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Glass Beams have announced their highly anticipated EP ‘Mahal’, out on March 22nd on their new label home Ninja Tune. Released alongside the news is the EP’s titular track “Mahal”.
The genesis for the Melbourne-based trio, which formed around founding member Rajan Silva, was through the rekindling of childhood memories relating to his father, who emigrated to Melbourne from India in the late 1970's. Silva recalled watching a DVD on repeat with his father; ‘Concert for George’, a star-studded tribute to late Beatles member George Harrison performed at London's Royal Albert Hall in 2002, featuring legendary Indian sitar player Ravi Shankar with daughter Anoushka, alongside Western icons Eric Clapton, Paul McCartney and ELO’s Jeff Lynne. This intersection of musical styles was reflected in the record collection of Silva's father, where the sounds of iconic Bollywood vocalists Asha Bhosle and the Mangeshkar lineage sat alongside music from blues legends like B.B. King and Muddy Waters. In particular, Silva was drawn to the fusion of Western musical styles and traditional Indian music; a concept pioneered by Indian artists like R.D. Burman, Ananda Shankar, and fraternal duo Kalyanji-Anandji.
This cross-pollination of East and West, of old and new, is a sentiment that the band have sought to capture in their self produced works. Across their output, Glass Beams presents a timeless fusion of cultures and sounds beamed through a prism of live instrumentation and DIY electronica, all wrapped up inside a mesmerizing and mystical visual world of their own making.
Their debut EP ‘Mirage’, released in 2021 catapulted them into the collective consciousness of new followers who came to discover their serpentine, psychedelic-tinged tracks through social media, streaming services and word of mouth, with the vinyl copies selling-out as quickly as it could be pressed via grassroots record store support.
In the wake of the unexpected success of their debut release and an abundance of festival invitations, Glass Beams were amplified around the globe performing hypnotic renditions of the 'Mirage' EP alongside an additional 20 minutes of unreleased music. Early clips of these “unreleased tracks” quickly began circulating online garnering millions of views and a fast-growing and ever-hungry following. As 2023 drew to a close and the dust settled after a whirlwind of touring, Glass Beams retreated to their home studio to record this much anticipated 20 minutes of music. They have named the record 'Mahal'.
A mixture of raw blues and reggae from Skip McDonald (Sugarhill Gang, Tackhead, Strange Parcels) with guest appearances from Ghetto Priest and Bim Sherman. Originally released in 2002.
Skip McDonald aka Little Axe is here assisted by Dub Syndicate and Roots Radics (whose backing tracks are a combination of previously recorded material, reworked and rearranged for the album). McDonald croons blues lyrics and plays aching slide guitar; the overall sound is dark and rich. Originally released in 2011.
This is a critically important work in dub history by Prince Far I & The Arabs, originally released in 1978. The recording features performances centered on the Roots Radics rhythm section, recorded in Jamaica and subsequently overdubbed in the UK. The mixing was handled by key figures in UK dub, including Adrian Sherwood, Dennis Bovell, and Mark Lusardi. The result is a clean yet profound dub album that successfully merges Prince Far I's signature sound with the innovative UK aesthetic.
Endlessness is a deep dive into the cycle of existence. The 45-minute album delicately spans 10 tracks with a continuous arpeggio playing throughout, creating an expansive, mesmerising celebration of life cycles and rebirth. Following Sinephro’s critically acclaimed 2021 debut album Space 1.8, Endlessness further elevates her as a transcendent and multi-dimensional composer, beautifully morphing jazz, orchestral, and electronic music.
The album was composed, produced, arranged, and engineered by Sinephro. Performing on the album are Sheila Maurice-Grey, Morgan Simpson, James Mollison, Lyle Barton, Nubya Garcia, Natcyet Wakili, and Dwayne Kilvington, joined by Orchestrate’s 21 string players.
A new longform commissioned work for any ensemble of four similar instruments. The definitive string quartet version of 'Long Gradus' is available as a 2LP and CD, and the collection of all four arrangements (strings, woodwinds, brass & organ, choir & electronics) is presented as the 'Long Gradus: Arrangements' 4CD set.
