NEW ARRIVALS

Masami Akita's psych-noise mantra originally released on CD in 1998 by Alien8 Recordings. Expanded double LP reissue available now in standard black and limited white vinyl editions. Remastered by M.A. in 2021 with additional material from the same sessions.

In 2021 99CHANTS released chant#8: 'The Helicon Sessions', the debut album by Equations Collective, a multi-disciplinary artist group comprising Artefakt, Aroma Pitch, Aphelion, and Sphera De Noumenon. An expansive suite of improvised electronics combining drone, dub, techno and acid, 'The Helicon Sessions' were recorded at an outdoor, solar powered studio on Mount Helicon in Boeotia, Greece. Following on from this in 2022, 99CHANTS presents chant#9: 'Equations Collective x Lena Platonos x Rabih Beaini', a brace of remixes that rework the album's original sessions. Inviting artists to reinterpret the release around ideas of reconstruction/deconstruction, this new record features pioneering Greek electronic musician, pianist, and lyricist Lena Platonos, in collaboration with Equations Collective member Yiorgos Konstantoulakis (aka Aphelion), alongside Lebanese-born producer, DJ and Morphine label head Rabih Beaini. Lena Platonos x Yiorgos Konstantoulakis' Side A 'reconstruction' of 'The Helicon Sessions' explores tense sonic atmospheres and incorporates subtle, kinetic drum machine susurration from Konstantoulakis, providing a setting for Platonos' Greek language spoken word poetry. On Side B, Beaini's 'deconstruction' of the sessions dives into percussive electronics inspired by specific rituals in West Java. Performed on an 808 and outboard gear, the track gradually builds to a full-bodied crescendo before introducing understated washes of melodic colour.

A collection of stunning Persian-tuned piano pieces cut from Iranian national radio broadcasts made for the Golha programmes between 1956 & 1965...

Morteza Mahjubi (1900-1965) was a Iranian pianist & composer who developed a unique tuning system for the piano which enabled the instrument to be played in all the different modes and dastgahs of traditional Persian art music. Known as Piano-ye Sonnati, this technique allowed Mahjubi to express the unique ornamental and monophonic nature of Persian classical music on this western instrument - mimicking the tar, setar & santur and extracting sounds from the piano which are still unprecedented to this day.

An active performer and composer from a young age, Mahjubi made his most notable mark as key contributor and soloist for the Golha (Flowers of Persian Song and Poetry) radio programmes. These seminal broadcasts platformed an encyclopaedic wealth of traditional Persian classical music and poetry on Iranian national radio between 1956 until the revolution in 1979.

Presented here is a collection of Morteza Mahjubi's stunningly virtuosic improvised pieces broadcast on Golha between the programme's inception until Mahjubi's death in 1965 - mostly solo, though at times peppered with tombak, violin & some segments of poetry.

The vast collection of Golha radio programmes was put together thanks to the incredible work of Jane Lewisohn & the Golha Project as part of the British Library's Endangered Archives programme, comprising 1,578 radio programs consisting of approximately 847 hours of broadcasts. 

At Jazzman have already given legitimate release to albums that fell foul of the notorious '70s 'tax scam' practice, namely those by Sounds of the City Experience and Ricardo Marrero. It now gives us great satisfaction to present Reality's 'Disco Party' album, for the very first time in agreement with the surviving members of the band. Possibly the most obscure of all the obscurities in the TSG catalogue, 'Disco Party' isn't actually 'disco' at all, moreover it's a fully rounded excursion into mid-70s dancefloor funk and proto-disco-jazz, performed by a group of expert musicians at the height of their powers. Recorded in one long session in NYC, until now, bandleader Dr. Otto Gomez and the rest of his crew had never even heard the recordings they'd made almost 50 years ago. Indeed, none of the band even knew that their album had been released! At Jazzman, we consider it our mission to shine new light on music that went under-appreciated at the time of its original release. There are many varied circumstances which can cause an otherwise great record to not do so well - for instance, poor budget, marketing, promo and sometimes just plain old bad luck. Perhaps the most unjust circumstance involves the tax loss releases of the mid-70s - records made purely to cheat a few dollars out of the tax man. Here, along with restoring the music, we have dug deep into the backstory of the group, interviewing Gomez and others to find out exactly who this unheralded NYC funk orchestra were and what happened to them before and after the monumental session laid out on this record. Our liner notes tell the story of the TSG label and the 'tax loss' phenomenon, and we delve into the history of the band from their humble beginnings as the Smokin' Shades of Black(!) to the present day. We also find out exactly what it means to record some brilliant music - only to have it taken away - and discarded.

Ethereal, sensual, subtle. Maria de Fátima is that new favourite singer you think you just discovered, but had actually always been there. This Brazilian muse from Tijuca (Rio de Janeiro) has worked and recorded with artists such as Milton Nascimento, Gilberto Gil, Arthur Verocai, Airto Moreira & Flora Purim, Chico Buarque and Lincoln Olivetti amongst many others. We're immensely proud to bring you a deluxe reissue of her only solo album Bahia com H. Recorded in 1981 in Uruguay where Maria had settled with her then husband and synthesizer wizard Hugo Fattoruso (OPA), who also takes on production duties. The album combines Maria's own compositions with her unique takes on some Brazilian classics by Ary Barroso, Denis Brean and Gilberto Gil amongst others, compositions which gain a new significance with Maria's ethereal interpretation and the blended elements of Candombe, in part provided by the all-star line-up of Uruguayan musicians recruited for the recording. First reissue on vinyl format, preserving the original artwork in its gatefold sleeve, with sound sourced from the original analogue tapes, and with a 12-page booklet with photos from Maria's private archive and liner notes by the mighty producer, journalist, Grammy voting member and living jazz encyclopedia Arnaldo DeSouteiro.

