MUSIC

Andrew Chalk is known for his work on the legendary project Mirror (1999-2004) with Christoph Heemann, and is a master of building drones from England. The long-awaited analog reissue of the extremely rare work "Higan/Sad Distribution", which was voluntarily released in 2016 as a limited edition cassette of 100 copies and sold out immediately.

Tetsu Umehara was born in Yokohama, Japan, but spent much of his childhood in Dusseldorf, and it was in the western German city that his nascent interest in architecture first blossomed. His debut album, Handwritten, is a personal journey that explores the intersection between architectural urbanism, acoustic ecology and human emotion. Formed from a diverse range of sounds created from field-recordings taken in, and inspired by, various cities and urban settings, Handwritten pairs guitar, piano and angular percussive elements to create a rich world of aural depth and intricacy. “If music is a site-specific culture, then the process of making music is nothing more than creating an imaginary place within oneself.” Whilst Tetsu learned to play music from a young age, architecture always remained a driving passion and he would go on to study architectural design at Tokyo University of the Arts. His studies have continued to create an inner dialogue around sound and space, imagining music for specific sites and visualising architectural designs in his own sonic creations. Handwritten is an ode to the diverse styles of architecture that have influenced Tetsu. From the modern urban planning of Yokohama’s harbour to the inorganic sprawl of Berlin, Tetsu sees the fluid hand of the artistic creator in a building’s immobile geometry. In an attempt to mirror the disciplined complexity of a city within music, Tetsu has found a way to talk about the interaction of spatial and auditory dynamics. “It is important that the Handwritten be a record of my musical journey. For me, making the album was like a short trip through the landscapes of my memory.” Handwritten is released by Métron Records on 08/06/22 with the album’s artwork a collage of various sketches taken from Tetsu’s time studying. A portion of profits will be donated to Human Rights Now (HRN), a Japanese organisation looking to improve human rights around Asia.

Impeccably produced and gripping West Mineral wooze from Naarm’s Yunzero, adding to our sizeable appreciation for the Aussie school with a sublime and frazzled set of gaseous, crumbling loops and effervescent soundscapes that plays like a mixtape we can imagine a descendant of Left Ear would grip in 2045. Based in Naarm, Jim Sellars is a strong new addition to the West Mineral stable, bringing with him a profound understanding of textural ambient, bass-heavy dubwise sounds and fractured beat music. After a few cassette releases for Naarm's own .jpeg Artefacts and the Chicago-based Lillerne Tape Club - home of West Mineral's Mister Water Wet and Ben Bondy - Sellars has assembled a record that jumps through sonic wormholes as it drags through soundscapes and meticulously chiseled technoid sketches. Dancing in and around an airspun grid weft with sampledelic fragments of ‘90s ambient dance music, Yunzero lucidly works a sound close to the expansive heart of West Mineral, measured with an equilibrium of drifting out-of-the-lines gauze and cogent, semi-melodic structures that move against convention. From our detached perspective, in the humid post-industrial flatlands of south Manchester, Yunzero’s music feels as though it maps mountain ranges and subtropical climes in its scale and democratic ecology of sounds, projecting escapist sojourns on the back of the eyelids. ‘Butterfly DNA’ lands gently on the mind, with imperceptible jump-cuts and transitions lending to the rolling rural simulacra feel. Plunging in with the cool splash and viscosity to ‘Drop of Honey’, the breezy tendrils of ‘Leaf’ give way to recycled ambient beat loops in ‘Ice Punk’ and the album’s most substantial cut - a nugget of a DJ Plead-like groove on ‘Cupid Television’. From herein the thread gets beautifully frayed between the kaleidoscope turns of slurred downbeats in ‘Snail’ and ambient floor hugger ‘Graffitti In The Pond’, while bush doof echoes perfuse ‘Acrylic Germ’ in a more fractious outburst that brings the album down to close with a surprise in the tail, a reminder that nature can nip as well as soothe.