'Long Gradus' began in 2020 when Sarah Davachi was selected to participate in Quatuor Bozzini’s Composer’s Kitchen residency, which was to be a joint production with Gaudeamus Muziekweek in the Netherlands. With the postponement of the residency to the following year, the composer was given the opportunity to take a step back and look at the piece over a much longer period of time than would have ordinarily been possible. The resulting longform composition in four parts, written in its initial form for string quartet, was developed as an iteration of an ongoing preoccupation with chordal suspension and cadential structure. In this context, horizontal shifts in pitch material and texture occur on a very gradual scale, allowing the listener's perceptions to settle on the spatial experience of harmony. A system of septimal just intonation helps to further the production of a consonant acoustic environment. 'Long Gradus' uses a formalized articulation of time-bracket notation alongside unfixed indications of pitch, texture, and voicing that allow the players some discretion in determining the shape of the piece. A sense of pacing that is markedly different from that of mensural notation emerges accordingly, while the open structure of the composition results in each performance having a unique and unpredictable configuration.
The piece may be arranged in a quartet format for any instrumentation that can alter its intonation with some degree of accuracy or produce a natural seventh harmonic. Substitution of the string quartet with other instruments as desired or imagined, both acoustic and electronic, is entirely acceptable and indeed encouraged. To this end, Davachi has also offered the 'Long Gradus: Arrangements' 4CD set, which includes the string quartet version as well as arrangements for woodwinds, brass and organ, and choir and electronics. A 'gradus' is a sort of handbook meant to aid in learning a difficult practice; in this case, 'Long Gradus' is designed to considerably slow the cognitive movements of both listener and player, and to focus their attention on the relationships between moments. A rich harmonic landscape that is constantly shifting and which changes with each engagement is the listener’s return. For the player, 'Long Gradus' is an invitation to practice active listening and to immerse oneself in the stillness of psychoacoustic space and time.
Davachi comments: “I owe a huge debt of gratitude to Quatuor Bozzini for the opportunity to go through this process together, which is exceedingly uncommon in the context of chamber music. Typically, when writing for an ensemble or orchestra, the composer is given very few, if any, occasions to actually adjust their work in a meaningful way outside of perhaps one or two brief rehearsals of an essentially final score. It is extremely rare and an enormous luxury to begin with simple sketches or ideas and to actually construct a piece over a period of several months or more from a place of sonic assurance – that is, being able to listen and to explore and to continually fine tune in response to the sound itself, in conjunction with the performers. Part of the reason that my earliest compositional efforts arose within the domain of electroacoustic and acousmatic music is because of the control that it offered, to intuit sound in real time rather than through the indirect interpretation of future sound in the form of a score. Even now, when I compose work for chamber ensembles, I typically always start from a recorded version or from a demo – from the sound itself – and then work backwards to generate the score that will result in that music. It seems to be a vestige of conservatory thinking to view music performance, even in relation to new music, as a kind of reading of notes on the page that simply results in things just falling into place as expected. But, when the music goes beyond what’s on the page to include a dialogue with the acoustic space of the performance, and to require a certain patience and concentration on part of the performers, there needs to be a different approach; the Composer’s Kitchen residency offered that respect and curiosity.”
how it thrills us, the bird's clear cry...
any cry that was always there.
children, playing in the open air,
children already go crying by
real cries. cry chance in. through crevasses
in that same space whereinto, as dreaming
men into dreams, the pure bird-cry passes
they drive their splintering wedge of screaming.
where are we? freer and freer, we gyre
only half up, kites breaking
loose, with our frills of laughter flaking
away in the wind. make the criers a choir,
singing god! that resurgently waking
may bear on its waters the head and the lyre.
The seven compositions on this album, written between 2022 and 2024, form a conceptual suite and an observance of the mental dances that we construct to understand acts of passage; the ways that we commune and memorialize and carry symbols back into the world beyond representation.
To this end, THE HEAD AS FORM'D IN THE CRIER'S CHOIR engages two references to the ancient Greek myth of Orpheus: Rainer Maria Rilke’s Sonnets to Orpheus, a collection of poems from 1922, and Claudio Monteverdi’s l’Orfeo, an early baroque opera from 1607. The myth of Orpheus tells the story of a musician who, grief stricken by the passing of his wife, Eurydice, descends to Hades to persuade the deity of the dead for her return. Along the way, Orpheus seduces those who would block his passage with the deeply lamenting music he conjures from his lyre. Hades agrees but with one condition: Orpheus is not to turn around and look at Eurydice until the pair once again breach the world of the living. Not surprisingly, as they approach the surface, Orpheus grows anxious and turns around to confirm Eurydice’s presence behind him, therein sending her back to the underworld forever. As the story goes, Orpheus then sings for death to take him away; with his wish finally granted by a group of maenads, Orpheus’ detached head and his lyre float down the river, continuing their mournful song.