Oneness by Matthew Halsall In Wishlist view supported by il-berts thumbnail il-berts Such a beautifully crafted album. Such intense rich weaving of sounds and feelings. It’s one of those albums you are happy to share at the same time want to keep as a personal secret. Amazing stuff by Mr Halsall. I suggest anyone reading this to spend some time in his early stuff too. Song to Charlie is monumental. Favorite track: Oneness. Torsten thumbnail Torsten Earlier recordings by Matthew Halsall creating beautifully floating soundscapes. Just shows that it doesn’t matter whether wonderful music was made today or yesterday. It will always be entrancing. Favorite track: Loving Kindness. Mason Moss thumbnail Mason Moss Totally addicted to this material! A calmness unmatched! Favorite track: Oneness. more... ___ thumbnail Zos93 thumbnail -j0nny- thumbnail moth thumbnail acuchanchan thumbnail Music Without Labels thumbnail Gsmithgr thumbnail Shlomo Goldbergsteinman thumbnail charlie hey thumbnail drew thumbnail mezameyo thumbnail qlebrand thumbnail Denis Dubovik thumbnail ustad47 thumbnail RICHARD Benoit thumbnail Emiko thumbnail gabdes thumbnail pierrefaissat thumbnail Harri thumbnail Ben Neely thumbnail cbellevie thumbnail Carim Soleil thumbnail mbo_de thumbnail Scubadevils thumbnail Frederic Toye thumbnail mattc77 thumbnail birgdotbe thumbnail Phil Barden thumbnail Gordon Christiansen thumbnail Carreidas thumbnail eddigfunk thumbnail cubo23 thumbnail Matteo Uggeri thumbnail sbdane thumbnail suno_bhai thumbnail graybell thumbnail frasma thumbnail ECWCS boy thumbnail davidedel thumbnail mobius faith thumbnail jonjon61 thumbnail Paul heredge thumbnail Angahuan thumbnail aerofon thumbnail senhor_q thumbnail Squaloid thumbnail bertil thumbnail Andreas Usenbenz thumbnail Maggie Wauklyn thumbnail Benjamin M Johnson thumbnail BowMan thumbnail billa thumbnail cliffycliff thumbnail jawaflower thumbnail LLM_TOKYO thumbnail Chris Dinsmore thumbnail donaldeugenenorwood thumbnail tomeklu thumbnail dancinghead thumbnail djdamo1 thumbnail more... Stories from India 05:26 / 09:33 Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. £8 GBP or more Record/Vinyl + Digital Album package image package image package image package image package image * Repress Shipping Dec 10* Printed in deluxe reverse board sleeve with 3x artwork printed inner sleeves. Includes unlimited streaming of Oneness via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 1 day £25 GBP or more Compact Disc (CD) + Digital Album package image package image package image package image package image Includes unlimited streaming of Oneness via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 1 day £10 GBP or more Full Digital Discography 12 releases Get all 12 Matthew Halsall releases available on Bandcamp and save 30%. Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Salute to the Sun – Live at Hallé St. Peter's, Joyful Spirits of the Universe, Salute to the Sun, What The World Needs Now Is Love / Tryin' Times (ft Matthew Halsall), Colour Yes (Special Edition), Sending My Love (Special Edition), Oneness, On The Go (Special Edition), and 4 more. £52.47 GBP or more (30% OFF) 1. Life 09:58 2. Oneness 11:26 3. Stan's Harp 07:40 4. Loving Kindness 09:39 5. Distant Land 08:42 6. Stories from India 09:33 info buy track 7. The Traveller 06:49 about A collection of unreleased meditative, spiritual jazz from the Gondwana archives in a 3xLP vinyl set The recordings on Oneness date from Jan, March and September 2008 and were born from a period of experimentation as Halsall first began to explore the music that would provide the inspiration for his spiritual jazz recordings Fletcher Moss Park and When the World Was One. They also offer an intriguing snapshot into the birth of Halsall’s Gondwana Orchestra and feature many musicians who would go on to become a key part of Halsall’s musical journey, such as harpist Rachel Gladwin, bassist Gavin Barras and saxophonist Nat Birchall. The recordings sat in the Gondwana Records vaults for over a decade before Halsall felt it was the right time to share them. Asked about the recordings Halsall says: “I’ve always treasured these recordings and loved how vulnerable, open and free they are, but I just felt they were too subtle and sensitive to release early on in my career, so I held them back until now. I also feel now is the right time to release these before I begin a fresh journey with a new bunch of musicians.” Remarkably, the beautiful compositions heard here were all built around a simple tanpura drone sound. An instrument Halsall heard on Alice Coltrane’s ‘Journey In Satchidananda’ album and then at a later date in a concert featuring Arun Ghosh on clarinet and John Ellis on piano. “I loved the way this instrument created a sort of meditative atmospheric pulse for the musicians to work over and it had this beautiful feeling of togetherness, so after the gig I went out and bought a Raagini Shruti box featuring the tanpura drone and began to practice my trumpet over it and wrote lots of loose themes and melodies”. The sessions that make up Oneness capture Halsall in the process of building a new band, reaching out to various musicians he’d discovered and admired on the Manchester, Liverpool and Leeds music scene. “I really liked this idea of bringing lots of musicians together from different backgrounds and was fascinated with how they would all react to each other and the tanpura drone box seemed to bring everyone together really well, it was kind of like a nice meditative icebreaker exercise for everyone to loosen up, before we got stuck into the more composed tunes I’d created, some of which ended up on the Sending My Love and Colour Yes albums”. The album’s title, Oneness, speaks to both Halsall’s conviction that the planet should be shared equally with all of its inhabitants. That no human being or other inhabitant deserves to exist more than the other and that we can achieve far more together than against each other. And also importantly to what Halsall was aiming for musically: “I really believe in Oneness and I’ve always loved the term ‘greater than the sum of its parts’. I could make music on my own and live a fairly isolated antisocial life, but there’s something far more rewarding about creating things with others. And for me these sessions document the coming together of lots of different musicians in a wonderfully organic soulful way to make egoless music”. It’s a belief that continues to underpin Matthew’s music making and a message that the world sorely needs right now as we feel more divided and separated than ever. This then is Oneness, a decade in the making and well worth the wait. Enjoy! All prices shown are “NET of VAT” (Value Added Tax). VAT will be calculated and added at the checkout. You will be charged the appropriate rate which will vary depending on the country.

