MUSIC

It Could Have Been A Beautiful by Aiko Takahashi In Wishlist view supported by Evangelos Evangelinos thumbnail joshua pearson thumbnail weichezaeune thumbnail 直之 関 thumbnail julien thumbnail Günther W. Albrecht thumbnail taphead thumbnail J. Di Fraya thumbnail Stephen Lee thumbnail hippiejohnny80 thumbnail wonung thumbnail J Glenn Taylor thumbnail Grumpy Bob thumbnail Mark Robinson thumbnail Jeffrey Capshew thumbnail sleight1217 thumbnail mahaprana thumbnail nate scheible thumbnail konejomusic thumbnail Stefan Nieuwenhuis thumbnail Scott Moore thumbnail nick0137 thumbnail Carly thumbnail Peter Duimelinks thumbnail Joe Rice thumbnail joalla thumbnail N.Shibata thumbnail 𓂀_The_Bandcamper_Whose_Name_Is_A_Symbol thumbnail Samuel McKahey thumbnail Paul King thumbnail kgkgkg thumbnail Burton Thomas thumbnail Mike Jedlicka thumbnail CaptainShwah thumbnail Dominik Böhmer thumbnail Katsuhiko Nojiri thumbnail Andy Maurer thumbnail telegrau thumbnail TheSlowMusicMovement thumbnail benoit richard thumbnail peppe trotta thumbnail Seb Chan thumbnail Headphone Commute thumbnail Sasha Frere-Jones thumbnail Juniperus Kaizuka thumbnail E-Lodie thumbnail Alex Ruder / Hush Hush Records thumbnail francis beaubois thumbnail toneshift thumbnail answer-beat thumbnail Tatti Persson thumbnail Joshua Minsoo Kim thumbnail Peter van Cooten thumbnail vouvounix thumbnail boates thumbnail wolfsdorf thumbnail luceman thumbnail Normando thumbnail spongewhale thumbnail Tim Newman thumbnail nzmn10293 thumbnail richmann thumbnail dan ichinose thumbnail scbl thumbnail t.amano thumbnail essentialyes thumbnail guillermoescudero thumbnail dbp thumbnail It Could Have Been A Beautiful Evening 00:00 / 06:31 Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. €7 EUR or more Compact Disc (CD) + Digital Album package image package image package image package image ---------------------------------------- • Glass Mastered CD • Selective UV varnish • Hand numbered / Limited edition to 200 copies, first and only edition (no re-press) ---------------------------------------- Includes unlimited streaming of It Could Have Been A Beautiful via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 3 days edition of 200 €12 EUR or more Record/Vinyl + Digital Album package image package image package image package image ---------------------------------------- • Cutting lacquer • 12’’ yellow transparent vinyl • Selective UV varnish • Matt laminated outer sleeve on 300 gm paper, black inner with empty hole • Hand numbered / Limited edition to 300 copies, first and only edition (no re-press) ---------------------------------------- Includes unlimited streaming of It Could Have Been A Beautiful via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 3 days edition of 300 €21 EUR or more Book/Magazine + Digital Album package image package image package image package image package image ---------------------------------------- • Hardcover book, 96 pages, 24 cm x 24 cm, 68 photos • Limited edition to 500 copies, first and only edition (no re-print) • Printed on Munken Print White 115g/m2 • Logo, slot and circle embossed • Selective UV varnish • Hand-numbered, hand-stamped ---------------------------------------- - DIGITAL DOWNLOAD INCLUDED ---------------------------------------- MORE PHOTOS/INFOS: www.iikki-books.com/iikki-022-it-could-have-been... more ships out within 3 days edition of 500 €48 EUR or more Compact Disc (CD) + Digital Album package image package image package image package image package image ---------------------------------------- • Hardcover book, 96 pages, 24 cm x 24 cm, 68 photos • Limited edition to 500 copies, first and only edition (no re-print) • Printed on Munken Print White 115g/m2 • Logo, slot and circle embossed • Selective UV varnish • Hand-numbered, hand-stamped ---------------------------------------- • Glass Mastered CD • Selective UV varnish • Hand numbered / Limited edition to 200 copies, first and only edition... more ships out within 3 days edition of 200 €60 EUR or more Record/Vinyl + Digital Album package image package image package image package image package image ---------------------------------------- • Hardcover book, 96 pages, 24 cm x 24 cm, 68 photos • Limited edition to 500 copies, first and only edition (no re-print) • Printed on Munken Print White 115g/m2 • Logo, slot and circle embossed • Selective UV varnish • Hand-numbered, hand-stamped ---------------------------------------- • Cutting lacquer • 12’’ yellow transparent vinyl • Selective UV varnish • Matt laminated outer sleeve on 300 gm paper, black... more ships out within 3 days edition of 300 €69 EUR or more Full Digital Discography 22 releases Get all 22 IIKKI releases available on Bandcamp and save 60%. Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of It Could Have Been A Beautiful, Kurayami, Shadow's Praise, Our Recently Acquired Knowledge, Rustine, Queen Of Nowhere, In Vivo, Même Soleil, and 14 more. €61.60 EUR or more (60% OFF) 1. It Could Have Been A Beautiful Afternoon 16:30 2. It Could Have Been A Beautiful Evening 06:31 3. It Could Have Been A Beautiful Night 14:58 4. It Could Have Been A Beautiful Morning 19:46 about ___________________________________________________ • more INFOS/PHOTOS : www.iikki-books.com/iikki-022-it-could-have-been-a-beautiful • NOTE: track: "03 - It Could Have Been A Beautiful Night" is available only for the CD/Digital version. ___________________________________________________ "It Could Have Been A Beautiful" is the result of the dialogue between Aiko Takahashi (music) and the French photographer Edouard Elias initiated by IIKKI, between September 2022 and September 2023. the complete project works in two physical imprints: a book and a disc (vinyl/cd) it should be experienced in different ways : the book read alone the disc listened to alone the book and the disc read and listened to together.