For many years, I sought to largely separate my studio practice from my live performance practice, with the awareness that the unique limitations and possibilities of each domain were almost sacred to their individual characters. THE HEAD AS FORM'D IN THE CRIER'S CHOIR is a supplement of sorts to TWO SISTERS (2022) and ANTIPHONALS (2021), which were attempts to begin bridging this gap between the fixed electroacoustic pieces that emerge in the studio context and the somewhat open and slow-paced chamber writing that I do, in which each performance presents a new structure and in which each iteration offers the path to a new composition and deeper meaning. I am, as always, greatly indebted to the talented and incredibly sensitive musicians who appear on this album, many of whom are regular interpreters of my music: Andrew McIntosh (viola, Los Angeles), Mattie Barbier (trombone, Los Angeles), Lisa McGee (mezzo-soprano, Los Angeles), Pierre-Yves Martel (viola da gamba, Montréal), Eyvind Kang (viola d’amore, Los Angeles), and Rebecca Lane (bass flute, Berlin), Sam Dunscombe (bass clarinet, Berlin), Michiko Ogawa (bass clarinet, Berlin), M.O. Abbott (trombone, Berlin), and Weston Olencki (trombone, Berlin) of the Harmonic Space Orchestra (Winds). For my part, I again return to my favourite keyboard instruments on this album: Mellotron (in particular, the brass and woodwind samples that I so adore), electric organ (the Korg CX-3), synthesizer (the Prophet 5 and Korg PS-3100, which are both extremely useful in their tuning capabilities), and, of course, pipe organ.
There are four pipe organs featured on this album: a mechanical-action instrument built by Tamburini in 1968, located in the Basilica di Santa Maria dei Servi of Bologna, Italy; an electric-action instrument built by Veikko Virtanen in 1969, located in the Temppeliaukio Church of Helsinki, Finland; a meantone mechanical-action instrument built by John Brombaugh in 1981, located at Oberlin College’s Fairchild Chapel in Oberlin, Ohio, USA; and, a mechanical-action instrument built by Aristide Cavaillé-Coll in 1864, located in the Église du Gesù of Toulouse, France. The organ pieces on THE HEAD AS FORM'D IN THE CRIER'S CHOIR focus more heavily on the instruments’ pedals as well as the textural variations made possible by the mechanical tracker actions that most possess. The Brombaugh organ at Oberlin College offered a particularly meaningful compositional opportunity both in its use of the meantone temperament that was typical of the early seventeenth-century organ designs it’s based on, and in its use of split accidental keys, which accommodate for the lack of enharmonic equivalence in an extended meantone system. ‘Possente Spirto’ is a loose conceptual reference to the aria ‘Possente spirto, e formidabil nume’ in l’Orfeo. As in Monteverdi’s version, my piece also emphasizes the use of strings and brass and observes a particular order in which they enter and exit, and also incorporates a sort of continuo framework. I depart from there to focus on a slow-moving chord progression and its variations in voicing, inspired by renaissance concepts of harmony as a vertical structure, set within a standard quarter-comma meantone temperament. The piece employs the same structure that I use in most of my chamber writing, where each iteration of a performance is slightly different, calling on players to respond in real time and engage in a more direct form of listening. Several different colours of interval are heard throughout: the typical meantone minor third of 310 cents, the wolf minor third of 269 cents, the wolf fifth of 738 cents, and finally the standard meantone major third of 386 cents, which is one of a few intervals that this tuning system shares with just intonation. As with essentially all of THE HEAD AS FORM'D IN THE CRIER'S CHOIR, this piece is also quite variable in duration. ‘Trio for a Ground’ continues this feeling of partitioned instrumentation, with the organ providing the continuo throughout and the choir handing off to a duo of strings. In this recording, I chose to work with baroque strings – the viola da gamba and the viola d’amore, the latter of which incorporates a set of sympathetic strings that exist entirely for resonance. ‘Res Sub Rosa’ was composed specifically for a wind quintet formation of Berlin’s Harmonic Space Orchestra, and employs a system of septimal just intonation as well as a similarly variable structure that allows the players some discretion in how the piece is shaped at any given moment and which encourages different harmonic and acoustic encounters in each performance. ‘Constants’ functions as an electronic counterpoint to ‘Res Sub Rosa’, substituting human decisions with the natural interruption and decay cycles of sound-on-sound tape delay to achieve a similar sense of pacing and unpredictability.