Gondwana Records sign LA bassist and composer Seth Ford-Young’s Phi-Psonics project and announce a remastered deluxe-edition of The Cradle featuring bonus material Phi-Psonics is a meditative, immersive instrumental group from Los Angeles, led by bassist Seth Ford-Young and featuring Sylvain Carton on woodwinds, Mitchell Yoshida on electric piano, and Josh Collazo on drums. Their deeply soulful music draws on jazz and classical influences together with Ford-Young’s own musical experiences, relationships, and his introduction to spirituality, yoga and philosophy at a young age, to create something uniquely its own. Phi-Psonics’ name and ultimate aim is to find ‘Phi’ – the golden mean – in art, nature and self. Ford-Young explains: “It's a bit of a cliché, but music saved my life many times and instilled in me a belief in the great power of healing through art. It is my hope and intention that this music provides healing to someone somewhere.“ Originally from Washington DC area, Ford-Young moved to California in the early 90s and fell in love with the deep sounds of the upright bass and the music of Charles Mingus, John and Alice Coltrane, and Duke Ellington along with Bach, Chopin, Pärt, and Satie. He immersed himself deeply in music and keen to learn combined intense personal study with collaborations, tours, and recordings with artists such as Tom Waits, Beats Antique, and John Vanderslice. In 2010 he moved from the San-Francisco Bay area to the Los Angeles hills and continued his explorations. But great music is rarely just about music and Ford-Young’s meditative, soulful music draws on more than just the twin wellsprings of jazz and classical music: “My mother was a yoga teacher from the early 70's until recently and taught me yoga and meditation at an early age, my stepfather is an Aikido instructor and student of the teachings of Gurdjieff. Those were all early areas of study that I came back to many times throughout my life. Phi-Psonics has been a project that unapologetically synthesizes some of these ideas into our music”. It’s this mixture of influences, musical and extramusical, that gives the music of Phi-Psonics it’s immersive quality and quiet power. Revealingly the music that would become The Cradle, wasn’t written specifically for an album, originally Ford-Young was just writing down what was coming through. As time went by and the album began to take shape, the world situation seemed to be getting darker and his compositions aim to offer hope as a response to the negative influences that abound today. Remarkably for such a beautiful sounding record, it was recorded at the composer’s home, rather than in a studio, but the relaxed nature of this process gives the music an airy lightness that propels the music to some magical spaces. Originally self-released on vinyl in a limited run just as the world went into lockdown, The Cradle reached Matthew Halsall (founder of Gondwana Records) when he aws looking for music for his Worldwide FM show and he was blown away, hearing a kindred spirit at work. Halsall explains: “Phi-Psonics make beautiful, humble and honest music, it’s not showy, but it has a deep vibe that will elevate your mind and soul if you let it. When we heard The Cradle we reached out and are really super delighted to welcome Seth and his band to our label”. Whereas for Ford Young: “Connecting with Matthew and the Gondwana records family has been a light in the darkness of the last years - to have my music make connections even as we are more isolated.” Ford-Young is currently putting the finishing touches to the second Phi-Psonics record, but aware that only a select few had heard The Cradle, let alone had the chance to buy a copy, and entranced by its deceptive simplicity and elevating energy, Halsall suggested that Gondwana present the album as a remastered ‘deluxe edition’ with an extended running time featuring extra tracks and new artwork from Daniel Halsall. The Cradle starts with First Step, perfectly setting the tone for the whole album, it is a beautiful, soulful slice of musical calm gently propelled by Ford-Young’s resonant bass and elevated by sublime flute and Wurlitzer electric piano solos. The seductive title track The Cradle was written way back in 2011 during a time of great personal change that led the composer to a feeling of newness and nurture. The magical, winsome Desert Ride is inspired by many rides through the grandly cinematic Mojave Desert. You can experience how incredibly full of life it’s harsh landscape is if you slow down to its tempo. The gentle, sublime Mama is a tribute to mothers of all kinds, beautiful and heroic. Drum Talk was largely improvised, Ford-Young and the band agreed on a topic and recorded their conversation. Choosing their notes based on how Josh's drums were tuned. Like Glass is named for the special properties of Glass. Like some music, glass is delicate, yet has structure. The first of the two bonus tracks Still Dancing was written during the early days of 2020 in response to the challenges we all were facing then. It's a reminder that the figurative dance continues and that real dancing is essential. And the second, The Searcher, also written as a response to 2020, is a gently hypnotic song about the introspection and growth that can spring from a difficult situation. This then is The Cradle, a quiet self-contained masterpiece, life-affirming and elevating in equal measure and the first offering from a wonderful new voice in spiritual jazz and the latest members of the global Gondwana Records family.