Written and produced by

Manfredas Bajelis

and

Marijus Aleksa

from Lithuania.

Driving Vladimir Tarasov influensedpercussionist jazzfunk.

Wildflower (Leon Brichard, Tom Skinner, Idris Rahman) continue to explore areas of groove-based improvised jazz on their 2nd album. Taking a slightly freer approach to the writing process, simple but effective melodies and bass motifs are explored to to create fully realised pieces with dynamic extremes that bring a full range of emotion. Recorded over a two day session at Fishmarket Studios in London, the band sounds relaxed and at ease, giving space to explore intricate improvised interplay and dialogue fully whilst at the same time building to fiery powerful climaxes and emotional peaks. Skinner is on fire here whilst Rahman and Brichard trade riffs and push the harmonic and rhythmic boundaries. Rahman’s use of clarinet and bamboo flute plus additional layers of woodwinds, Skinner’s unique approach to stripped-down use of his very personalised kit, and Brichard’s use of both acoustic and electric basses make for a sonic landscape that is both unique and highly approachable. Touching on heavy spiritual vibes whilst taking in dark alternative grooves and delicate folk-like tunes, the overall sound remains instantly accessible.

Dear reader & listener, After being out of print for several years, Duval Timothy’s phenomenal ‘Brown Loop’ has finally been reissued. Recorded in New York in the winter months of 2016, this brand new edition features a slightly adjusted track listing. The release date is 2nd of October 2020, which happens to be the multidisciplinary artist’s birthday. Duval has asked me to write a few words about his record. I often find myself listening to Duval’s music when travelling. On an aeroplane for example, where the comforting piano pieces are set starkly against the sound of the world passing by, the constant engine humming, air conditioning running. Or when I’m walking through a city I’ve not been to before, the music blending into the continuous noise of cars and motorbikes, anchoring me when I find myself in unknown surroundings. Grounding me, one note at a time, in contrast to a city that does the exact opposite. Duval’s compositions bring a sense of comfort where there is detachment. It’s the soundtrack for an immigrant (such as myself), alienated from wherever he came, but someone who also doesn’t fully belong to the place he set off to. I heard Duval describe the music of Brown Loop as ascending a mountain, and after you reached the top you come down to the other end. Through rhythmic repetitive patterns, the music builds. Within the pieces, melodies stray away from the theme, into unknown territories, but always find their way back to a comfortable home. Most elaborately this happens on my favourite piece, Hairs. The patterns and melodies on pieces such as Through The Night and (recently added to the vinyl version) G are stripped down to their very essence. It is not just jazz, it’s pure hip hop, as the hooks are reminiscent of the shards of melancholy legends like Dilla, Pete Rock and Havoc used in their best work. In terms of repetition, the music is also very techno. And like in all good techno, the patterns (perhaps contrary to popular belief) ooze humanity and emotion. But most of all Duval’s Brown Loop is a very personal record. it takes courage to expose your inner self like that in the most minimal of compositions. But once you find the right notes, the right pattern, music is the most beautiful thing in the world. Martyn Deykers

