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Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (2) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (3) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (4) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (5) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (6) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (7) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (8) Mystica Tribe & Scopeotaku - MYSTICA TRIBE MEETS SCOPEOTAKU artwork (9) Buying Options CD (Compact Disc) Available Now SPS26126 CD | Release date: 8th October 2026 £14.99 LP (Black Vinyl) Available Now SPS26126 | Release date: 8th October 2026 £25.49 LP (Colour Vinyl) Available Now SPS26126 CV | Release date: 8th October 2026 £30.49 Blue vinyl with hand written insert. Mystica Tribe and Scopeotaku, having formed an international dub alliance, release "Mystica Tribe Meet Scopeotaku" via 13 / Silentes. "Taking their sounds into melodic experimental electronic dub territory. Previously, both have fused their own cultures and personalities into numerous dub releases. Now they are expanding their parameters by collaborating on a project that encompasses both their love for psychedelic and electronic audio combined with heavyweight dub reggae rhythms. Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors. Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub."

Making a bold change of direction as he toasts 45 years working in electronic music, Steve Rachmad dials up the symphonic dimension of his musical practice for Light and Time — a widescreen trip to techno's outer reaches. As one of the true originators of Dutch dance music, Rachmad brings a wealth of experience to his first album for Dekmantel even as he adopts new production methods to create his most ambient body of work to date. A strong melodic sensibility runs through all of Rachmad's work. His 1995 album The Secret Life Of Machines under his Sterac alias remains a landmark of lush, emotionally charged, deep-diving techno, while classic workouts like 'Helix' and 'Gnosis' (as Parallel 9) foregrounded powerful synth lines. Up until the upheaval of COVID, Rachmad's studio practice had been squarely focused on synths and drum machines, but when (along with the rest of the world) he was stuck at home reevaluating his situation, he found himself exploring the world of film scoring. Experimenting with Native Instruments' sampling software Kontakt, Rachmad taught himself how to arrange and layer orchestral instrumentation. Having rarely used sampling in his music before, the distinct fluctuations of recorded orchestral players opened up a new dimension that has become the foundation of Light and Time, the first of many albums Rachmad has ready to go in a more downtempo, home-listening vein. Throughout Light and Time, harmonious passages take centre stage as Rachmad audibly stretches out. At times the orchestral samples arrive in a pure, organic form, while elsewhere they merge and mutate into synthesised elements. His techno legacy manifests throughout, in abstract form. In lieu of strident beats, we're offered fractal, scratchy rhythms guiding uniquely shaped noise and natural sounding percussion with a human lilt. These fluctuations are no accident — they're a result of Rachmad playing much more of the album by hand after years in thrall to the precise machine pulse of arpeggios and sequences. The album never feels restricted by one dogmatic approach. At times, Rachmad's embrace of moody soundtrack composition fills the whole picture, as on haunting string piece 'The Field Of Reality'. Elsewhere he dips into low-slung electro soul for 'Invisible Warriors Of Light' while 'Cosmic Memories' revels in alien synthesis with a dramatic bite. 'Encrypted Instructions' tweaks and processes string samples through angular prisms to close the album out with an experimental flourish. Rachmad's long and winding history in electronic music naturally folds into these new modes of expression, and the end result is a sumptuous, many-sided album that showcases the hidden depths of a techno legend's musicality.

Andy Stott returns to Modern Love with Late Loop, his first album in five years. Two voices sit at the centre of the record: Alison Skidmore, Stott's vocal partner for more than a decade, and Elaine Howley, working with him for the first time. They were given songs in various states of completion, some close to finished, others fragments or loops, often pitched down and slowed. The vocals were layered up, then carved back until only what was needed remained, carrying a set of songs mostly concerned with a separation. Stott began with no plan and a small set of constraints: no basslines, no reverb, no effects except a single delay unit. The album passed through several near-complete versions before settling - a drone record, something close to brass band concrète, a piece that might have ended up as an installation. Each was set aside because texture alone was not the point. He wanted songs. The methods stayed loose and primitive throughout. A drum machine was played through speakers and recorded back into the room, then pitched down until the rhythm sagged under its own weight. A pump organ was recorded through a microphone placed on the floor. Valves warming up and a mixing desk worn in over the years leave their mark on the sound. With no reverb or low end to lean on, the arrangements are left exposed, with an unusual clarity and fragility, every stitch on show. Downbeat, electronica and leftfield song sit side by side across the record, which gives up its detail gradually over repeated listening. Mastered by Rashad Becker. Cover photograph by Myriam Boulos.