London-based keyboardist/producer Dan Nicholls (of Y-OTIS) introduces a new album project 'Mattering And Meaning' to be released by We Jazz Records on August 13th. Nicholls' music uses acoustic piano as its key element, transporting the instrument into new territories that sound remarkably natural and organic, whilst displaying a strong kinship with the world of abstract electronic music. The music utilises piano loops and field recordings as its key elements, forming what might be described on the surface as a fascinating ambient jazz record – but at the same time there's so much more at play here on deeper levels. Dan's music sounds at once otherworldly and immensely inviting. After years of unlearning and unravelling the knots of a music college education – moving from a career in jazz, via electronic music, to a heartfelt embrace with rave culture and the feminist and queer theories which have so challenged perspectives across many disciplines on the objectified world and the values of capitalism – Dan Nicholls has spontaneously reimagined his relationship to the piano, that edifice of the decaying foundations of european classical music. Here the emphasis shifts from the Work (as object) to the work (as activity). Recorded with only a mobile phone voice recorder, eschewing the gloss of high fidelity audio to embrace the problematic cyborg appendage of the i-Fone VI-$, these lucidly dreamed tracks, like notes in a journal, find their depth and form through quick experimentation and distillation – layering, stretching and collaging in ways that treat the piano as a textural element in the daily soundscape, spilling into, and going along with, regular activities with no ceremony or established system to the process. For Dan, this is as much a documentation as a therapeutic process, casting aside the dogma and seriousness of much artistic practice whilst embracing joy and improvisation in order to search for deeper narratives. The speculative imaginings of three revolutionary thinkers, Donna Haraway, Ursula K. Le Guin and Karen Barad, have profoundly shaped the conception of this album, which also emerged from a deep interest in human relationships to ecstatic practices and communalities which have been so eroded by imperialist/patriarchal/capitalist forces. The title, "Mattering and Meaning", is a meditation on the crumbling habitual delineation and separation of both objects and definitions, including our (ironically) self-destructive human thinking patterns which position us as objective observers, above and over the world rather than inside it, apparently separate from nature and from each other. Like the melodies and themes which permeate these nine sonic tales, inextricable but nevertheless present, our world and our species prove to be more enmeshed, interconnected and interdependent than the dominant rationalism would lead us to believe. This album is a humble gift to the listener, a proposition for inclusion in their own ongoing soundscape, the perpetual activity of listening and awareness.

180 gram Translucent Vinyl Upgraded 350gsm SPECIAL MATTE FINISH jacket Japanese Style Obi Strip -和風帯- (wrap around right side) Poly-lined Black Vinyl Sleeves Analog Remaster Vinyl shipped outside of the Jacket in a Poly Bag

180 gram Translucent Vinyl Upgraded 350gsm SPECIAL MATTE FINISH jacket Japanese Style Obi Strip -和風帯- (wrap around right side) Poly-lined White Vinyl Sleeves Analog Remaster Vinyl shipped outside of the Jacket in a Poly Bag

In 1990 Ronald Lee Trent Jr. was the teenage creator of Altered States – a raw, futuristic techno-not-techno anthem, which in retrospect was something of a stylistic anomaly for the young artist. Across subsequent years, with time spent in Chicago, New York and Detroit, came the development of his signature sound, and renown as a world class purveyor of deep, soul infused house/garage. This story has already been told, and on casual inspection, the well-worn platitude ‘house music legend’ is an old shoe that still fits. However, in fact, he’s actually so much more, and has been for quite a while. A genuine musician, songwriter, and ‘producer’ in the proper, old-school sense, the artist today has more in common with Quincy Jones than he does your average journeyman DJ track-hack. 

To those in the know, these broader skills haven’t gone unnoticed, which is why on the highly collaborative, career-topping new LP ‘What Do The Stars Say To You’, it took little persuasion to recruit serious star power. Brazilian royalty Ivan Conti and Alex Malheriros from Azymuth, violin maestro Jean Luc Ponty, ambient hero Gigi Masin, hype band Khruangbin and more performed, whilst NY cornerstone François K provided mastering duties. At various points Ron himself played drums, percussion, keys, synths, piano, guitar and electronics.

Harking back to the 70s and 80s boom in adventurous, luxurious albums, WDTSSTY is a love letter to the longplayer, where rich musicality and a liquid smooth, silky flow make seemingly odd genre bedfellows acquiesce harmoniously. Each song its own high-fidelity odyssey, Trent incorporated a broad range of live instruments and electronics into a sophisticated, euphonic whole. Described by him as being “designed for harmonising with spirit, urban life and nature”, this is aural soul food, gently easing you into balmy nights, where everything is alright. 

Originally wanting to be an architect, Trent’s views his approach to collaboration and music in general as having the same principles. A firm believer in the nourishing qualities of sound, he sees direct parallels between the two disciplines, being as the purpose of good architecture is to improve quality of life. “With WARM, through sound design, I built frameworks for the musicians, who furnished and occupied these structures beautifully, which was a big compliment for me”, he comments. 

The conditions required for a good collab are more than simply structural though, as Trent expounds, “I’m a huge fan of everyone on the record, especially Jean Luc and Azymuth, who’re part of my DNA. Each track was made with that guest in mind – for example, when I started writing ‘Sphere’, I immediately thought ‘this IS Ponty’. I played the keys in his style, and did a guide violin solo using a synth, which he then re-did, amazingly. ‘Cool Water’ is based around Azymuth themes, so when I sent it to Ivan, he could immediately see himself in the piece; He got what I was going for straight away. For ‘Melt Into You’ I hit up Alex on Instagram, sent him the track, he liked it, and within 24 hours he’d sent back six different bass passes!” 