Hailing from Łódź, Poland, Justyna Banaszczyk aka FOQL was raised in the post-industrial decay of the city beloved by David Lynch for its abundant, knackered architecture (think ‘Eraserhead’, or run go check his warehouse photo studies). ‘Wehikuł’ translating to ‘Vehicle’, echoes its provenance and dark surreality across eight cuts of intricate post-techno pulses webbed with brooding synths that lend a fine new stripe of influence to MAL’s unpredictable ‘Rebel Music’ agenda, perfectly in step with its off-road vectors.

A long-awaited repress of Detroit's H-Fusion's 2019 2LP masterpiece, which has been featured on Theo Parrish's Sound Signature and Derrick May's Transmat. The long-awaited repress! In the midst of the rave techno frenzy, Urban Tribe, Omar-S, Aaron Dilloway, and The Automatic Group mingle to create a psychotic, sagging monster of a record. Mastered and cut by Anne Taegert at Dubplates & Mastering. Limited to 500 copies.

It is said, study, work hard and life shall reward. Be good unto others and life will be kind to you. The question is, can you break free from the external constraints of control or do you negotiate your release. Should one endure the seemingly eternal struggle, wielding equality as a spearhead of revolution ? Or do you count your loses and move on to a new world where the lessons of the past are acknowledged ? A fresh start without the weight of having to shield your liberty. A place where all past wrongs can be made right and the tentacles of evil can not reach. A world where legacy can be held in esteem.

Los Angeles artist Eddie Ruscha aka Secret Circuit hooks up with Downtown minimalist Peter Zummo for 'Thinking A View'. The duo take listeners to uncharted meridians of the mind through imaginary zones, realized via synthesizers, keyboards, drum machines, vibes, tapes, and clarinet from Ruscha. Meanwhile, Zummo helps paint these psychedelic Fourth World ambient zones utilizing various wind instruments; trombone, cornet, euphonium, and tuba which takes things into a kinda spiritual jazz realm. He also plays conch shell, plastic funnel horn, didgeridoo, and more. Most certainly recommended for fans of Jon Hassell.

Hot second drop of jazz fire led by saxophonist Julian Siegel, and underpinned by the deftly muscular rhythm section of Leon Brichard and Gene Calderazo, recorded live at Mu, Kingsland Road, Dalston. Another sureshot from London’s Ill Considered Music label, whose collective counts Idris Rahman and Leon Brichard among a broader rotating assembly of free improvisers, this one attests to their midsummer ’22 show with an upfront, live, room recording witnessing Brichard and Rahman, plus drummer Calderazo sweeping between rousing, swarming spiritual jazz impulses and a more self-contained 2nd half. Quick on the heels of their April performance at the same venue, the July show shuffles the line-up to feature Brichard on double bass, not electric, with Bruno Heinen joining on piano, and swapping out Rahman for Julien Siegel on tenor sax. The asymmetric twin engine of Calderazo/Brichard’s rhythm section are loosely attuned in roiling, diffractive syncopation to propel the darting quick/slow melodies of Siegel and Heinen’s flourishing keys in the lusher first part, before they come deeper inside the pocket on the proceeding part of pent hush and bluesy swag, prepping the way for Heinen’s keys to really take centre stage in a quietly rapturous and woozy finale.

Big-bottomed techno and ambient steppers from the Rasmus Hedlund, chasing his Dialog turn on Astral Industries with a set of full sunken productions for the deep ends of the club. Working a vein of Scandinavian and Finnish atmospheric steppers pressure shared by Vladislav Delay, Andreas Tilliander and Liima, the 5th Hedlund LP in a decade stretches out on an hour of proper bass weight and reverberating echo chamber dubbing. His seven tracks balance the sort of atmospheric content found in Dialog’s recently issued ambient 2LP with the kind of effortless, durational, grooving structures caught in Sasu Ripatti’s work with MvO Trio on the brilliantly supple ‘Rytmisk’ and the buoyant, toes-off-the-floor styles of ‘Kalla Vindar’ and the lushly convective ‘Verners Funk’ with its plumply rounded subs. He sinks into pure Rhythm & Sound-via-Tilliander ambient dub weight in a radiant ‘Chords Galore’, developing in Kompakt-like Pop Ambient scaping, and ‘Bappa’ pulls it farther out in Vladislav Delay or DeepChord zones with overlapping echo chamber FX o mess with your balance, locking it off with ‘Vila Du Lilla’ on the lushest beatless tip.