Occam Ocean is a series of acoustic compositions made for and with individual instrumentalists by the late French composer Éliane Radigue. Extending the interactive process pioneered in Naldjorlak (2005–2009), Occam Ocean employs a scoreless method of composing in dialogue with each performer. Dating back to 2011, the series has proliferated almost organically, growing out of a musical and social dynamic of combinatoriality and multiplication to a catalog of more than eighty discrete compositions. This body of work stands as one of the most extraordinary late-career outpourings in recent music history. The Occam series was catalyzed in part by a visit to the Natural History Museum in Los Angeles, where Radigue encountered a depiction of the electromagnetic spectrum—from radio signals to gamma rays—which impressed upon her the minuscule range of human hearing relative to the seemingly unlimited compass of universal wavelength and frequency. The Occam compositions seem to address this vertiginous confrontation with the infinite; each individual composition elaborates a radically reduced technique or sound process, frequently working outward from only a handful of fundamental tones, to expose the flickering, idiosyncratic spectral behavior of the instrument. The reference to William of Ockham indicates a principled commitment to parsimony; paradoxically, the reduction in material content makes possible an incommensurate richness in perceived acoustical detail. Notable in the Occam series is the inextricable identification of the composition with the performer for whom, and with whom, it was made. The particular sounds and techniques of each individual performer are thus indelibly stamped in the composition; the piece composes the playing of that musician, as much as the musician plays the composition. The time-honored division of labor between performer and composer is thus suspended and reconfigured, proposing a model for new music composition that has not yet been fully theorized or understood. Occam XIII, Occam River XI (presented here in two distinct readings, which reveal subtle variations in instrumental response), and Occam V feature two longtime collaborators of Radigue in solo and duo formations. Charles Curtis, the first instrumentalist for whom Radigue wrote an acoustic composition (Naldjorlak), performs on cello, while Dafne Vicente-Sandoval—whose parallel investigations into her instrument’s complex sounding properties led her to collaborate with Radigue—performs on bassoon. The works were recorded at Temple Saint-Théodule, La Tour-de-Peilz, Switzerland, during a 2024 residency at La Becque, a setting previously explored by the musicians for its distinctive acoustic properties.

Echoes of Impermanence sees David Granström’s previously established strict hermetic minimalist musical topography undergo a major shift with the introduction of the electric guitar, which instigates a breaking of the sealed crystal walls of the composer’s previous work within music of long duration and precise digital synthesis, bringing forth a riff-laden spirit previously lingering below the surface. The album was recorded at the world-renowned Elektronmusikstudion EMS as well as in the composer’s own studio with the help of Mats Erlandsson and features a guest appearance by long-time collaborator and XKatedral co-founder Maria W Horn performing on the Hurdy-Gurdy on the title track. David Granström is a composer and musician from Umeå in the northern part of Sweden. His hometown is a stronghold of extreme musical expression and consequently Granström grew up playing guitar in a metal band and started to compose music within that context which eventually evolved into solo projects, having access to studio facilities adjacent to the rehearsal space. Granström initially found his personal musical voice within the context of electroacoustic composition utilizing his advanced programming ability to manifest a sound and formal structure governed by algorithmic processes. The resulting musical work is characterized by harmonic simplicity and spatiotextural complexity, employing sounds of synthetic and acoustic origin in combination with strict digital synthesis techniques.

A few years ago, the saxophonist, keyboardist, synthesist and musical polymath Josh Johnson was still a fairly well-kept secret in the music world. He was constantly showing up alongside Jeff Parker, Marquis Hill, Jamire Williams, Carlos Niño, Makaya McCraven and others, but often in the shadows, always supporting.