“Conversely, Admira began with a sketch sent by Gigi and became something combining Jon Hassell-esque chords and the feel of ‘Aquamarine’ by Carlos Santana, which links back to Masin’s recurrent nautical theme”, he adds. 

With community, history and the need for racial equality never far from Ron’s mind, ‘Flos Potentia’ translates from Spanish as flower power, but rather than promoting some hippy idyll, instead it refers to plants which drove the slave trade: tobacco, sugar and cotton. Joined by Khruangbin, together they propel Dinosaur L, Hi-Tension and afrobeat into an ethereal, clear-skyed stratosphere. 

Aside from these esteemed guests, other key influences cited by Trent include ‘Gigolos Get Lonely Too’ by Prince, ‘Beyond’ by Herb Alpert, David Mancuso, Jan Hammer, Tangerine Dream, The Cars, Trevor Horn, Alan Parsons Project and pre-Kraftwerk incarnation Organization. A multitude of others are audible too, including George Bension, Vangelis, Loose Ends, Maze, Flora Purim, Weather Report, Atmosphere, Grace Jones, James Mason and Brass Construction 

This unique work was released in 1982 as the final chapter in Brian Eno's Ambient series that began in 1978.

Ecological Plantron" (1994) is a radical installation that uses sound to experience the ecological chain that surrounds our bodies from the perspective of plants.
This is a reprint of "Ecological Plantron" (1994), a radical installation that uses sound to let us experience the ecological chain that surrounds our bodies from the perspective of plants.

Bio-artist Yuji Dohkin researched and developed an epoch-making system in the early 1990s to create a device that speaks to plants and is spoken to by plants, which is "Plantron" (*I have a related doctoral thesis).
(*There is also a related doctoral dissertation.) This device, which extracts ecocurrents from plants (orchids) and converts them into physical phenomena that can be perceived by humans, is primarily intended to explore whether humans can perceive the intelligence of plants, and is not intended to entertain physical phenomena themselves. Ecological Plantron" is the "sound" record of the first installation of this "Plantron" in operation.

In this work, the copper-plated "Plantron" is constructed by composer Mamoru Fujieda into a sound system for installation, and the ecological current generated by the communication between plants and the human environment is programmed and converted into electronic sound, emitting irregularly shaped and irregular electronic sound particles.
(*Note) If I were to use a strong analogy, I might imagine an atmosphere somewhat similar to that of Xenakis or Penderecki's graphic notation music. Ecological currents remind us of the experimental music of Rosenboom and Lussier, who used human brain waves, but this work is not human-centered but plant-first, and it should be noted that it is not presented as a "musical work" in the first place.

For this reissue, we have remastered the independent recordings made at the gallery and included two works derived from Ecological Plantron, "Mangrove Plantron" and "Pianola Plantron," on a bonus disc. The first LP version is also available.
Since the experimental release of this device in 1991, pseudo-similar attempts have appeared, but it should be noted that the original was "Plantron". The commentary includes the latest contribution by Copper Gold, which reexamines the story of this experiment and its development, as well as the intentions of this work.

Note: Fujieda rediscovered the "melody" that modern music had left behind in the process of trying to extract some kind of regularity from this uncontrollable mass of sound, and this led him to compose and publish a series of works called "Plant Patterns.

First time release on vinyl of the breathtaking songs Patty Waters recorded with engineer Steve Atkins in 1970 at the Coast Recordings studio, together with the unreleased single ‘My One And Only Love’ and a recorded live session at Lone Mountain College in 1974. The album ‘You Loved Me’ is the missing link between her two groundbreaking pioneering and highly acclaimed ESP-Disk records from the end of the 60’s and her post 90’s releases. The missing link between the radical ingenue of the 1960s and her late 90’s songs wherein she expressed the resolution of all of her life’s moments through mature readings of traditional songs and jazz standards. This album aims to provide that missing link and to finally complete the picture of her storied recording career. In what would have been her third LP, the ‘You Loved Me’ album serves as the inverse of Patty’s debut. While her debut “Sings” concerned itself with themes of heartbreak, loneliness and yearning, there’s an abundance of love, joy and togetherness on “You Loved Me”. Or in Patty’s own words: “I was a young girl alone at age 19, I was longing for love and dreaming of how wonderful love could be“ On ‘You Loved Me’ Patty Waters velvet voice captures this longing for love, straight from her soul to your heart. Crossing the border of avant garde jazz entering a strange zone, somewhere between spiritual jazz, early folk vibes on the songs on the A-side while the 14 minute composition ‘Touched By Rodin In A Paris Museum’ on the B-side is (dixit David Stubbs for Uncut in 2004) a brilliant extended showcase for the uneasy Cageian minimalism of her piano playing. 'You Loved Me’ proves also again why Albert Ayler introduced her to ESP-Disk president Bernard Stollman, why Miles Davis was impressed by her and why she can count Patti Smith and Yoko Ono (to name a few) amongst her fans.