Languoria is a collaboration between Denmark’s Sofie Birch and Poland’s Antonina Nowacka. While Birch describes herself as an ambient musician, Nowacka’s primary instrument is her own voice; they share in common a facility for creating complex, layered work. Birch and Nowacka were first brought together by Unsound to perform at Ephemera Festival in Warsaw as part of a durational overnight performance. Entirely improvised, the music already felt coherent, with Nowacka’s voice weaving effortlessly through Birch’s ambient soundscapes and field recordings, indicating an immediate, deep connection, a meeting of kindred spirits. The artists were reunited at Unsound Kraków to perform a morning show at a 19th-century synagogue. Here, the music took clearer shape, and the audience glimpsed the birth of works that would eventually take the form of individual tracks on Languoria. This past winter, the two artists met in Copenhagen to record the album, completing 11 compositions that feel sacred, almost devotional in character. Fusing the melodicism and gentleness of Birch’s sound practice and the abstract, spiritual vocalisations of Nowacka, the album alludes to the wonders of the natural world while also turning its gaze inwards. “When working together, every small decision was very important, and that’s why such simple compositions can hold so much complexity and depth,” Sofie Birch says of their time in Copenhagen together. Contemplative, meditative and awe-inspiring in equal measure, Languoria is a breathtaking collaborative debut. Together, these artists have uncovered a new dimension of their respective practices, creating music that is difficult to categorise, otherworldly, yet strangely comforting.

Reissue of the oud / viola virtuoso SIMON SHAHEEN's interpretations of pieces by one of the Middle East's most important 20th Century composers, MOHAMED ABDEL WAHAB. Produced by BILL LASWELL, remastered for vinyl at D&M Berlin. MOHAMED ABDEL WAHAB (1902-1991) was "a giant in the world of Middle Eastern entertainment" (Al Jadid Magazine) - as singer, actor and composer – and is commonly considered "the father of modern Egyptian song". After a visit to Paris, he revolutionized the film industry by introducing the genre "musical film" to the Arabic world, the movie "The White Rose" in which he starred broke all records and to this day is frequently presented in Cairo's cinemas. But in 1950, WAHAB left the film industry to focus on singing and composing – he wrote over 1800 songs (among others for Umm Kalthoum, an iconic artist in the Arabic music in her own right) that were deeply rooted in classical Arabic music but also laid the foundation for a new era of Egyptian music as WAHAB was open to Western elements such as waltz rhythms or even rock'n'roll in Abdel Halim Hafez's song "Ya Albi Ya Khali". He also composed several national anthems (Tunisia, Oman, Libya, United Arabic Emirates) and re-composed the Egyptian national anthem "Belady Belady Belady", based on the original by Sayed Darwish. WAHAB received several decorations of Arabic states, and at his death in 1991, Egypt honored its famous son with a huge military funeral at the Rabia al-Adawiya Mosque in Cairo, the six-horse carriage procession carrying his coffin was actually led by the prime and foreign ministers, followed by the ministers of defense, interior and culture! SIMON SHAHEEN (born 1955) is the perfect choice for WAHAB's compositions. Born into a family of gifted musicians, he learned playing the oud at the age of 5 and the violin shortly thereafter. He earned degrees in Arabic literature and music performance at the Tel Aviv University, and later pursued further studies at Hebrew University of Jerusalem and after his emigration to the USA (in 1980) at the Manhattan School of Music and Columbia University. SHAHEEN lives in New York where he founded the Near Eastern Music Ensemble and Qantara, a formation that blends traditional Arabic Music with elements of Jazz and classical music, and he also has been organizing the Annual Arab Festival of Arts called Mahrajan al-Fan since 1994. The same year he received a National Heritage Fellowship from the National Endowment for the Arts at the White House. Solo albums like Saltanah (Water Lily Acoustics), Turath (CMP) or Taqasim (Lyrichord) underline his importance as one of the most significant Arab musicians, performers, and composers of his generation. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. SHAHEEN has participated in many cross-cultural musical projects with artists as diverse as Henry Threadgill, Vishwa Mohan Bhatt, or the Jewish klezmer ensemble The Klezmatics, contributed to the soundtracks for The Sheltering Sky and Malcolm X and composed the entire score for the United Nations sponsored documentary, For Everyone Everywhere, celebrating the 50th anniversary of the United Nations Human Rights Charter. SHAHEENS biggest success was the Qantara album Blue Flame (2001) which has been nominated for eleven Grammy Awards. Besides all his activities as performer, he dedicates a good part of his time to working with schools and universities, including Julliard, Columbia, Cornell, Princeton, Brown, Harvard, Yale, University of California in San Diego, University of Michigan in Ann Arbor and many others. The Music Of Mohamed Abdel Wahab was originally released in 1990 on Axiom, the record label curated by iconic producer and bass player Bill Laswell, and has been carefully remastered for this vinyl reissue at D&M, Berlin. Press quotes: "Master oud player and composer Simon Shaheen finds the perfect mix on this collection of Mohammed Abdel Wahab's pieces … seven wonderful interpretations sparkling with oud and strings interplay." Stephen Cook / Allmusic.com "Shaheen's violin soars over a slicing string section and a bed of percolating percussion, while accordion, oud, finger cymbals and a chorus of singers weave in and out. Produced with sparkling clarity by Bill Laswell … this record opens a new world of harmonic and melodic possibilities to ears accustomed to Western pop." Greg Kot / Chicago Tribune