- Sarah Davachi, 2024
Mark Fell’s Nite Closures EP marks his return to rhythm-focused electronic music after a decade of acoustic explorations. Released on his own label, National Centre for Mark Fell Studies, the 12" features intricate polyrhythms, dub-infused textures, and minimal techno structures. The EP builds on his Sensate Focus series, blending experimental precision with club-ready grooves. Tracks like “Nite Closures (Extended Dub)” and “Auchterhouse (Inversion)” showcase his signature rhythmic complexity. It’s a bold re-entry into dancefloor abstraction from one of electronic music’s most cerebral figures.
At night, things shift. In shadow, the world operates strangely, ecosystems transform, and boundaries between seen and unseen dissolve. Often viewed solely as a place where fear and odious forces gather, these are also the ‘small hours,’ and a parallel realm where people, places, and things appear and act differently. The world sits in a different harmony in the dark, dream and fantasy pulling closer to our fingertips; it’s when the intricate flowers of the Japanese snake gourd, which only blooms at night, reveal themselves to the moon, as if they belong to another realm entirely. “I see it when I work the night shift, this otherworld,” says Dania, who splits her time between life in Barcelona and night shifts as an emergency doctor in remote corners of Australia.
All composed after midnight, Listless is a reflection of that liminality, communicating from that nocturnal space. Buoyed by layers of transcendent vocals, it embraces the quietly potent power of everything that only comes to life in the dark and blooms out of sight. Her first time deploying drums into her songs, Dania’s production draws from a deep well of oneiric musics, ultimately forging a fresh and emotionally psychedelic syntax. “It’s not a pop record,” she says, “but it’s the closest thing I’ve ever made to one.”
Following a series of highly conceptual works exploring the topography of identity, colonialism, and how the two interleave, Dania set out to tap into something more emotive and instinctive, drawing inspiration from this strange energy of the night. Listless sketches a portrait of this time and place not easily seen or described, reskinning reality to reveal something new. At one point, she even intones to a subject, “your face is coloured differently in the sun.”
On “Heart Shaped Burn”, Rupert Clervaux’s visceral percussion ignites a drone-and-drums ritual inspired by an experience working the night shift in Australia. “It’s named after a heart shaped burn of a patient,” says Dania. “Her partner had poured scalding water on her chest. She was initially timid and closed off, but when I pointed out the perfectly heart shaped burn we laughed together, both realising the dark irony.” Elsewhere, downtempo beats and chants spiral on “Car Crash Premonition,” a song written in the aftermath of a harrowing taxi ride to the studio at 3am. “He was a reckless taxi driver, and I thought ‘this is it,’ and then a second later my life flashed before my eyes and we narrowly avoided a crash.”
Dania created Listless’ landscape of dark irony, deep introspection, and liberation from the daylight world. These tracks are future hymns for liminal spaces – and an invitation to drift to the otherworld waiting after midnight.
Rat Heart’s debut album for Modern Love finds Tom Boogizm blurring genres with instinct and grit. Joined by Adam Sinclaire, Cansu Kandemir, Tha Payne, Ruby Conner and Juan Camilo, he weaves torch songs, DIY blues and cracked pop into something raw and compelling.
Opener ‘I H T’ sets the tone with its weary refrain and spectral flute, grounding the album’s mix of tenderness and unease. Kandemir’s smoky vocals glide through the ghostly shuffle of ‘Not 2Nite’ and ‘Senle’, while Ruby Conner’s spoken word adds bite to the funked-out ‘Real Hardcore Pleasure’. By the time Juan Camilo’s Spanish narration drifts through closer ‘IGOTDRONESINMYBONES’, the record has folded dream pop, post-punk and dub into a single, bruised vision.
A vivid, unclassifiable portrait of Northern soul, noise and nocturnal romance.
With Rhythm Immortal, Carrier — the project of Guy Brewer (formerly of Commix and Shifted) — makes a remarkable full-length debut that expands his intricate rhythmic world into deeper, slower, and more textural terrain.
Since first surfacing with 12”s for FELT and his own label, Carrier has become a touchstone for those drawn to the intersection of precision, space, and pulse. Brewer’s debut album distils the essence of drum & bass, dub techno and electro-acoustic minimalism into eight finely carved movements where every percussive fragment feels alive.
Appearing alongside guest collaborators Voice Actor and Memotone, Brewer navigates between noirish ambience and tightly coiled rhythmic design — from the hovering tension of ‘Offshore’ to the hypnotic sway of ‘A Point Most Crucial’. Tracks such as ‘Outer Shell’ and ‘Wave After Wave’ balance heady abstraction with physical propulsion, creating a sound equally suited to introspection or motion.