eflet by Glass Museum Share / Embed In Wishlist view supported by Ian Carss thumbnail trunkene Flut thumbnail Sam Kirkham thumbnail arndess thumbnail mandr8ke thumbnail Nick K thumbnail bajo thumbnail 928toBe thumbnail Lockobucko thumbnail Sebastien Decarie thumbnail Jan Reynders thumbnail Stefan Reid thumbnail Matthew Goddard thumbnail craig andrews thumbnail Franck Fillon thumbnail Steve MacArthur thumbnail radiofan thumbnail Markus Speissegger thumbnail Chris Akers thumbnail renek(a) thumbnail Gary McMahon thumbnail Ed Grimley thumbnail Klaas Schotte thumbnail Ni-hepatic_disorder00 thumbnail John S thumbnail ping_ling thumbnail Jim McCarthy thumbnail JC thumbnail m_11 thumbnail lennyray thumbnail Nathan Lunsford thumbnail Michel Wacker thumbnail Laurent Harzé thumbnail Bdman thumbnail dj-yogi thumbnail Erik Anderson thumbnail adrien_ca thumbnail pnolle thumbnail jnorway61 thumbnail pie1862 thumbnail Sebastian Göhler thumbnail kudrnacek thumbnail BART GELDHOF thumbnail Mike Allin thumbnail Piero Niggli thumbnail qhyzix thumbnail Odysseas Vrontelis thumbnail oldcobbler thumbnail am0z thumbnail gazjones59 thumbnail Ingo Steinhaus thumbnail blackbirdy thumbnail dragosh44 thumbnail uaxo thumbnail Mason Shivers thumbnail Fabrice Marlet thumbnail danglery thumbnail David Fasano thumbnail overeasyplease thumbnail fat_beatz thumbnail more... Swimming Trees 04:01 / 04:58 Digital Album Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Buy Digital Album €8 EUR or more Send as Gift Vinyl Album Record/Vinyl + Digital Album package image Standard Black Vinyl Includes unlimited streaming of Reflet via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. shipping out on or around June 24, 2022 Buy Record/Vinyl €19 EUR or more Send as Gift Compact Disc Compact Disc (CD) + Digital Album package image Compact Disc Includes unlimited streaming of Reflet via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 2 days Buy Compact Disc €12.40 EUR or more Send as Gift Limited Vinyl Album Record/Vinyl + Digital Album package image Limited crystal clear vinyl Includes unlimited streaming of Reflet via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. Sold Out 1. Caillebotis 05:28 2. Shiitake 05:20 3. Ellipse 05:37 4. Reflet 05:42 5. Swimming Trees 04:58 buy track 6. Auburn 03:46 7. Opal Sequences 06:01 8. Kendama 04:33 about Belgian instrumentalists Glass Museum have found the perfect balance between piano and drums, where jazz and electronics collide, uniting the surgical precision of the best contemporary jazz, à la Gogo Penguin and Badbadnotgood, with the electronic influences of Jon Hopkins or Floating Points. In motion since 2016, the duo consisting of keyboardist Antoine Flipo and drummer Martin Grégoire, have a rich history written around a powerful connection to duality. From the initial impact of the ‘Deux’ EP in 2018, to the synthetic and organic textures of the critically acclaimed 2020 album ‘Reykjavik’, Glass Museum has found its balance in symmetry. Released 29th April via the groove-obsessed Sdban Ultra label, ‘Reflet’ was born out of a desire for freedom, a wish to innovate and travel differently. This new piece stands out as an artistic climax crafted at the crossroads of time and genres, an electronic proposition wrought by two brave hearts, tempered by the organic reflections delivered through computer free melodies. An album which places the human at the core of its compositions and in order to return to a more instinctive and instantaneous means of creation, the duo retreated to a secret location in one of the most remote parts of the Ardennes. It’s there, in the shade of spruces, that the album was first born. Extremely cinematographic, ‘Reflet’ delivers a panoramic view point: jazz, breakbeat, minimal techno and deep house, collide on neo classical grounds. From the dynamic instrumentation of album opener ‘Caillebotis’ to the absorbing oscillations of ‘Shiitake’ and grand gestures of the album title track, ‘Reflet’ is an odyssey running through troubled times, an ode to night time, to life, dreams and to all rhythms that convey emotions beyond words. Like its immersive creative process, the album offers a counterpoint and, above all, endless perspectives. Elsewhere, the pulsing, melodic ‘Auburn’ and entrancing electronic textures of ‘Opal Sequences’ continue the exploration before the strutting ‘Kendama’ showcases the electronic sensibilities that are buried within their productions.

Sdban Records is delighted to announce the reissue of this genre-defying jazz album originally released on library label Selection Records in 1972. Delving into the story of the American pianist and composer Phil Raphaël reveals more questions than answers. He was born in New York where he played with Charlie Parker, Jon Eardley and Howard McGhee, but a 1951 recording with Red Rodney for Prestige Records is the single remaining trace of his bebop days. Raphaël appeared under unknown circumstances in Belgium in the 1960s, playing among others at the 1966 Jazz Bilzen festival, and he eventually settled in Brussels. A multifaceted musician, he did not limit himself to jazz and also worked in pop groups, directed the music for the spectacle Hair, and even had a brief residency at Pol’s Jazz Club where he played the music of Johann Sebastian Bach four nights per week. His album ‘Stop, Look, Listen’, which was recorded with the rhythm section of Babs Robert’s group, consists of four long genre-defying tracks colored by the dreamlike vocals of opera singer Rose Thompson. A surreal blend of genres, hard to pin down. It’s highly imaginative jazz, that much is sure. Raphaël shifts from serene late night piano jazz to more free or even spiritual passages, magnificently paired with the otherworldly vocals of Rose Thompson. The LP was put out by Selection Records, a label that primarily issued library music at the time, and thus went largely unnoticed upon release. The recording makes clear that Phil Raphaël was a highly gifted artist whose talent will forever remain undervalued, since it was his only effort as a leader. Raphaël’s passage through the Belgian nightlife was just as mysterious as his music, and few people seem to remember him. Drummer Bruno Castellucci describes him as remarkable, both as a musician and as a person: “He was a hippie before there were hippies. He wasn’t part of the system but he had a system of his own.”