Begging the Moon is a collection focused upon an early-to-mid 20th century style of Thai popular song, commonly named Phleng Thai sakon (meaning "song which is both Thai and universal"). With recordings taken from the end of WWII until the start of the 1960s, many of these tracks may also be referred to as Luk krung (meaning "child of the city") a more urbanised style of popular song that is in contrast to the Thai country music known as Luk thung ("child of the field"). Following the Thai cultural revolution of the 1930s and the following reign of west-leaning premier Plaek Phibunsongkhram, Thai culture began to adopt more and more western influences - with Thai traditional and classical music starting to incorporate western notation and particularly Jazz-orientated themes. Thai folk melodies were also adapted to create "ramwong" - a merging of popular western dance music styles such as the tango or rumba, spear-headed at the time by the pioneering Suntaraporn band. In the years following the end of WWII, the Phleng Thai sakon began to gradually develop sub-genres such as phleng talad (market songs) or phleng chiwit (life songs) focused on rural topics, and sung with rural accents. A little while later this would lead to a formal demarcation in the music - with the polished and western ballad-orientated music known as Luk krung, and the more traditional/country style now dubbed Luk thung. The gap between the two would then widen, both musically and culturally, right up to the present day. The recordings compiled here can broadly be categorised as being in the former Luk krung style, though some tracks may touch on rural subjects and motifs. However that is not to say they are overpowered by western musical influence - many of these tracks display potent aspects of traditional Thai music within their beguiling and romantic arrangements. Thanks to Peter Doolan/Monrakplengthai.

The third and final part of a trilogy of EPs from Al Wootton of deep, textural, off kilter techno, influenced by the forest. Sparse, rolling, minimal percussive tracks, dubbed out and primed for soundsystems.

“Without doubt one of the most beautiful and soulful recordings I have ever heard” Brian Eno

“It sounds for all intents like music from another world” Los Angeles Times

A widely acknowledged classic by the undisputed master of the duduk, a traditional woodwind instrument from Armenia. A double-reed instrument of ancient origin and noted for its unique, mournful sound. Originally released in the Soviet Union in 1983, Eno came across the musician during a visit to Moscow in the late 1980s and subsequently introduced the record to Western audiences via a reissue on his Opal label.