Max Loderbauer’s career in music spans the last 3 decades, yet he’s still managed to keep his listeners hungry by releasing only 3 solo albums to date. Two of those releases (Transparenz, 2013 and Donnerwetter, 2020) were on Tobias Freund’s label Non Standard Productions - his long time collaborator and Templehof studio mate. In between those releases, Loderbauer graced Marionette with Greyland in 2016, revealing a previously unheard youthful and sentimental side. Now in 2022, the seasoned mind voyager is back with Petrichor, making yet another rare and treasurable solo appearance. Petrichor distills the elements of Loderbauer’s work that are fundamental to the initiation of the label. With his Buchla, modular synth, and Haken fingerboard, Loderbauer’s improvised studio maneuvers dilate into imagined journeys from glacial peaks into the exosphere. This is Maxi at his most exhilarating state, morphing through bittersweet and optimistic soundscapes to bleak moments of throbbing unease - all while maintaining a sense of grace and elegance. Petrichor is a reflection of Loderbauer’s impactful trips to the mountains, and returning from these summits with an electrifying urge to paint this mighty perspective. The harmonies and melodies on the tracks simulate emotional peaks and valleys, with vibration and rhythm rooted in the foundation of the sound, as though it's woven into the fabric of the fauna and flora. Legendary collaborations like Vilod (with Ricardo Villalobos), the Moritz Von Oswald Trio, Non Standard Institute, Sun Electric in the early nineties, and the newly formed Ambiq ensemble have gained this unique artist the respect of the underground and avant garde scenes alike. credits

With a strong interest in geology and biology, Takahashi started imagining the landscape and life of the Earth in prehistoric times based on fossils and illustrated books, later used as inspiration for his compositions. At first sight, these images make it easy to envision the ecosystems and environments of prehistoric Earth as so distinct from those of today that they could almost be seen as different planets. Living through the pandemic, when Takahashi first started composing the songs, made him rethink his initial thoughts. “The Palaeozoic era was a time of extinction, of prosperity and decline. When I think ab out these facts from geology, they are quite spectacular. But I felt that this cycle is still happening today, b ut on a different scale. If you think about the time before Covid-19, people were very active and free to move around. It was with this in mind that I set about writing the music, imagining what it would be like to overcome the social upheaval of Covid-19." It's the similarities between his initial analogy and the new pandemic reality that ultimately formed the main context for Paleozoic. This led Takahashi to make an album which sonically reflected the sequence of Paleozoic: starting from a time when life flourished in the sea ,before the arrival of life on land, to the gradual arrival of plants and insects on land and the end of an era due to change. In order to create a more vivid representation of the life force and grandeur of nature, Takahashi decided to forgo his signature lo-fi production style of using GarageBand on his Iphone. For this, he enlisted the help of sound engineer, producer and Atoris bandmate Kohei Oyamada with the mix and arrangements, resulting in a highly evocative, expansive sound palette. “With his techno sensibility and sound engineering skills, he was able to bring me closer to the sound I've been chasing, which is full of mystery, life and images of a wild and simple time. This record is the first step in my work with him and the foundation for further progress." The result is a fascinating journey through imaginary landscapes infused with great dramatic affect and an acute sense for details across sweeping drones and electronic glistens.

The official re-release of this psych-folk masterpiece, circa 1973, comes equipped to satisfy with two bonus tracks. Take a hit of Red Hash.

"nehan is a Japanese free improvisation and avant-garde rock quintet formed in August 2022. Their performances are initiated by a 9hz brain wave emitted from a testee who has been brought into a deep meditative state via either hypnosis or acupuncture. nehan doesn't begin until the testee has gotten into the state of 'nothingness.' It is only then that the improvisation can begin. The role of improvisation has been key to all the musical projects of Masaki Batoh. In 2010, as Batoh was winding down the activity of his long-standing 'heavy chamber folk' group, Ghost, he became involved in the design of a machine to generate sonic data based on brain waves. An acupuncturist as well as a musician by trade, his interest was spurred by the rhythms of the body and the brain, and a desire to access the 'pulses' of brain waves to initiate improvisations. Following the release of Brain Pulse Music, Batoh toured Japan and the US, making demonstrations of his process using a local volunteer and guest performers, when available. Today, nehan arrive at their performance space prepared with a Brain Pulse testee, bringing a wide array of instruments including gongs, timpani, tabla and other drums and percussion, Crumhorn, bagpipes, mellotron, oscillators and additional sound effects. Their performance is a transformative electro-acoustic display that passes through the prism of music styles, from east to west, from traditional folk and classical to rock, jazz, and avant electronic. While nehan's performance presentation invokes a sense of ritual, they understand their process as being far removed from any type of spiritual endeavor; this is an action of improvisation, occurring in reality between the five musicians on stage, in response to the brain waves of an individual. For the personnel of nehan, Masaki Batoh asked players with whom he had good previous experiences in improvisation: Futoshi Okano (Ghost, Acid Mothers Temple, The Silence), Haruo Kondo (Espvall & Batoh) and Junzo Tateiwa (Ghost), along with female Brain Pulse testee Gozen on oscillators. The performance here, recorded live in August of 2022 at GOK SOUND in Tokyo, demonstrates their communal dedication to the improvisation. The players act as listeners and musicians simultaneously, inspired to make extended pieces of music out of the 'nothingness' of brain waves. The possibilities of nehan's chosen approach are almost infinite; An Evening With Nehan is only the beginning of their journey."