Lately Johnson has been harder to miss. He has helped shape the sound of Parker’s renowned ETA IVtet; served as the producer of Meshell Ndegeocello’s Grammy-winning album, The Omnichord Real Book (2023); co-leads all-star creative ensembles like SML, the Openness Trio and a collective with Sam Wilkes and Gregory Uhlmann; and this year, as the producer of Flea’s Honora and the musical director of his band, appeared on The Tonight Show and NPR’s Tiny Desk. Still, Johnson has yet to bring his solo work fully into the spotlight.

On October 23, Animative, Johnson’s third album under his own name and his first for International Anthem/Nonesuch, arrives to turn up the wattage on his artistry. More than any release to date, Animative shows why musicians and a growing community of listeners know this Chicago native and longtime L.A. resident to be one of the most imaginative electroacoustic musicians today, not to mention one of the most stunningly versatile. On Animative, the harmonically rich, loops-inflected sound Johnson has been developing — first with a full band on 2020’s Freedom Exercise, then on 2024’s immersive solo album, Unusual Object — comes together in a life-affirming LP of lowkey improvised brilliance and technological ambition.

Animative erases any distinction between being a jazz record led by a saxophone player and an experimental electronics record by a solo artist. Effects and digital overlays are at work in more ways than the ear can track, even when what you hear first is an unaltered saxophone sound. Meanwhile, undiluted improvised brilliance on the saxophone seeps in at unexpected moments. Johnson puts sophisticated technologies to work on nearly every track, often using the saxophone to control a sampler or a drum machine, triggering changes in a loop or an effect. But it’s always in service of a feeling — working to escape the trap of mastery. “I'm looking to make it feel more human,” Johnson says.

When running his alto sax through a harmonizer, Johnson is often varying and altering the intervals as he goes, so that the harmonies don’t just move in parallel lines or a single key, but curl and swarm. He also sometimes adjusts the effects on individual notes within the harmonized sound. Listeners to the recent, effects-laden, overdubbed saxophone experiments of Sam Gendel, another Los Angeles saxophonist-producer (including with Wilkes), will note the distinctiveness of Johnson’s approach. Fans of Lea Bertucci, Travis Laplante, and other experimental reed players pushing the structures of solo work will find a similarly rich complement in Johnson’s blend of looping, effects and sax improvisation.

Johnson’s reserved and thoughtful nature made the album’s title something of a puzzler to his friends. “I said the name to a few people, and they were like, ‘Animated is not how I would describe you,’” he laughs. “But I'm really thinking about it from the perspective of causing animation, giving spirit, or connecting with spirit.” He thinks often of the lessons of Wayne Shorter, one of his teachers, who instilled in him a sense of reverence for the mystical, and emphasized the musician’s duty to “conjure and transport.” And as he put together Animative, Johnson also had in mind the West African philosopher Maladoma Somay’s writings, and the “non-Western ways of thinking about time and being” they propose. He was inspired too by Italo Calvino’s inventive, often-dreamlike short fiction. “The way he uses the vehicle of short story is so gorgeous,” Johnson said. “It influences the way I write.”

Animative’s first track, “Idiophone,” which he’d been workshopping through multiple versions in concerts leading up to the recording session, fundamentally reimagines the saxophone’s musical identity. “I’m really interested in putting the saxophone in a different role besides soloist,” Johnson says. “The saxophone is also the drum. ‘Idiophone’ is me wanting to access the feeling of a percussion ensemble.”

On “Aughts Hymnal,” he manipulates the horn to sound more like an organ. On “Strays,” extending the influence of Billy Strayhorn in a futuristic direction, he allows some of the harmonies felt by the listener to remain unplayed. “If you were to go in and analyze it, all those pieces aren’t fully there. But your ear is filling it in, because the feeling is there,” he says. “I’ve been thinking a lot about how, if I want them to be felt, that might mean making them less legible in a certain way, which actually puts the feeling first.”