Available on vinyl for the first time in 33 years, restoring the original 1983 artwork to its former glory, this is a unique and powerful musical statement that has had a lasting cultural impact.

On-U Sound are proud to present a new album from longtime friend and associate of the label, Jeb Loy Nichols. Produced by Adrian Sherwood, with careful arrangements framing twelve beautiful, acoustic-based songs. The album features contributions from the likes of Martin Duffy (Primal Scream/Felt) and Ivan “Celloman” Hussey, fresh from his work on the massively acclaimed duo of Horace Andy albums, Midnight Rocker and Midnight Scorchers, both of which featured songwriting contributions from Jeb Loy.

Jeb Loy comments: "The United States Of The Broken Hearted has been forty years in the making. I’ve known Adrian, and considered him one of my closest friends, for that long. During that time we’ve spent more hours listening, and talking about, music than anything else. Reggae, Country, Folk, Jazz, Soul; it’s been the backdrop to our friendship. Adrian introduced me to some of my favourite music; Count Ossie, Culture, Harry Beckett, Mulatu Astatke. Through the years we’ve listened to Sun Ra, Lee Perry, Ornette Coleman, Johnny Cash, Woody Guthrie. A couple years ago, on a visit to Adrian, I mentioned Gram Parsons’s concept of ‘American Cosmic Music’, the melting mix of musical genres that constitutes a uniquely American sound. We talked about recording a record that incorporated all the influences I’d gathered, from Bluegrass to Jazz to Reggae to Soul. The United States Of The Broken Hearted is that record. We wanted to include Folk (Deportees), Country (Satisfied Mind), protest songs (I Hate The Capitalist System), and songs of my own that bore the marks of those that had gone before. I sang the songs and played guitar; Adrian brought in friends and fellow travellers to finish them. It’s all there, Soul, Jazz, Country, Folk; and underlying everything, Adrian’s Reggae infused production.”

Adrian Sherwood adds: “This is Jeb’s ‘Great American Songbook’, he’s become such a great singer and songwriter over the years. This is a beautiful piece of work reminiscent of our mutual love for the Miracle album I made with Bim Sherman. I’m really proud of this record and it’s a fitting follow-up to Long Time Traveller.” 

ssabæ is a nebula of friends gathering in studios, meadows and tiny apartments all over France : the tracks of azurescens were recorded during those sessions. we’d like to send love to all the friends involved in this project, it’s a special one (and it’s been in our head and in production for a f… long time)

 

Dragon Dance is the third release by Twin Cities Sound System duo, Feel Free Hi Fi following the Prophet Noir EP and a split 12” with Kingston's Equiknoxx in 2021. Dragon Dance's instrumentals pick up where Prophet Noir left off. The dark dystopian industrialism of Prophet Noir remains present in Dragon Dance but in lieu of a dancehall influenced approach, Dragon Dance leans into the duo's love of foundation UK steppers and dub history. The blend of deep and subtle textures create tracks that are both heavy and minimal. Dragon Dance is another glimpse into Feel Free Hi Fi's uneasily defined musical vision.
The records come in double sided silkscreen printed DJ jackets, with Obi Strip style stickers and hand stamped white labels created and printed by Digital Sting.

Created and Produced by S. Reed and D. Maxwell at Digital Sting HQ
Mastered by Alec Ness and Greg Reierson
Artwork by S. Reed

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.

