance cut short by isolation; "Kev wanted to use the concept of our experiences through the pandemic so you’ll hear some subtle references to this in my lyrics… a lover’s spin on a lover’s rock feel”, she explains.
Harking back to the mission at the heart of the EP, “Dance Again feat. Charlie P” sees the renowned Essex-born reggae vocalist speculate the energy and excitement that comes with returning to the dance after two years. Set against a backdrop of a 1980s dancehall riddim, the parallels between the frustrations of the shutdown of live events during Covid-19 can be drawn between the restrictions of blues dances during the 70s and 80s. Aligning with the theme of live music, recent Nubiyan Twist collaborator K.O.G shares his experiences as a touring artist on closing track “Nuh Money Nuh Fren”. Finding his whole world pulled away with lockdown, he found himself questioning the recognition of his value when faced with no money, no friends, and a lack of opportunities. Bringing together trap-influenced reggae, hugely prominent on Jamaican radio, with elements of UK and US 808 influence, the track pulls together the widespread influence of the EP, further highlighting the restrictive nature put upon musicians during lockdown.
Origin One’s vast skillset has led him to produce and engineer releases for the likes of Bru-C, Harleighblu, Devilman, MC Spyda, Irah and more. Additionally, he has toured with UK Hip Hop legend Klashnekoff as his DJ, written and performed as part of a live orchestra for Natalie Duncan and worked as a studio engineer for Wiley. Closer to home, Origin One is a key player in the Nottingham community and is the director and owner of the city’s DTR Studios. Ordinarily known for his sounds reflecting UK Bass music, Jungle, DnB and Hip Hop, coming together to form his own interpretation of Sound System culture, his 2021 Tru Thoughts release saw him collaborate with Portuguese-London songstress Nãnci Correia.
![Lisa Lerkenfeldt - With Water Up To Her Knees (CS+DL)](http://meditations.jp/cdn/shop/products/a0383457597_10_d63e544e-7060-4f16-bb4e-8abb2019d4af_{width}x.jpg?v=1679566273)
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![My Bloody Valentine - Isn't Anything (LP+DL)](http://meditations.jp/cdn/shop/products/702_1fbc57f7-09a7-44e7-8b30-e7ccfac6e4a1_{width}x.jpg?v=1679559469)
With their debut album, "Isn't Anything," released in 1988, the band revolutionized alternative music and introduced a new approach to guitar music in the years that followed. Their sound became the template for numerous sub-genres and presented a groundbreaking approach to guitar music and studio production. The genderless vocals of Kevin Shields and Bilinda Butcher, who sing in the same vocal range and blend perfectly together, serve as another melodic layer that complements the dizzying intensity of Shields' guitar. The album is characterized by the eerie sense of space present in many of the recorded tracks, which range from intensely propulsive to quiet and unsettling.
Japanese obi included.
Mastered from original 1/4" analog tape using Studer A80 VU-PRE and Neumann VMS 80
180g vinyl weight
Standard gatefold outer sleeve
Four 300 x 300 mm art prints enclosed
Includes DL code (24-bit | 16-bit | mp3)
![Carl Stone & Ken Ikeda - DAM (LP+DL)](http://meditations.jp/cdn/shop/products/a3871263054_10_402f5c5e-4062-4964-b16e-c47a9e3b7e69_{width}x.jpg?v=1679482931)
A super special environment with over 40 seconds of reverberation. Amazing electro-acoustic dam music recorded in a huge concrete space inside the dam.
One day in 2022, Carl Stone, an American computer music pioneer, and Ken Ikeda, a musician and artist who emits primitive and original electronic sounds, visited "Uchinokura Dam" deep in the mountains in Shibata, Niigata. This album is a record of musical experiments secretly performed inside the dam to explore new possibilities of electronic music. The dam has a hollow structure, and the internal space is about 40m in both height and depth, and itself is a huge resonance device. The electronic sounds emitted by Carl and Ken fill the space with infinite reverberations. All sorts of sounds such as dripping water, footsteps, conversations, and noises are added as performers, creating a philharmonic orchestra of electrons and reverberations that are created and elaborated while confronting the constant reverberating sounds.
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![Mundos Sutis - Quintessence (2LP)](http://meditations.jp/cdn/shop/products/a0372362461_10_e28bf6dc-a703-4dbd-a43a-9357b8da6132_{width}x.jpg?v=1679323017)
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![Basic Channel - Q-Loop (12")](http://meditations.jp/cdn/shop/products/b280f40fa47623449b6983af47dd612f.image.550x550_269eb554-7cae-425a-b207-fcb5ea968998_{width}x.jpg?v=1679318114)
![Cindy Lee - Malenkost (LP+DL)](http://meditations.jp/cdn/shop/products/W25-03_web_1024x1024_56c8c638-4390-4ef3-9419-e799f652a95d_{width}x.jpg?v=1679124077)
Download card includes bonus track "Revelation."
Cindy Lee is the brainchild of singer / guitarist Patrick Flegel. While some may know Flegel from their time spent in Canadian experimental indie band Women, Cindy Lee has spent the past four years crafting songs that push and pull in opposing directions – from tales of tragedy laced with haywire distortion to moments of breathtaking beauty.
On Malenkost, Flegel combines everything that makes Cindy Lee so essential: heart-wrenching romantic pleas, rough shards of noise and twilit ballads. Featuring the lo-fi pop single "A Message From The Aching Sky," Malenkost sounds like Deerhunter playing The Supremes or vice versa.