While he has become deeply affiliated with the burgeoning L.A. jazz scene, Johnson still finds powerful inspiration in the legacy of his Chicago hometown. Of particular importance is the example set by Eddie Harris, who precedes him not only in the city’s saxophone lineage but also as a multi-instrumentalist, composer and 360-degree artistic thinker. “I’m inspired by him as a conceptualist, and somebody who navigates a lot of different spaces,” Johnson says. Among pianists, his pantheon is topped by another brilliant eccentric: Mal Waldron. “In music that is so often centering virtuosity,” Johnson says, Waldron demonstrated “a different way of existing.”

Like Harris, Johnson always leads with a strong musical concept, but he relies upon a collaborative community to execute it. The album’s personnel include Ben Lumsdaine on drums, Macie Stewart on violin, Marquis Hill on trumpet, and Paul Bryan on bass and co-producing the album with Johnson.

While working on “High Step,” a slightly churchy, slightly off-kilter groover, Johnson felt Meshell Ndegeocello’s bass would be a perfect fit. She performs as a guest on the track, occupying the bass chair — a supporting role she rarely plays.

“Mill” is a quieter tune that seems designed to warm up the memory banks—reminiscent of Aphex Twin or Joe Zawinul balladry, or more recently the work of Johnson’s frequent collaborator Jamire Williams—as a clean saxophone sound pairs with subtly processed lines in a mix of unison and harmony. Finally, the last note molders into silence.

/ / / /

Johnson spent his earliest years in Maryland before his family moved to the Chicago suburbs when he was young. He didn’t take to his piano lessons, finding that he was happier teaching himself. It was only after starting to play the saxophone at age eleven that he fell completely in love with music. Soon after, his parents bought him a stack of jazz records; the sound that caught his attention most was the saxophone of Lester Young.

“I was like, ‘This dude is talking to me,’” Johnson says. “That's what it felt like.” He was as fascinated by the intellect and swagger he heard inside Young’s playing as he was by the “vocal qualities” of the saxophone. “It can whisper, it can scream, it can be really textured. I was still playing piano and keyboards, but the saxophone was what captured me,” he says.

Johnson went on to earn a bachelor’s in music from Indiana University, making the nearly eight-hour round trip from Bloomington to Chicago on weekends to participate in his hometown jazz scene. After graduating, he spent a couple of years living and working in Chicago before attending grad school at the Thelonious Monk Institute of Jazz (now the Herbie Hancock Institute) in Los Angeles, studying under Shorter and Hancock.

He found himself surrounded by an L.A. jazz scene that was in bloom creatively and culturally. While Kamasi Washington and Terrace Martin’s careers filled the foreground, a vast network of musicians was intermingling jazz, ambient, dance music, hip-hop, minimalism, and more at venues around town. Before long, Johnson was near the center of nearly all of it. He was energized by the exchange between different music scenes and artistic disciplines in those years, particularly on gigs he played with Miguel Atwood-Ferguson, Mark de Clive-Lowe, and Jamire Williams.

“There was a lot going on, and a lot of places to play, and a lot of cross-pollination all coming about very organically,” he remembered. “I think that really encouraged me, because there were all these people just finding different ways to combine a lot of their interests. There was room to make a path.” Originally expecting to return to Chicago or head to New York after the Monk Institute, Johnson chose to stay put. “Part of what kept me in L.A. is that I felt like, ‘I'm interested in all these different things. If I was to move to New York right now, I might need to spend a long time just following this one path of the saxophone lineage.’”

One of L.A.’s headiest spaces in those years was ETA, the Highland Park bar where Jeff Parker’s ETA IVtet—which includes Johnson, bassist Anna Butterss, and drummer Jay Bellerose—played weekly. “I guess it's like any sort of long-running gig in that it sort of takes on a life of its own,” Johnson says. “In those early days, there were a lot of different people who would come in there: other musicians, but also visual artists and painters, dancers, skateboarders from the various tributaries of Jeff’s world, stuff like that. There was this beautiful kind of overlap.”