Jesse Hackett returns with another unclassifiable co-mingling of genres, this time made in collaboration with Durban-based gqom trio Phelimuncasi. The group met up in Nyege Nyege's Kampala studio last year, spending three days engineering a sequence of tracks that turned the acts' respective sounds inside out, stretching urgent vocals over mutating backdrops of time stretched electronic drums, saturated noise and unstable synths.We last heard from Hackett on last year's chilling 'Shadow Swamps', a chilly, surrealist blast of disembodied folk and vintage electronics that added a cinematic twist to industrial music. Phelimuncasi meanwhile followed their acclaimed debut with the enormous 'Ama Gogela', asserting their dominance with tight, dancefloor-fwd, hook-led jams produced by some of the scene's most important beatmakers. In collaboration, both Metal Preyers and Phelimuncasi materialized a few worlds outside their comfort zones, with the Durban trio's words frothing from Hackett's marshy productions like echoes from another universe.Opening track 'Gidigidi ka Makhelwane' erupts in a fizz of beatbox percussion that loops noisily alongside Makan Nana, Khera and Malathon's stirring vocals, delivered in their local isiZulu tongue. Hackett's process is relatively restrained, offering Phelimuncasi the space to work their rousing magic unimpeded and adding punctuation where necessary. But when he takes more of a destructive role, it's just as impressive: on 'Gqom slowgen Chant', he corrupts his rhythm into a ritualistic pulse, letting the trio's words melt into metallic clicks and nauseous atmospheres.Elsewhere on 'Mgiligi wableka', Phelimuncasi's words create a rousing rhythm against a low-n-slow gqom thud from Hackett, and on 'Coffin Roller' he brings to mind '80s video nasty soundtracks, toying with analog synth sequences against Makan Nana, Khera and Malathon's distant chants. 'Like A Corpse' might be the album's most hollowed-out banger, turning the beat into a chopped 'n screwed drag that scrapes clamorously against Phelimuncasi's gurgling raps. Needless to say, there's nothing else like this.