merch video community Tascam Space Season by Noda & Wolfers Share / Embed You own this supported by mackadub thumbnail mackadub I´m in love with this album! :) I can only recommend to give it a try!! Favorite track: スーパーナチュラル・ミキシング・デスク Supernatural Mixing Desk. Elastico solido thumbnail Elastico solido Best soundtrack for the upcoming season Favorite track: 奇妙な秋 Strange Autumn. Lord Dubious thumbnail Lord Dubious Proper 21st century rockers-like dubwise. Refreshingly lofi with no absence of heaviness. Favorite track: ダブの原型 Archetypes in Dub. more... JT thumbnail emjaycee thumbnail high_peak_drifter thumbnail Lowmo thumbnail cooling_the_medium thumbnail deeplhouzz thumbnail draygun thumbnail Con Man thumbnail Anton Nordström thumbnail Raffer7 thumbnail dʒay thumbnail bnips thumbnail renhop thumbnail stevietink thumbnail 謙太郎 金田 thumbnail davidedel thumbnail james1208 thumbnail Glen Cutwerk thumbnail Ron Ron Jones thumbnail Susannarrr thumbnail Scott Rutherford thumbnail riccardo ramello thumbnail jns.kln thumbnail Rol[s]an thumbnail from a height thumbnail Sebastian B thumbnail Ken Hidaka thumbnail GARY WARNER thumbnail Lost in Stars thumbnail Kool Hersh thumbnail Happy Folks Together thumbnail seth ogden thumbnail Pete Morrish thumbnail Jeffrey Wentworth Stevens thumbnail mummdad thumbnail Owen Knowles thumbnail D O G B I T E S V R thumbnail jbhood1487 thumbnail The Abominable Slowman thumbnail Silent Season thumbnail Toblermone thumbnail HARKO™ thumbnail aairplane77 thumbnail Jeff Stanfield thumbnail Jazzmond Farquhar thumbnail Atom Jetsam thumbnail jchiverton thumbnail Keefism thumbnail rtype thumbnail crippled_lucifer thumbnail Guillaume Lafrance thumbnail ‎‎​‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎‏‏‎ ‎ thumbnail Dapej thumbnail kyril garcia thumbnail yex_x thumbnail ktz thumbnail sim0n. thumbnail Kevin1976 thumbnail 87477741 thumbnail mikeliss thumbnail more... エコーの儚き目的 The Transient Purpose of Echo 02:37 / 03:36 Digital Album Streaming + Download Includes high-quality download in MP3, FLAC and more. Paying supporters also get unlimited streaming via the free Bandcamp app. You own this Send as Gift 1. スーパーナチュラル・ミキシング・デスク Supernatural Mixing Desk 05:47 2. エコーの儚き目的 The Transient Purpose of Echo 03:36 buy track 3. 現実とは反対に In Opposite Reality 05:12 4. 奇妙な秋 Strange Autumn 04:22 5. 未知なるもののラジカルな形態 Radical Forms of the Unknown 05:43 6. ダブの原型 Archetypes in Dub 05:20 7. ブロークン・ドリーム・テープ・サチュレーション Broken Dream Tape Saturation 04:30 about Something special on Nightwind records: Last December Danny Wolfers met up with Japansese digital dub legend Taka Noda aka Mystica Tribe to produce this Far East style heavy digital dub album. Custom made lo-fi oozing echo effects transform synthesizers and drummachines into a comforting mist of arcane sludge, laced with Taka Noda's enchanting melodica playing.

Soundway's telescope to forgotten and lesser known musical realms extends to Argentina on a brand new, triple vinyl compilation, Síntesis Moderna: An Alternative Vision Of Argentinian Music 1980-1990. A digital rewilding of computer and synth powered music, dripping with an impressive variety of influence, from Italo disco, electro-funk, post punk, tango, ambience, jazz-fusion, Afro-folk and techno pop, the record is a cultural document of a musical decade transformed after the lifting of restrictions of English language music post Malvinas War (Falklands), and the end of Argentina's military dictatorship. Síntesis Moderna: An Alternative Vision Of Argentinian Music 1980-1990 is set for release on Soundway Records this October 21st. Painstakingly crafted by record collectors, DJs and producers Ric Piccolo and Ariel Harari and conceived over 5 years ago, the duo have selected an eccentric selection, some avant garde cult obscurities, long-lost B sides and experimental versions of once-famous tracks from an array of artists, some of whom disappeared as quickly as they appeared whilst others by household names in Argentina. Ric and Ariel also weigh in with two edits, subtle rewirings, geared towards the dance-floor and a compliment to their careful curation. “They’ve come through really good on this one…” - Gilles Peterson “The latest compilation from Soundway Records, captures a kaleidoscopic landscape of Italo disco, proto-techno, and loungy ambient sounds” - Bandcamp “Fun survey of quirky punk-funk and weirdo synth-pop from the era of Maradona and Sabatini.” - UNCUT “A mix of avant-garde sounds, cult obscurities and proto-styles that predate the emergence of house and disco.” - DJ Mag “A wealth of wonderful strangeness.” - The Wire “Like mutated versions of what was happening in Europe – Kraftwerk and ZTT records chewed up and spat out with an irresistible Argentinian twist.” - Electronic Sound Mag