In the past decade-plus, Johnson has become an essential collaborator to Carlos Niño, Nate Mercereau, Louis Cole, aja monet, Gregory Uhlmann, Anna Butterss, Matthew Stevens, and Sam Wilkes, among others.

When not playing in a group led by someone else, Johnson has often gravitated toward co-led ensembles like SML (with Butterss, Uhlmann, Jeremiah Chiu, and Booker Stardrum), the Openness Trio (with Mercereau and Niño), or his collaborative trio with Uhlmann and Wilkes.

Meanwhile, he also maintains a connection to the leading Chicago musicians of his generation, continuing to play in bands led by Marquis Hill, Makaya McCraven, and Joel Ross.

In addition to his jazz bona fides, Johnson’s musical versatility has been informed by an impressive resume of pop music work, including with the Red Hot Chili Peppers, Harry Styles, Miley Cyrus, Chris Cohen, and Ezra Furman. Johnson served as musical director for Leon Bridges from 2018 to 2022, in which time he directed a performance with London’s Royal Philharmonic Orchestra, for which he arranged fourteen of Bridges’ songs.

For Johnson, every collaboration is a chance to connect and extend his practice. Much of the spirit of Animative has been informed by lessons he gleaned from recent work with Ndegeocello in particular. “We all have certain assumptions that we come into writing or making music with. Working with her, some of those things were broken down for me immediately,” Johnson says. “It opened me up to not just consider more of what’s coming in externally, but to also let more of the variety that's inside of me come out.”

A sublime secret portal to ‘90s ambient bliss is re-opened with a first vinyl reissue of Jon Tye (Seahawks, Lo Recordings) & Pete Smith’s (The Hypnotist) maiden voyage as MLO, distilling their shared love for Satie, Debussy and Cage thru to Soft Machine, Incredible String Band and Eno in gorgeous, air-spun forms. Re-upped to sighs of relief from those who balk at steep 2nd hand prices for a decent copy, ‘Io’ represents ‘90s UK ambient at its rose-tinted, dreamy and pastoral best, hence the cult status of its original Rising High pressing for those in the know. One of three LPs produced by the duo around mid-decade, it endures for modern needs on the basis of its elusive, perfumed waft and a quietly suggestive carousel of motifs that melt on mind with rare tactility. Start to finish they most beautifully read the room’s need for this type of glacially slow burn sound-bathing, effectively colouring the eyelid-flickering dreams of post-club ravers with richly synaesthetic tones and iridescent shimmers that, 32 years later, still conjure a late stage pill belly effect to our sensibilities on a sober Tuesday afternoon. Residual gurns and tingly frissons should be expected in passage from the gossamer soft arps and cosmic awn of ‘Wimborne’ thru the panoramic 17 min poise of ‘Lagoon / Moon Over Lagos’, and spectral sublime of ‘Ghost’, to a two-part finale that leaves the sensation on tip of tongue. Really a no brainer. Don’t fight the feeling.

" Overleaf is the new album by Paris-based musician Théo Martin, following Anti Atlas, released on LAAPS two years ago. Overleaf was recorded over the course of a few intense months in 2026. Every recording made during this period eventually found its place within the album, transformed, fragmented and reassembled, sometimes far removed from its original form. The process gradually became a kind of puzzle, built from accumulated sounds, accidents and imperfections. Tape remains at the heart of the album, but this time it is intertwined with a more extensive use of digital tools, opening new paths for transformation and layering. Overleaf is about carrying what remains into what is yet to come."