The musical partnership of Joseph Shabason and Nicholas Krgovich orbits around a shared center of earnestness, slice-of-life poeticism, and the subtle everyday banality that becomes beautiful, even absurd, under their slight redirection. Where 2020’s Philadelphia placed domestic interiors under a microscope, documenting the indoor minutiae society was forced to examine mid-pandemic, At Scaramouche steps out into the sunlight squinting groggily and happily at the new day ahead-- and particularly the night that follows. One evening after a recording session and some aimless ambling that included a visit to the house where the 1974 movie “Black Christmas” was filmed, Krgovich and fellow vocalist Chris A. Cummings found themselves misplaced at the Toronto restaurant from which At Scaramouche takes its name, gawking with amusement at its concocted air of luxury. “The layout hinted at its MCM glory, and there was a panoramic view of the city,” Krgovich illustrates, “but it was full mid 2000s, dated Sex In The City re-run decor, ‘opulence’ for rich people with bad taste. I loved it! Chris loved it!”. On At Scaramouche, Krgovich and Shabason demonstrate a mutually uncanny ability to transmute this kind of cultural wariness into amused majesty, poking fun and bowing in reverence all at once. Their spotless smooth-jazz tonality, lyrical literalism, and even cover artist Jake Longstreth’s humorously sober depiction of an actual old Taco Bell building all point to the duo’s low-key-gonzo subversion of Adult Contemporary tropes into something unexpectedly transcendent. The first glassy keyboard hits of “Soli” indicate this sentiment before Krgovich even steps forward as the album’s host, and when he does, he immediately gets to work setting the scene of a weary parking lot stroll on a cool, street-lit evening after work-- just one of so many unremarkable moments that become utopic under Krgovich’s poetic care. “Clocking out at five PM, don’t give it another thought, feel the evening coming in,” he sings. “When it’s dark before supper, and the rain on the house… happy for no reason.” Glimmering pianos and brushy percussion calmly converse with fretless bass as a diffuse light spreads across this little world that’s being created. But where the duo’s previous effort Philadelphia would’ve camped permanently in the stillness, At Scaramouche lunges into the upbeat stroller “In the Middle of the Day”. Though no less exemplary of the album’s quiet everyday magic, it sets a brisker pace with its head-nodding drum break and coolly interjecting bassline. Other moments on the album reiterate the spryness, like the nearly-erratic “Soli II”, and the lively pop centerpiece “I Am So Happy With My Little Dog”. On the latter, Krgovich leads a tight-knit ensemble that comes as close to krautrock here as they ever might, where a driving drumbeat politely urges the elements forward; trumpet harmonies, chanting vocals, and bubbling synths, all crowned by a chorus-laden, perfectly askew solo from guitarist Thom Gill . “This record was very much a band effort. Me and Nick were at the helm but we called on the amazing crew of musicians that I play with here in Toronto to really help flesh things out,” Shabason emphasizes. “The last record was a real exercise in minimalism and quietness, and to me this record feels much more robust, and occasionally bombastic by comparison.” Joseph Shabason grew up in small-town Ontario, throwing punk and emo shows in garages and church basements as an alternative to “playing hockey or doing drugs,” as he states it. At the same time Nicholas Krgovich was 4,000 kilometers away in Vancouver, BC living the kind of suburban life that can, by necessity, imbue someone with romanticism toward the things downtown-dwellers might not bat an eye at, like the fluorescent glow of commercial lighting after-hours, or the overlooked poignancy of a rundown strip mall, and all the many thousands of tiny commonplace miracles that At Scaramouche is made of. “Childhood McDonald’s gone, there used to be some woods there,” Krgovich hums prosaically over a bed of soft drum machine and Dorothea Paas’s soft supporting vocals. “The cemetery was small,” he elaborates while noticing just how farz and how fast the past has receded, “now the high rises around the mall that aren’t done yet…” Where much nostalgia can slip down the slopes into something melancholy that puts the past on an impossible pedestal, album-ender “Drinks at Scaramouche” proves that Krgovich is just as in love with the present, allowing history and future to bring out the sacred in one another. “Finding all the little blips, in-betweens, now with deepening meaning,” he sings, “what little light goes slow, heartening to know that nothing really goes away.” Like so much that Shabason & Krgovich put their fingerprints on, At Scaramouche presents a familiar palette with just enough inflected weirdness to prompt double takes, turning folk art into outsider art with an almost imperceptible sleight of hand.