"Ivan 'Lloydie Slim' Smith is one of the unsung movers and shakers of 1970s reggae. Slim worked for a time as both in-studio producer & record promoter for Bunny Lee and Channel 1, the two biggest and most significant producers of the 1970s. At the same time, he quietly built his own catalog and released a relatively small but very high quality-barrage of his own productions. These were released across many different labels, both his own and some belonging to his friends and collaborators. Slim moved to New York at the end of the '70s, and continued producing into the 1990s. We have issued some of his work before, but now we present the first ever compilation of Slim's work, featuring his most classic tunes, all taken from master tapes for proper sound, and in a lovely two-sided hand silkscreened jacket. Watch this site, because there's much more to come, released & unreleased, from the Record Smith himself!"

One afternoon a couple of years ago, an excited Ronald Langestraat could barely contain himself. “I’ve started dancing!” he exclaimed. “I never did it before - I’d always admired it in the past, but just wasn’t able to move like that!” But then, at the ripe old age of 81, Ronald was gripped by the urge to respond to the rhythm and express himself in this physical way. For a man who’s dedicated his life to music, in particular Jazz with a funky Latin inflection, it feels like an especially sage realization - like the treasure at the end of a long quest, or the princess after the end-game boss. The prize is freedom, and the shapes we make on the dance floor are mirrored in that piano solo over the stanzas - a caravan that trips from smokey basement clubs all the way to Shiva’s Tandava on the edge of the universe. The music on this album is inspired by this revelation. Although these songs were written many moons ago, their interpretation is modern, full of renewed energy, with young, yet well-worn players. While it slots neatly into the daily music practice that Ronald adheres to, it’s a new chapter in a story that is still being written - and an invitation to get in touch with your dancing self and try out some new moves.

Mansoor Brown is an artist, producer and multi-instrumentalist from Brixton, London. The debut work from , led by Henry Wu, who is the typhoon of the new generation of UK jazz, has attracted attention to the extent that Robert Glasper and Thundercat have been cited, and he has released the latest mixtape. !

It has a cinematic style throughout, and it can be said that the expressive power of the internal guitar that can be felt everywhere is a sound unique to Mansoor Brown. The B-side contains 4 songs developed without beats, and you can fully enjoy his guitar sound. "Meikai", which decorates the last track, is the closest to ambient music in the work, and it is a must-listen song that invites you to another world with modulated vocals, sparkling guitar sounds, and the electronic sound that appears at the end!

Les Rallizes Dénudés' original album "'67-'69 STUDIO et LIVE", released in August 1991, has been reissued with vinyl LP! This is a valuable collection of sound sources from the early days of the band's activities, filled with the electric guitar feedback that would determine the direction of the band's later activities.

FACE A 
1. Smokin’ Cigarette Blues (Live Version) 
2. La Mal Rouge 
3. 眩 暈 otherwise My Conviction 
    Vertigo otherwise My Conviction 

FACE B 
1. Les Bulles de Savon 
    Soap Bubbles 
2. 記憶は遠い 
    Memory is far away 
3. 鳥の声 
    Bird calls in the dusk 
4. My Conviction (2nd. Version) 
5. The Last One _1969 (Live Version)

*The two bonus tracks "Résonance" and "Tobacco Road" on the CD reissue of the same title will not be included on the LP.