Previewed at Berlin Atonal 2025, Rhythm Immortal confirms Carrier as a singular voice in modern electronic music — a producer devoted to rhythm as both structure and spirit.
RIYL: Photek, Rhythm & Sound, Torsten Pröfrock, Burial.
Recorded in a single day at Element Studio, Gothenburg, A Guidance unites Joachim Nordwall’s processed grand piano with Leif Elggren’s prepared texts, guided by producer Linus Andersson. The trio—two citizens of the Kingdoms of Elgaland-Vargaland—followed instinct rather than plan, channelling a volatile energy that sits somewhere between John Duncan, late Scott Walker, and Ghédalia Tazartès.
Across four pieces, Nordwall’s resonant, decaying piano tones and Elggren’s cracked, ritualistic voice conjure an atmosphere of creeping tension and psychic exposure. ‘Evil Moisture’ sets the scene with funereal space and operatic dread; ‘Opening of the Grave’ pushes intensity to breaking point; ‘To Return’ festers into uneasy stillness before collapsing in the closing ‘Forever in the Ever and Never’.
As Nordwall recalls, “Sometimes the music is just there, and you only have to let it flow.” A Guidance documents that rare moment of total surrender—where sound, text, and impulse converge into something raw, strange, and utterly possessed.
Now available for the first time on Vinyl, Sittin' By The Road Captures Blaze Foley on his earliest known recordings. Simple, straightforward and strong, the album contains a dozen tracks recorded during Blaze's 'treehouse' days in Georgia. Recorded in the mid-1970s on a home reel-to-reel machine, these songs showcase Blaze's talent in early form. Includes many of Foley's classic tunes plus three songs that did not appear on previous albums.
‘BMB x OBI II’ sees the continuation of the much sought after collaboration between Minnesota’s afro-psych powerhouse, Black Market Brass, and the young, visionary talent that is Obi Original. Black Market Brass follows the initial release of this partnership, ‘Battle Ready,’ as hard-hitting as they’ve started it. Both sides highlight and deliver the raw, tenacious attitudes that the two artists are known for individually with a song selection that spans a wider spectrum than the first installment. Drawing a direct line between the godfather of soul and the father of afrobeat, Obi Original wields the raucous 10-piece ensemble in a way that evokes the stage of Zaire ‘74. These tracks hit hard, stay heavy, and make no apologies.
The A-side, ‘If I Do My Own,’ is funk. Heavy on the one, this track showcases Obi’s band leadership, à la James Brown; if only you could see him dancing in the vocal booth. Stacked horns, a leader barking orders, and a rhythm section that won’t quit leads listeners to the land of the get-down. The energy stays high as Obi calls forward soloists, even picking up the guitar himself to show us how “he does his own.” ‘If I Do My Own’ is a track slated to make the dance hall shake, with horn and vocal hooks that will live rent free in your head well after last-call.
The B-side, ‘I No Be (Colonizer)’, in no way lets its foot off the gas as dance music is concerned. This song, however, sees BMB returning to their polyrhythmic roots, creating a multi-varied weave of time feels, meter construction, and rhythmic emphasis. That challenge is met and answered by Obi’s Ebo infused lyrics and horn melodies that wind around the vocal rather than merely serving as background. Halfway through the song, BMB’s three-member percussion section rips into a soli. Powerful, unembellished, and raw, the trio doesn’t pull any punches when delivering this rhythm break which propels the song into an unrelenting four-on-the-floor vamp featuring a guitar solo turned up to 11 that will dance you right out of your shoes.
*300 copies limited edition* A sporangium (from Ancient Greek sporá 'seed' and angeîon 'vessel') is an enclosure in which spores are formed. It can be composed of a single cell or can be multicellular. Virtually all plants, fungi, and many other groups form sporangia at some point in their life cycle. Sporangia can produce spores by mitosis, but in land plants and many fungi, sporangia produce genetically distinct haploid spores by meiosis.
Sporangium is brand new "merzsoniks"! Equipments used by Masami: handmade instruments / contact microphones / various fuzz / distortion / glitch pedals / synthesizer... And many other soft & hard-ware to be discovered...
Includes bonus track not available on vinyl reissue
25th anniversary reissue of MERZBOW's legendary Tauromachine, now remastered by James Plotkin and featuring unreleased bonus material!