The musical partnership of Joseph Shabason and Nicholas Krgovich orbits around a shared center of earnestness, slice-of-life poeticism, and the subtle everyday banality that becomes beautiful, even absurd, under their slight redirection. Where 2020’s Philadelphia placed domestic interiors under a microscope, documenting the indoor minutiae society was forced to examine mid-pandemic, At Scaramouche steps out into the sunlight squinting groggily and happily at the new day ahead-- and particularly the night that follows. One evening after a recording session and some aimless ambling that included a visit to the house where the 1974 movie “Black Christmas” was filmed, Krgovich and fellow vocalist Chris A. Cummings found themselves misplaced at the Toronto restaurant from which At Scaramouche takes its name, gawking with amusement at its concocted air of luxury. “The layout hinted at its MCM glory, and there was a panoramic view of the city,” Krgovich illustrates, “but it was full mid 2000s, dated Sex In The City re-run decor, ‘opulence’ for rich people with bad taste. I loved it! Chris loved it!”. On At Scaramouche, Krgovich and Shabason demonstrate a mutually uncanny ability to transmute this kind of cultural wariness into amused majesty, poking fun and bowing in reverence all at once. Their spotless smooth-jazz tonality, lyrical literalism, and even cover artist Jake Longstreth’s humorously sober depiction of an actual old Taco Bell building all point to the duo’s low-key-gonzo subversion of Adult Contemporary tropes into something unexpectedly transcendent. The first glassy keyboard hits of “Soli” indicate this sentiment before Krgovich even steps forward as the album’s host, and when he does, he immediately gets to work setting the scene of a weary parking lot stroll on a cool, street-lit evening after work-- just one of so many unremarkable moments that become utopic under Krgovich’s poetic care. “Clocking out at five PM, don’t give it another thought, feel the evening coming in,” he sings. “When it’s dark before supper, and the rain on the house… happy for no reason.” Glimmering pianos and brushy percussion calmly converse with fretless bass as a diffuse light spreads across this little world that’s being created. But where the duo’s previous effort Philadelphia would’ve camped permanently in the stillness, At Scaramouche lunges into the upbeat stroller “In the Middle of the Day”. Though no less exemplary of the album’s quiet everyday magic, it sets a brisker pace with its head-nodding drum break and coolly interjecting bassline. Other moments on the album reiterate the spryness, like the nearly-erratic “Soli II”, and the lively pop centerpiece “I Am So Happy With My Little Dog”. On the latter, Krgovich leads a tight-knit ensemble that comes as close to krautrock here as they ever might, where a driving drumbeat politely urges the elements forward; trumpet harmonies, chanting vocals, and bubbling synths, all crowned by a chorus-laden, perfectly askew solo from guitarist Thom Gill . “This record was very much a band effort. Me and Nick were at the helm but we called on the amazing crew of musicians that I play with here in Toronto to really help flesh things out,” Shabason emphasizes. “The last record was a real exercise in minimalism and quietness, and to me this record feels much more robust, and occasionally bombastic by comparison.” Joseph Shabason grew up in small-town Ontario, throwing punk and emo shows in garages and church basements as an alternative to “playing hockey or doing drugs,” as he states it. At the same time Nicholas Krgovich was 4,000 kilometers away in Vancouver, BC living the kind of suburban life that can, by necessity, imbue someone with romanticism toward the things downtown-dwellers might not bat an eye at, like the fluorescent glow of commercial lighting after-hours, or the overlooked poignancy of a rundown strip mall, and all the many thousands of tiny commonplace miracles that At Scaramouche is made of. “Childhood McDonald’s gone, there used to be some woods there,” Krgovich hums prosaically over a bed of soft drum machine and Dorothea Paas’s soft supporting vocals. “The cemetery was small,” he elaborates while noticing just how farz and how fast the past has receded, “now the high rises around the mall that aren’t done yet…” Where much nostalgia can slip down the slopes into something melancholy that puts the past on an impossible pedestal, album-ender “Drinks at Scaramouche” proves that Krgovich is just as in love with the present, allowing history and future to bring out the sacred in one another. “Finding all the little blips, in-betweens, now with deepening meaning,” he sings, “what little light goes slow, heartening to know that nothing really goes away.” Like so much that Shabason & Krgovich put their fingerprints on, At Scaramouche presents a familiar palette with just enough inflected weirdness to prompt double takes, turning folk art into outsider art with an almost imperceptible sleight of hand.

Echoes, Spaces, Lines collects Trans-Millenia Consort, Plot Zero, and Spectre, the first three albums by the late West Coast composer, healer, and medium Pauline Anna Strom. Exploring all corners of the multiverse through transpersonal form and freedom, Strom’s first three albums share a singular sensibility, different streams flowing from the same oracular font. Echoes, Spaces, Lines establishes Strom’s rightful place in the canon of great synthesists. Restored and mixed from the original reels by Marta Salogni, newly remastered, and adding Oceans of Tears, a fully realized but previously unreleased album exclusive to this box set, these are the first official reissues and the definitive encapsulation of Pauline Anna Strom’s prolific and visionary early work. This four LP box set includes a 12-page booklet containing liner notes, an unearthed interview with Strom, and unseen ephemera.

Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound – a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice.Before all of the international touring and festival headlining and critical acclaim and Grammy nominations, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn’s writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don’t suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there’s still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape.In honor of the record's ten year anniversary, North Carolina-based indie label Psychic Hotline will release a deluxe reissue, complete with previously unreleased material. Featuring essential singles "Coffee", "Hey Mami,” and "H.S.K.T.", the expanded edition also includes remixes from J Rocc, Rick Wade, Helado Negro, Dntel, and more. The deluxe 2LP package sports an all-over foil inversion of the original album's iconic foil "SE" logo.

A crate staple for any lover of feminine funk, Beehive Breaks gathers 15 sultry singles from across the Numero-verse. From Sandy Gaye's Cruella-synched "Watch The Dog That Brings The Bone" to James Brown's soul sister #1 Marva Whitney, teenage girl gangs The Trinikas and Promise, Miami's queen of soul Betty Wright, plus a previously unissued belter from Chicago's Sonics Band, Beehive Breaks picks up where sister funk left off.

Loitering on the same Berkeley streets that birthed Green Day, Operation Ivy, and Crimpshrine, Pot Valiant (AKA Vagrants) developed their own style of Gilmangaze in the early-’90s. Compiled here are the band’s Lookout and Sunny Sindicut 7"s, Transaudio LP, comp tracks, and three previously unissued songs. Remastered from the original tapes, this 2xLP package is housed in a tip-on gatefold sleeve and includes a 20 page booklet crammed with notes, flyers, and photos of this staple of outsider emo.