Donato Dozzy and Milanese veteran Stefano Ghittoni mint a new series on Dozzy's Mage Circe Musica imprint, channeling Daniele Baldelli's cosmic disco manifesto and exploring screwed rhythms, psychedelic electronix and blunted dub atmospheres. So good - imagine a half-speed Shinichi Atobe or Rrose spliced with GRM-damaged concréte FX and percussion courtesy of Konono No.1. Basically it's peak Dozzy syrup - Tip! Alicia Carrera and Donato Dozzy's Maga Circe Musica label has quickly established itself as an outlet for some of the most impressively tight experimental slop we've heard in ages. Dozzy and Ghittoni's first La Petit plate is no different, using the enduring influence of Northeastern Italian electronic music (think Baldelli and Marco Dionigi) to help transform and repurpose dub techno, folk, ambient music, jazz and global sounds. If Baldelli and Dionigi were best known for pushing disco's tempo down to a crawl, Dozzy and Ghittoni do the same with their wealth of diggers' influences, dipping hollow 4/4 percussion and syncopated hand drums to a chug on 'Sukia' and slowly building an atmosphere with low-slung bass and spooked electronics. Imagine holding down the pitch slider on a Badalamenti score and a Funkadelic 12” playing at the same time, for the gist. On 'Lanquidity' the duo pull in horizontal dub pads and place them against a resinous thud and swirling dub FX, played slower than it should be and somehow operating in the same gloopy zone as Newworldaquarium to emphasise mood and texture over technical trickery. 'Niento’ is even better, using smeared LM1 claps for a sort of assymetric, purple funk played at -8 while taking a fourth world-inspired rhythm and welding it to lysurgic synth drones and nipped kicks - it's a mid-point between vintage bleep techno, cosmic disco and rhythmic psychedelia. 'Le Petit' is over too soon, but gives us plenty to chew on: anyone who enjoys Dozzy's genre-agnostic DJ sets or the fertile area between hazy ambience and half-speed dancefloor zones - this one’s a killer.

Like a rediscovered Viking burial ship, Electro Nova compiles near-mythical drone recordings produced in 1998 and described by Helge Sten aka Deathprod as some of the most important music to ever come out of Norway. It's the work of Kåre Dehlie Thorstad and compiles two of the earliest releases on Smalltown Supersound, back when it was basically no more than a bedroom operation. It’s taken over two decades, but finally the label have given the material a first ever proper release on vinyl, complete with mixing and mastering by Deathprod. If you’re into the ice cold swells of anyone from Thomas Köner to Harley Gaber, Biosphere, Kali Malone or, of course, Deathprod - this one's as essential as they come. Kaare Dehlie Thorstad's Elektro Nova produced just two releases during the late ‘90s that have since slipped into drone lore - Trans-Inter-Ference and Elektro Nova/Electro Nova. Admired not only by Deathprod and Joakim Haugland of Smalltown, but also by his contemporaries Lasse Marhaug and Biosphere, his work has evaded pretty much any attention outside of Norway these last two decades. Following a chance meeting with Thorstad at Oslo airport a few years back, Smalltown were prompted to give the recordings a second wind, presenting what is essentially a captivating new release, and crucial addition to the Norsk drone canon. As the story goes, Thorstad was studying photography in the late 90’s in Scotland, but instead of delivering a photo for his final exam he made a record - a double album (2CDs) and a 10” to be precise. That should provide some idea of the textural synaesthetic and landscaping qualities evoked by his music, which he ended up sending to a then-young Smalltown label, who were mostly issuing tapes at the time. With no proper distribution the records largely bypassed wider attention, and become a personal favourite of Smalltown’s Joakim Haugland, as well as avowed fan Helge Sten (Deathprod), who helped render its diaphanous scale in mix down, and Lasse Marhaug who describes them as "two perfect records that deserved much bigger attention”. Between its jaw-dropping opener; the post-apocalyptic vision of its untitled part; and the cinematic white-out of the 10” tracks; Thorstad comes as close as we’ve ever heard to evoking the inhospitable nature and stark beauty of the wild far north. We can hear those landscapes palpably internalised and alchemically transmuted into its coarse grained textural swells and a reverberating multi-dimensionality, variously sustained to extents that evoke an abandonment of the senses, or likewise squashed and isolated to imply the relative anxiety relief of atmospheric flux, where a few degrees temperature rise or a drop in the wind speed can make the difference between life and death. Impressively, Thorstad realised after the release of Elektro Nova and just two live shows that he couldn’t really follow up the work and instead pursued a career as professional cyclist, eventually combining his visual skills to become a pro cycling photographer. In that sense, he’s a bit like composer-turned-tennis coach Harley Gaber, whose almighty ‘The Winds Rise In The North’ (1976) is in some ways richly prescient of this work. Like Gaber, Thorstad can remain safe in the knowledge that his contribution to the drone sphere will endure for the ages, especially with this important, impressive new edition.