Ghanaian hiplife phenom Yaw Atta-Owusu presents charming results of his first studio session since 1994’s sleeper hit ‘Obaa Sima’, which found an overdue, cult audience via the blogosphere as one of Awesome Tapes From Africa’s earliest and greatest drops in 2015. If you weren’t snagged on the ohrwurming keys, vox, and groove of the title tune to Ata Kak’s ‘Obaa Sima’ in 2015, you probably weren’t going to the right clubs and checking the right sites. 10 years later it still kills and is set to be joined by this fresh haul from the Bishop Beatz recording studio in Kumasi, Ghana, where Ata Kak laid down ‘Batakari’, his 1st recordings in three decades, recapturing the moxie of his original sound on six cuts that betray time and space travelled within more ambitious arrangements of signature fast chat factored by layered harmonies and rhythmic variegation. “Honed in studios around Kumasi over the last several years, the songs feature the rapper-singer’s acrobatic rap, signature scatting, dramatic drums and even traditional Akan harp. The compositions are more ambitious than his earlier work, with more complex arrangements and layered harmonies. Ata Kak’s new songs are also the natural expression of a restless artist—he is a prolific poet and author of a half-dozen books, as well as an active gardener and busy painter. Born in Ghana in 1960, Ata Kak wasn’t always involved in music. But his travels and openness to the world lead him into the music industry. While living in Germany, he was invited to play drums in a reggae band and subsequently played in highlife bands in Ontario after moving to the Toronto area. He recorded “Obaa Sima” there at his home studio and released it in Ghana in 1994. He didn’t participate in music much in the intervening years until “Obaa Sima” was reissued in 2015. He started performing his song live with the help of a brilliant cast of London-based musicians and has toured three continents and played to thousands of fans in venues of all kinds.”
Ghanaian hiplife phenom Yaw Atta-Owusu presents charming results of his first studio session since 1994’s sleeper hit ‘Obaa Sima’, which found an overdue, cult audience via the blogosphere as one of Awesome Tapes From Africa’s earliest and greatest drops in 2015. If you weren’t snagged on the ohrwurming keys, vox, and groove of the title tune to Ata Kak’s ‘Obaa Sima’ in 2015, you probably weren’t going to the right clubs and checking the right sites. 10 years later it still kills and is set to be joined by this fresh haul from the Bishop Beatz recording studio in Kumasi, Ghana, where Ata Kak laid down ‘Batakari’, his 1st recordings in three decades, recapturing the moxie of his original sound on six cuts that betray time and space travelled within more ambitious arrangements of signature fast chat factored by layered harmonies and rhythmic variegation. “Honed in studios around Kumasi over the last several years, the songs feature the rapper-singer’s acrobatic rap, signature scatting, dramatic drums and even traditional Akan harp. The compositions are more ambitious than his earlier work, with more complex arrangements and layered harmonies. Ata Kak’s new songs are also the natural expression of a restless artist—he is a prolific poet and author of a half-dozen books, as well as an active gardener and busy painter. Born in Ghana in 1960, Ata Kak wasn’t always involved in music. But his travels and openness to the world lead him into the music industry. While living in Germany, he was invited to play drums in a reggae band and subsequently played in highlife bands in Ontario after moving to the Toronto area. He recorded “Obaa Sima” there at his home studio and released it in Ghana in 1994. He didn’t participate in music much in the intervening years until “Obaa Sima” was reissued in 2015. He started performing his song live with the help of a brilliant cast of London-based musicians and has toured three continents and played to thousands of fans in venues of all kinds.”
Italian ambient producer Gigi Masin, jointly with This Heat's Charles Hayward, released a reissue of his work on the Belgian <sub rosa> label in 1988!A masterpiece, featuring the classic 'Clouds', sampled on Bjork's 'It's in Our Hands', Nujabes' 'Latitude'!
Italian musician Gigi Masin has been increasingly re-evaluated since the 2010s, with the release of the best-of album 'Talk To The Sea' under the supervision of Italian Music From Memory, followed by the successive re-releases of his first albums 'Wind' and 'The Wind Collector'. Gigi Masin is a living legend who continues to work tirelessly, consistently releasing new albums every year since 2018. This is a reissue of the album he released with Charles Hayward of This Heat in 1989, which is regarded as one of his greatest albums! The A-side of the LP features a piece by Gigi Masin, whose beautiful piano tone is sure to appeal to everyone from haunting ambient/new age to contemporary Balearic/electronica fans!