Following on the somnambulant heels of When I See The Sun, our massive, near-complete Codeine overview, comes What About The Lonely?, an eight-track LP recorded at the group’s live zenith. Captured direct from the mixing board at a stop on Codeine’s November 1993 swing through the Midwest, opening for Mazzy Star, this document finds Stephen Immerwahr, John Engle, and Doug Scharin running through their hits at Chicago’s notorious Lounge Ax for a crowd of chatty “120 Minutes” fans. Gastr Del Sol’s David Grubbs adds his guitar to two songs, slinking on and off the 24-inch stage with little fanfare, but leaving his signature indelibly on the performance.

In the chaos of our every day, it can be difficult to find time for pause. Knee-jerk reactions have become the norm, while the instantaneous fog clouding our culture urges us to move along, to step away from the present moment. Mexico City-based songwriter and instrumentalist Estrella del Sol wanted to craft a space where there is finally room to breathe, and time to arrange the patchwork of our reality. On new album Figura de Cristal, she encourages fragility, and celebrates the delicacy of our ever-evolving selves. Estrella del Sol is known for her work in shoegaze band Mint Field, hailed for their tender exploration of sentimentality and grief. While Mint Field propel their themes with oozing, amplified guitars and commanding vocals, del Sol’s solo work blossoms in a quieter, more electronic space. “I wanted to experiment more with my vocals and mainly synth sounds, always trying to find a different sound,” she explains. The result is a patient and nurturing collection of songs that remind us of the importance in taking our time. Her first solo album, Un espacio de lo imaginario, released in 2020 and recorded in the first two months of the pandemic, introduced del Sol’s ethereal side. Expansive vocal dynamics dance carefully through gentle melodic structures, showcasing the intimacy of del Sol’s solo arrangements. Figura de Cristal builds upon this intimacy, adding a blanket of subdued yet glittering drones, haunting electric guitars and celestial vocal textures. It was written, recorded and produced entirely by Estrella del Sol at her home in Mexico City, with cello contributions by experimental composer and personal friend Mabe Fratti and mixed by Mint Field bassist Sebastian Neyra. The album includes field recordings of Estrella del Sol’s surroundings, namely her neighborhood in Mexico City. By including these miniature portraits of her reality, Figura de Cristal acts as a kaleidoscopic interrogation into what it means to be alive, and how others figure into the images we create for ourselves. By using the recordings, del Sol says “the album could feel familiar to my reality at that particular moment.” Enmeshing them into the album’s ambient arrangements, Figura de Cristal threads together the familiar and the fantastical. It’s a reminder of the coexistence of multiple realities. When making the LP, Estrella del Sol wanted to create a soundtrack that could replicate the calming notion of a sunset-stroked evening, or the pink tones of a quiet morning. The title track, “Figura de Cristal,” replicates the grace of these moments, teaching us to lend ourselves that same grace and gentleness, even during the most difficult days. “This album became a reminder to me that I have to take care of myself and that If I don't, I can break like a crystal figure,” she explains. “I have to learn to empathize with myself and the people surrounding me. That everyone's perspective of reality is different and there's no true answer.” Figura de Cristal is an album about curiosity, and the merit in embracing our vulnerabilities. There is not one single reality, or experience, but instead an infinite range of truths. Through improvisational techniques and dynamically droney sonic textures, Estrella del Sol asserts the joy in following your instincts, rather than following the rules. Figura de Cristal rids itself of rigid structure or certain form, bending to a liminal space that declares joy in the unknown, and an exhale in the unfamiliar.。

Long out-of-print and much sought after locally. First time available outside Gabon. Modernized ceremonial music from the interior forest of Gabon. Rare recordings of Bwiti ceremony music. Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it’s Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music. Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution. Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo’s capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists. On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui not only the musician, but the man someone whose age hasn’t altered any of his freshness or authenticity

Between 1993 and 2001 the trio released two LPs and an EP on Vernon Yard—a Virgin subsidiary—and two LPs on Vapor, the L.A.-based label founded by Neil Young and manager Elliott Roberts. In that span, they were selected to tour with Oasis, Mazzy Star, The Verve, and Spiritualized. Against a rising tide of post-Nirvana grunge and slipshod indie rock, Acetone tapped into a timeless Southern California groove by fusing elements of psychedelia, surf, and country.