Two long pieces from 2004: Etoile du Nord in two parts on the first disc, Ghyress für Ilse-Emily Kayn on the second, named for the daughter who would later reawaken her father's label. Among the last titles Kayn issued on Reiger Records Reeks himself. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. We managed to obtain limited copies of his sought-after CDs released by Reiger Records Reeks between 1995 and 2006. Etoile du Nord / Ghyress Für Ilse-Emily Kayn consists of two CDs and includes two long pieces composed by Kayn in 2004: Disc 1 Etoile du Nord (2004) - Part 1 - Part 2 Disc 2 Ghyress für Ilse-Emily Kayn (2004)

Issued under Kayn's Multiplex Sound-Art heading: Requiem pour Patrice Lumumba (2002) and Interations (2003) on the first disc, the four-section Composizione AD (2002) and Prismes Reflectes (2002) on the second. Among the most recent pieces the composer completed. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. We managed to obtain limited copies of his sought-after CDs released by Reiger Records Reeks between 1995 and 2006. Multiplex Sound-Art - Requiem pour Patrice Lumumba, Interations, Composizione AD, Prismes Reflectes consists of two CDs and includes some of the most recent pieces composed by Kayn in 2002-2003: Disc 1 Requiem pour Patrice Lumumba (2002) Interations (2003) Disc 2 Composizione AD (2002) - Abschnitt A - Abschnitt B - Abschnitt C - Abschnitt D Prismes Reflectes (2002)

Also under Kayn's Multiplex Sound-Art heading: Ultra (2001) and Redundancy TR (2003) on the first disc, the three-section Megaphonie (2001) on the second. Three of the last pieces Roland Kayn completed and released on his own label. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. We managed to obtain limited copies of his sought-after CDs released by Reiger Records Reeks between 1995 and 2006. Multiplex Sound-Art - Ultra / Redundancy TR / Megaphonie consists of two CDs and includes some of the most recent pieces composed by Kayn in 2001-2003: Disc 1 Ultra (2001) Redundancy TR (2003) Disc 2 Megaphonie (2001) - Abschnitt I - Abschnitt II - Abschnitt III

Two long pieces from the turn of the millennium, Gärten Der Lüste (1999-2000) and L'Innominata (2000), each in two sections, with the early Cybernetics II (1969) set between them on the first disc. Thirty years of Kayn's electronic practice in a single pairing. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. We managed to obtain limited copies of his sought-after CDs released by Reiger Records Reeks between 1995 and 2006. Gärten Der Lüste / Cybernetics II / L'Innominata consists of two CDs and includes two long pieces composed by Kayn in 1999-2000 and one older piece recorded in 1969: Disc 1 Gärten Der Lüste (1999-2000) - Abschnitt I - Abschnitt II Cybernetics II (1969) Disc 2 L'Innominata (2000) - Abschnitt I - Abschnitt II

The first instalment of the ten Electronic Symphonies: Symphony I (1966-96), II (1970-96) and III (1971-97), with Equivalence Sonore II and III from 1995. Pieces concreted in real time by a complex autonomous electronic system, a process Kayn documented rather than composed. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. The ten Electronic Symphonies – written between 1966 and 1996 – represent a journey through a soundscape where phases of the works from this period (to be considered as the past) constantly meet what is contemporary, while also reflecting impulses. In regard to the selection, self-contained “objects trouvés” were given priority as the pieces were being generated in the studio. Their concretion developed in real time from a complex electronically autonomous system. Since the process cannot be traced back at a later date, the documentation on sound storage mediums becomes essential given that the corresponding details cannot be disclosed, thus abdicating traditional authorship. This “music” thereby exceeds the empirical category of commonly known music. It contains something which was so described by composer Franco Evangelisti “… as arriving at something that suddenly can no longer be called music”. Electronic Symphony I / III consists of two CDs and includes the following pieces: Disc 1 Electronic Symphony I (1966-96) Electronic Symphony II (1970-96) Equivalence Sonore II (1995) Disc 2 Electronic Symphony III (1971-97) Equivalence Sonore III (1995)