Jake Muir’s by-now classic debut for sferic is a thing of spectral wonder; a luxurious set of gently phased and looped edits and field recordings based around gutted Beach Boys samples cast adrift in a sea of atmospheric shimmers. Followers of work by Jan Jelinek, Pinkcourtesyphone, Andrew Pekler or even Rhythm & Sound should be all over this one - a highly immersive exercise in blissed worlbuilding.

sferic cruise the best coast with Jake Muir, an artist and field recordist hailing from Los Angeles, California, who has quietly become one of the more interesting operators in this crowded field. His conceptual approach to sampling follows a lineage of artists at the very top of the game - from Fennesz’s re-imagined cover-versioning on his pioneering ‘Plays’ (also using the Beach Boys as source material), to DJ Olive’s quietly radical Illbient movements in the mid 90’s, to Jan Jelinek’s loop-finding heyday a decade or so later. Muir isn't so much interested in making sounds for mindless zoning-out, but instead evaluates the very essence of sound itself, in a way that feels like a microscopic view of the very fibre of popular music.

On ‘Lady’s Mantle’ Muir combines these elements with aqueous field recordings made everywhere from Iceland to the beaches of California with results that limn a wide but smudged sense of space and place. With fading harmonic auroras and glinting, half-heard surf rock melodies, the album is rendered in an abstract impressionist manner that suggests a fine tracing of in-between-spaces, perhaps describing the metropolitan sprawl giving way to vast mountain ranges and oceanic scales.

In effect the album recalls the intoxicated airs of Pinkcourtesyphone (a.k.a L.A. resident Richard Chartier) and Andrew Pekler’s sensorial soundscapes and even the plangent production techniques of Phil Spector and the subby sublime of Rhythm & Sound. For all its implied sense of space, there’s a paradoxically close intimacy to 'Lady’s Mantle’ which feels like you’re the passenger in Muir’s ride, and he patently knows the scenic route...

(Boomkat) 

This is the second album after the transfer of the company, which was released in 1995, and is a compilation of songs created between 1990 and 1994. The album is a work that encompasses the dichotomy and diversity of the Aphex Twin, with acid, noise, and broken beats that could be described as "drill'n'bass," while following the ambient, IDM, and hardcore techno of the early days. The album contains 12 tracks, including the single "Ventolin," which is a strong industrial downtempo explosion, and "Alberto Balsalm," a song that is often mentioned alongside "Xtal. 180g vinyl.

Omni Gardens is the experimental ambient/new age project by Moon Glyph head Steve Rosborough. Recorded at home in Portland during the early days of covid, "Moss King" is relaxed home listening for difficult times. The first Omni Gardens release, “West Coast Escapism”, was expansive with a broad selection of soothing synth tones and morphing samples. In contrast, "Moss King" is a smaller, more intimate affair, full of fuzzy new age moog drifters and self-captured field recordings. The tracks bounce between minimalist twinkling synth plucks, ocean-backed synth pads and ambient pop forms. Playful, serene and healing sounds for watching your plants grow.

Loris S. Sarid is an ambient composer and artist born in Rome but now resides in Glasgow. His previous release, "Music for Tomato Plants", was a quiet exploration of kalimba, glockenspiel and plucky synths. On his debut LP, "Seabed-Sunbath", Loris submerges into aquatic terrain with an expanded palette of virtual pianos, soft horns, kalimba, strings, synthesized voices, textural field recordings and a wide array of soothing electronic tones. On “Oats with Sarah” and “Lobster Island”, he also incorporates live performance with collaborators on cello and voice. Many try to use computers to write human sounding compositions but Loris works in the inverse, emulating computer generated songs via his personal touch. The final results are mesmerizing, peaceful, distinctive and varied. "Seabed-Sunbath" is the sound of contemporary electronics bubbling underwater, flowing between ecosystems and settling into a quiet oceanic basin.

Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious. After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway. Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with esteemed avant-noise artist Lasse Marhaug. Together, they envisioned making music somewhere in between Throbbing Gristle and Enya, artists who have had an enduring impact on Kelly’s creative being. In doing so, they paired tough, industrial sounds with ethereal Celtic mysticism, creating music that ebbs and flows between tension and release. One month later, Kelly called her label to tell them she had created something of an outlier, her ‘eighth album’. Lasse Marhaug is known for hundreds of avant-noise releases, previously working with the likes of Merzbow, Sunn O))) and Jenny Hval, for whom he produced her acclaimed albums Apocalypse, Girl, Blood Bitch and The Practice Of Love. A label mate of Kelly’s, Marhaug has recorded for Smalltown Supersound since 1997. Welsh electronic artist Kelly Lee Owens released her eponymous debut album in 2017 and followed this up with 2020’s Inner Song. She has collaborated with Björk, St. Vincent and John Cale. In April, she returns with LP.8.

While Chrisman's "Ku Mwezi" ep mostly explored gqom and trap influenced Afrohouse mutations, his debut album heads in a different direction. On "Makila", Chrisman provides an experimental vision of the taraxina sound: a molasses-slow fusion of the Angolan kuduro and kizobma dance templates that dips in-and-out of fuzzy drones and syrupy gqom. On 'Angels of Kivu', he pushes the clicking skeletal rhythm into the background, allowing electrified likembé melodies to take pride of place. It sounds like Congolese legends Konono No.1 shocked into a psychedelic electronic future by way of Durban. 'Fatiliya' pushes more solidly into taraxina territory, with familiar saw synths accenting low 'n slow kicks and air blast leads. The backbone is Angolan, but Chrisman approaches his music with a full awareness of Atlanta trap and gqom, never ignoring the gut-rattling pressure of sub bass. That's never more evident than on the title track, where he constructs a haunted atmosphere of bells and drones to sit beneath staccato percussive hits and and winding drill slaps. "Makila" is challenging music that takes divergent African forms and melts them together with next level skill and sleight of hand. It's another bold step for East African electronic music that underscores the wild creativity and talent emerging from the Democratic Republic of Congo.