Experiments In Psychoacoustics, Timbre & Minimalism: 2011-2021

Late Music and Disciples are pleased to present the first and second volumes in an archival series of selected electronic and acoustic works by Sarah Davachi, all previously unreleased in the vinyl format. Featuring (way) back catalogue material from various CDs, cassettes, and EPs; singles and original film scores; as well as miscellaneous live and studio recordings.

“Something for everyone”

Experiments In Psychoacoustics, Timbre & Minimalism: 2011-2021

Late Music and Disciples are pleased to present the first and second volumes in an archival series of selected electronic and acoustic works by Sarah Davachi, all previously unreleased in the vinyl format. Featuring (way) back catalogue material from various CDs, cassettes, and EPs; singles and original film scores; as well as miscellaneous live and studio recordings.

“Something for everyone”

‘Reflections’ is the new EP from GRAMMY-nominated LA-trio Moonchild aka Amber Navran, Andris Mattson, & Max Bryk. Inspired by the band’s iconic Tiny Desk performance (now on 4.9 million views), the ‘Reflections’ project sees the band reimagine and revisit old songs, including some of the trio’s biggest hits. An essential collection for all Moonchild fans, ‘Reflections’ is available on black and limited edition mint vinyl and CD.

Talking about the new acoustic re-imaginings, Max Bryk from the West Coast trio adds: “Reflections, an EP covering our older songs, naturally shows some of our growth as musicians over the last 10 years. Amber’s vocals, in particular, are a fantastic example of that. A more subtle example of growth is our musical maturity and restraint. Leaving space for the music to breathe. I think that’s the main reason we created this new project, and we are excited to share Reflections with our fans.”

“Back To Me” sees the band go back to the beginning, highlighting a cult favourite from their debut ‘Be Free’ released in 2012. The new reimagining of “Back To Me” demonstrates how the band have refined their sound with every release over the past decade while still keeping their jazz-inflected soul and groove-heavy production, that introduced the band to the world, to their core.

Elsewhere on the EP is a spacious revisioning of “Money”, taken from Moonchild’s striking 2019 album ‘Little Ghost’. “Money (Acoustic)” acts as both the centrepiece and catalyst for the wider ‘Reflections’ project, as singer, producer, and woodwind player Amber Navran explains: “We loved the combination of the acoustic setup and the horn arrangements we had been playing at our live shows. We have so much fun rearranging the songs for the live show, so we were excited to capture it on this recording. The spacious, broken-down feel also leaves more room for the breathiness of my vocals to come through."

Moonchild have been teasing fans, drip-feeding versions from the project and from across their varied catalogue, including “The Truth (Acoustic)” taken from the band’s highly acclaimed 2014 sophomore album ‘Please Rewind’, as well as “Run Away (Acoustic)” and “The List (Acoustic)” from their renowned 2017 album ‘Voyager’, now considered a modern classic in the neo-soul genre scene. “The List (Acoustic)” was paired with a video directed and edited by the talented Phil Beaudreau (who’s also a phenomenal musician and producer in his own right). The music video acts as a visual postcard to a decade of Moonchild touring as a band, "In brainstorming, Amber came up with the idea of playing around with that old vintage U.S. National Park poster-style animation”, Andris adds. The band have just finished their second US ‘Starfruit’ tour in April, heading to new cities around the country due to the success of ‘Starfruit’.

All the acoustic releases showcase Moonchild’s appreciation for new instrumentation, the influence of their live shows, and their constantly developing creative perspectives. The series of acoustic songs follow Moonchild’s fifth studio album ‘Starfruit’ which was nominated for Best Progressive R&B Album at the 2023 65th Annual GRAMMY Awards. 

Lerkenfeldt explores the hallucinatory nature of refraction alongside electroacoustic experiments in the storm water network on ‘Halos Of Perception’ (Shelter Press, 2023). Arrangement of new textures and web-like structure reveal another side to her immersive practice. With friends and guest artists eight works are remixed and represented as a suite for the drains ahead of her first European tour in 2024 on limited edition cassette.

“Lone is about loneliness and hidden places. It’s been my shelter for the last three years. It’s a work full of internalized questions. Am I still who I was before? Do I have the same energy and ambitions? Is this all still really me? A sense of nostalgia permeates through all its tracks, though each one has a different root. I’ve always felt connected to both tribal and dark atmospheres, and cinematic moods as well. The beautiful dualism with CTM’s cello, and the romantic guitar featured by Carlo Teo Pedretti speak to this; they communicate very intimate feelings. In Lone, you’ll be shackled between chorals and techno kicks. The album should carry you through my many different approaches.” – Tadleeh