The close of the cycle: Electronic Symphony VIII (1978-98) and the single-year Symphony IX (1999) on the first disc, Symphony X (1982-99) in two sections on the second. Thirty years of Kayn's generative studio work arriving at its last and largest statements. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. The ten Electronic Symphonies – written between 1966 and 1996 – represent a journey through a soundscape where phases of the works from this period (to be considered as the past) constantly meet what is contemporary, while also reflecting impulses. In regard to the selection, self-contained “objects trouvés” were given priority as the pieces were being generated in the studio. Their concretion developed in real time from a complex electronically autonomous system. Since the process cannot be traced back at a later date, the documentation on sound storage mediums becomes essential given that the corresponding details cannot be disclosed, thus abdicating traditional authorship. This “music” thereby exceeds the empirical category of commonly known music. It contains something which was so described by composer Franco Evangelisti “… as arriving at something that suddenly can no longer be called music”. Electronic Symphony VIII / X consists of two CDs and includes the following pieces: Disc 1 Electronic Symphony VIII (1978-98) Electronic Symphony IX (1999) Disc 2 Electronic Symphony X (1982-99) - Abschnitt 1 - Abschnitt 2

Electronic Symphony VI (1982-97) on the first disc, Symphony VII (1984-98) and Frottage II (1996) on the second. Two of the longest gestations in the cycle, worked over fifteen years and left to a self-regulating electronic system to concrete in real time. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. The ten Electronic Symphonies – written between 1966 and 1996 – represent a journey through a soundscape where phases of the works from this period (to be considered as the past) constantly meet what is contemporary, while also reflecting impulses. In regard to the selection, self-contained “objects trouvés” were given priority as the pieces were being generated in the studio. Their concretion developed in real time from a complex electronically autonomous system. Since the process cannot be traced back at a later date, the documentation on sound storage mediums becomes essential given that the corresponding details cannot be disclosed, thus abdicating traditional authorship. This “music” thereby exceeds the empirical category of commonly known music. It contains something which was so described by composer Franco Evangelisti “… as arriving at something that suddenly can no longer be called music”.

Electronic Symphony V (1977-97) in two sections, one per disc, each paired with one of the Emissioni Trasformati of 1996. Twenty years of revision folded into music that a complex autonomous electronic system concreted in real time, beyond any traceable authorship. A pioneer of electronic, computer, and instrumental avant-garde music, for the majority of his life, the German composer Roland Kayn remained one of the great unheralded figures in the landscape of 20th century sound - a founding member of Gruppo di Improvvisazione Nuova Consonanza, who delved into singular territories entirely his own. Fortunately, in the last few years, in part due to the release of his monumental work, A Little Electronic Milky Way of Sound, by Frozen Reeds in 2017, and Die Schachtel’s deluxe vinyl reissue of his seminal composition, Simultan, last year, the scope and depth of his efforts have begun to take centre stage in the public mind. Kayn spent most of his career working beyond the normative definitions and parameters of electronic, electro-acoustic, and computer music, endeavouring to contract an entirely new territory of sound which he referred to as Cybernetic Music, a generative process of composition through programming, carefully aligned with a constant relationship between three parameters - the cybernetical, the technical-physical, and the apperceptional. Among the most important of these efforts are Simultan, Makro, Infra, Tektra, and the recently published Scanning. The ten Electronic Symphonies – written between 1966 and 1996 – represent a journey through a soundscape where phases of the works from this period (to be considered as the past) constantly meet what is contemporary, while also reflecting impulses. In regard to the selection, self-contained “objects trouvés” were given priority as the pieces were being generated in the studio. Their concretion developed in real time from a complex electronically autonomous system. Since the process cannot be traced back at a later date, the documentation on sound storage mediums becomes essential given that the corresponding details cannot be disclosed, thus abdicating traditional authorship. This “music” thereby exceeds the empirical category of commonly known music. It contains something which was so described by composer Franco Evangelisti “… as arriving at something that suddenly can no longer be called music”. Electronic Symphony V / Emissioni Trasformati I-II consists of two CDs and includes the following pieces: Disc 1 Electronic Symphony V - Abschnitt 1 (1977-97) Emissioni Trasformati I (1996) Disc 2 Electronic Symphony V - Abschnitt 2 (1977-97) Emissioni Trasformati II (1996)

In Kayn's Electronic Symphony series, the past and present continually encounter each other anew, each time casting new reflections on the given moment. Kayn's autonomous studio processes remove context from what he termed (markedly in the language of synthesis) the "carrier" material, for the most part music of the orchestral tradition at its most texturally oriented – even drone-like – but alternately seething and volcanic in its drama. These pieces were of great personal significance to the composer, perhaps due to the fashion in which they bridged his initial musical inspirations with the new sound world his friend and colleague Franco Evangelisti described as "something that can no longer be named music".