Superior Viaduct's imprint W.25TH presents the first of many Cindy Lee releases. Spectral and timeless, the music of Cindy Lee is hauntingly familiar yet of another plane, a magical collision of Brill Building hooks and uncompromising No Wave.
![Seke Molenga & Kalo Kawongolo - Seke Molenga & Kalo Kawongolo (LP)](http://meditations.jp/cdn/shop/products/ASH710_web_1024x1024_b276e646-26d4-4d0b-882f-599067217380_{width}x.jpg?v=1679121238)
"Over the years, they would come to say that the Africans just appeared one day in Jamaica. That two Congo men somehow materialized on the streets of Kingston sometime in 1977, almost as if by magic, speaking not a word of English or patwa. The duo, they say, were musicians brought in by a Jamaican promoter – a woman who ditched them, leaving them to fend for themselves, stranded in a strange land.
"What really happened is harder to fully divine. The two young Africans – Molenga Mosukola (aka Seke) and Kawongolo Kimwanga (aka Kalo) – were musicians from the Democratic Republic of the Congo, then known as the Republic of Zaire, and had indeed been brought to Jamaica by a woman. But she was not a Jamaican promoter; she was a Frenchwoman named Nadette Duget, an executive at CBS France.
"Seke and Kalo were both vocalists and guitarists who also played percussion; one of them also handled the saxophone. Initially, Duget had intended for the recording to take place at Byron Lee's Dynamic Sounds studio. Somehow, though, the project instead ended up at Lee 'Scratch' Perry's Black Ark.
"When Seke Molenga and Kalo Kawongolo arrived at the Black Ark, Perry was wrapping up the sessions for the Heart of the Congos. He was immediately enamored with the two Congolese visitors and did regard their presence as a fortuitous sign. As he later said in 1992, 'I know they were sent from Africa, because Africa wanted to make that heart connection in the Ark Studio. So African have to appear in the Ark Of The Covenant to manifest the African drum.'
"Perry eventually completed the work with Seke and Kalo: a deeply rootsy and rugged album under the working title Monama (which in Lingala means 'Rainbo'). He submitted it to Island, but as they had done with Heart of the Congos, they passed on releasing it.
"While it has remained relatively obscure, even as Perry's Black Ark oeuvre has been rehabilitated and lionized over the past two decades, the album has nevertheless been quietly influential. Its groundbreaking amalgamation of African music and dub anticipated similar experiments by producers like Adrian Sherwood, Bill Laswell and Jah Wobble who would ride to critical acclaim in the '80s and '90s."
– Uchenna Ikonne (excerpt from the liner notes)
![Bob Lind - Since There Were Circles (LP)](http://meditations.jp/cdn/shop/products/ASH102_296b7a17-e2d9-4f80-9a1d-9a40e5623750_{width}x.webp?v=1679121160)
![Muslimgauze - Veiled Sisters (Gold Vinyl 3LP)](http://meditations.jp/cdn/shop/products/0030063726_10_f46bea14-0a4e-4aa8-8503-29700ab89330_{width}x.jpg?v=1679047382)
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![Muslimgauze - Veiled Sisters (2CD)](http://meditations.jp/cdn/shop/products/ALT68_f2530f00-17a8-49bc-97c6-7ff72ef5f30e_{width}x.jpg?v=1679047277)
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![Japan Blues - Japan Blues Meets The Dengie Hundred (Transparent Orange Vinyl LP)](http://meditations.jp/cdn/shop/products/DDS056_Cover_a305e4de-9531-4841-a23b-1d8c916393b0_{width}x.jpg?v=1679042940)
![crimeboys - Very Dark Past (LP)](http://meditations.jp/cdn/shop/products/a0733670425_10_845a77de-7685-4722-a043-ad160f117fd4_{width}x.jpg?v=1679042758)
![Dominique Lawalrée - First Meeting (Clear Vinyl LP)](http://meditations.jp/cdn/shop/products/image_1_f0813de2-21a2-43ee-9946-0deda88622f6_{width}x.jpg?v=1679042524)
![Dominique Lawalrée - First Meeting (Clear Vinyl LP)](http://meditations.jp/cdn/shop/products/3-1_af2f9e6d-7191-4784-b36d-b229a2b3211f_{width}x.jpg?v=1679042524)
Dominique Lawalrée (b. 1954) is a composer born and based in Brussels. First Meeting is Lawalrée's first archival release to date. Culled from four different albums originally self-published on his private label Editions Walrus, circa 1978-1982, this compilation highlights the composer's unique sense of ambient and minimal composition. Originally considered for release on Brian Eno's Obscure Records, Lawalrée's music is now no longer hidden.
In this collection the listener finds the sounds of piano, synthesizers, percussion, wurlitzer, organ, and voice, all performed by Lawalrée. Using these tools Dominique creates miniature themes that gallop across the speakers in slow motion, stretching our normal sense of dynamics and color, effortlessly widening the stereo plane. On “Musique Satieerique,” Dominique pays homage to the influence of Satie with simple repeated piano figures and a lush field of organs and flutes. And on other selections, like “Le Maison Des 5 Elements,” he takes a more wistful, ambient approach, layering keyboard lines, and invoking found/tape sounds to create a hypnogogic world of his own. Childlike in its playfulness and surreal to the bone, the music spins like a carrousel placed inside the Rothko Chapel. Lawalrée’s sense of timbre, tone, and overarching composition is like an impression of a home movie whose charm lies in its knowledge of intimacy, shared by few. An incantation of innocence.
"a quiet, understated music that is both touching and elegant" - Gavin Bryars
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