All Songs Written and Produced by UNDER THE BIG BRIGHT YELLOW SUN

"Béwara" is Basajan's debut album, exploring the Sundanese philosophy of Tri Tangtu through ten instrumental compositions that blend Priangan vibes with psychedelic grooves and contemporary soundscapes.

1993 release. Bana OK present Bakitani. When the colossus of Congo, Franco Luambo, died in 1989, the great band he had led for more than 30 years, OK Jazz, was of course, devastated. But its members survived their enormous loss and lived to rock another day. Nine of the best of them carried on as Bana OK - "Children of OK" - and sustained the signature tout puissant ("all-powerful") sound of their late master's band. The leader was saxophonist and composer Rondot Kasongo Wa Kasongo, who had long been Franco's right-hand man. Three more of these "children" were veteran guitarists Fan Fan Sesengo, Papa Noel and Thierry Mantuika. And the singers included the female star of the last years of OK Jazz, Baniel Mbambou, and the heartthrob tenor Malage de Lugendo. Bakitani would have made Franco proud.

A compilation album featuring the signature songs of Pamelo Mounk'a, one of the Republic of the Congo’s leading singers. Having reached the peak of his artistry as a solo artist following his time with groups such as Les Bantous de la Capitale, his sweet, soaring high-pitched vocals beautifully intertwine with a dazzling horn section. From the graceful rumba vocals, which evoke Afro-Cuban and Latin influences, to the dynamic sevén tracks in the latter half—marked by leaping guitar refrains—this album encapsulates the elegance and passion of refined Congolese rumba.

Gregorian chant works performed by the Edmundus Novus choir—a Gregorian chant ensemble composed of novices from the Order of St. Edmund, conducted by Marie Peirick.

Includes 32 pages booklet in French, Portuguese and English. Many songs are representing the still missing style Semba.

The Novodevichy Convent, where this recording took place, was founded in 1524. It is known as one of the most famous women’s convents among the Orthodox monasteries in Moscow and was designated a UNESCO World Heritage Site in 2004. Often described as a jewel of Moscow architecture, the convent features a cluster of Moscow Baroque-style buildings arranged in the shape of a cross, giving it a beautiful yet distinctive appearance. In particular, the Cathedral of the Dormition of the Mother of God of Smolensk, composed of six columns and five domes, is renowned as a monumental structure, and its beautiful form has captivated people from all over the world. At the Uspensky Cathedral (Cathedral of the Dormition of the Mother of God), one of the main churches on the monastery grounds, the unique Russian Orthodox tradition of beautiful mixed-gender, unaccompanied polyphonic choral music is carried on. These voices are widely recognized as a precious cultural heritage that faithfully conveys to the present day both the solemn spirit of Russian Orthodox prayer and the acoustics of this World Heritage-listed architecture. This recording is a collection of solemn hymns performed a cappella by the Choir of the Church of the Dormition of the Mother of God at the Novodevichy Convent, conducted by Abbot Petr Polyakov (recorded in 1989). It was recorded to commemorate the 1,000th anniversary of the adoption of Christianity in Russia (the Baptism of Russia). In addition to traditional liturgical chants and hymns, the recording also features the bells of the Novodevichy Convent, allowing listeners to fully immerse themselves in the rich, immersive atmosphere of the cathedral. The recording includes “My soul doth magnify the Lord,” derived from the Magnificat found in Luke 1:46–55 of the New Testament, as well as the mystical hymn “Angel Cried,” sung during the Divine Liturgy of the Russian Orthodox Church’s Easter (Pascha), and the “Megalynarion for the Dormition,” sung on the Feast of the Dormition of the Theotokos, for a total of 28 tracks.