NEW ARRIVALS

ドイツ・ハンブルクを拠点にニューエイジ・リバイバルを牽引したBasso主宰の名門レーベル〈Growing Bin Records〉や、ギリシャ系ニューエイジを掘り起こした〈Into The Light〉などからのリリースや、アンビエント・ダンス・ユニットEarth TraxやPtakiなどの名義でも活動するポーランド・ワルシャワのバレアリック／アンビエント鬼才ことBartosz Kruczynskiによる最新ソロアルバム、今回も凄い才能＆内容！16年リリースの『Baltic Beat』が当店でも大ヒットを記録した人気アクトによる、4年振り最新アルバム！温かみのあるビブラフォン、張り詰めたアルペジオ、重なり合うストリングス、孤独なディレイチェーンなど、アンビエントの重なり合うスタイルに、常に独自のスピンを加えてきた名手による、安定のバレアリック／アンビエント作品！

A vibrant abstract bossa nova sound in the vein of Tropicália, incorporating hip-hop, soul, reggae, and more!

In addition to Céu, the album was recorded at Linear Labs Studio in Los Angeles, produced by Adrian Younge, one of the founders of Jazz Is Dead, and Pupillo, drummer of the legendary eight-piece Brazilian mixed hip-hop band Nação Zumbi. The album was recorded at Linear Labs Studio in Los Angeles. The album features American female rapper LadyBug Mecca, French senegalese singer anaiis, Loren Oden, a member of the psychedelic soul band Venice Dawn led by Adrian Young, Thee Sacred Souls on vocals Jensine Benitez, French keyboardist and producer Hervé Salters (General Elektriks), and Brazilian national treasure Marcos Valle. Nominated for a Grammy Award in the World Music category, this is Céu's first ambitious album in five years, which continues to captivate audiences at prestigious festivals around the world.

FIRST EVER INTERNATIONAL RELEASE OF RYUICHI SAKAMOTO'S LANDMARK 1983 ALBUM "CODA," HIS RENDITION FOR SOLO PIANO OF THE 'MERRY CHRISTMAS MR. LAWRENCE' SOUNDTRACK. FEATURING REMASTERED AUDIO AND NEW LINER NOTES BY ANDY BETA.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Coda”, issued in Japan in 1983 as a solo piano version of the "Merry Christmas Mr. Lawrence" soundtrack. The album, which was never been released outside of Japan until now, sees Sakamoto on acoustic piano reinterpreting fascinating versions of his famous soundtrack including the classic theme and "Germination," which was later used in the "Call Me By Your Name" soundtrack. This reissue has been remastered by Seigen Ono's Saidera Mastering studio in Tokyo and boasts the original artwork plus a 4-page insert with new liner notes by Andy Beta.

- First international release of the album
- Audio remastered by Saidera Mastering in Tokyo
- Original artwork with OBI and 4 page colour insert
- New liner notes by Andy Beta

Tracklist
SIDE 1
1. Merry Christmas Mr. Lawrence 4:49
2. Batavia 0:50
3. Germination 2:09
4. A Hearty Breakfast 1:18
5. Before The War 1:44
6. The Seed And The Sower 3:55
7. A Brief Encounter 2:27

SIDE 2
1. Ride Ride Ride 1:02
2. The Fight 1:20
3. Dismissed! / Assembly 1:50
4. Beyond Reason 1:26
5. Sowing The Seed 1:31
6. Last Regrets 2:05
7. The Seed 1:06
8. Japan 2:58
9. Coda 5:32

Glenn Gould's great starting point is now available in Japan in analog form from monaural masters for the first time in 57 years.
Limited Edition] Analog / 180 gram weight vinyl version.
The debut album "Goldberg Variations" was released in January 1956 and made the young Glenn Gould's name known worldwide. The last album released before his death, "Goldberg Variations," was released in September 1982, about a month before Gould's death. This work frames Gould's life like a closing circle, and is indispensable in considering his unique music. When we think of Gould, we think of Goldberg, and vice versa.
The first of a special series of six analog reissues of four different performances of this important work is the debut recording, made over four days in June 1955. It is the most successful classical music album of all time and an icon in recording history. It was cut at Sony Music Nogizaka Studio in Japan, based on high-resolution recordings carefully transferred from the original monaural masters, which were never released out of the gate.

Originally released on CD in 2000 from South Indian Carnatic music label and reissued on vinyl and digital first time in 2019 by Time Capsule. New 2024 repress vinyl has different tracks on the B side and it still remains as the reverse cut as the 2019 version.

⚠️Reverse Cut Vinyl ⚠️

This record plays from the inner groove to the outer groove. You don’t need to change any settings on your turntable; Just place the needle where the record usually finishes and play normally.

A long-playing record like this (over 20 minutes long) tends to have lesser dynamics and sound quality when it’s closer to the center of the record due to the progressive reduction of linear resolution as the record progresses to smaller diameters. Since this music starts quietly at the beginning and then has greater dynamics and volume towards the end, this way of cutting vinyl yields superior results.

2024 new vinyl press tracklist

A1 : Sada Bala (Slokam)
A2 : Bhajeham Bhajeham
B1: Keshvaya Namaha
B2: Raghavam

When Festival de Frue’s organizers asked Sam Wilkes to put together an ensemble for their 2022 festival, they initially asked for the band he created for his 2021 album “One Theme & Subsequent Improvisation.” With keyboardist Chris Fishman (Pat Metheny, Louis Cole) the only member of that group who was available, Wilkes asked that the organizers select one of two groups as an alternative: a Trio featuring drummer Craig Weinrib (Henry Threadgill, Amen Dunes) and guitarist Dylan Day (Jenny Lewis, Jackson Browne)—with whom Wilkes recently released a trio album—or a Quartet featuring Weinrib, Fishman, and keyboardist and guitarist Thom Gill (KNOWER, Joseph Shabason). “I couldn’t make the decision on which band I should bring, I felt very confused about it,” he says. Through a strange series of miscommunications—or simply a bit of serendipity—both Wilkes and the Frue organizers thought the other had suggested combining the ensembles into a Quintet including members of both groups. An idea that neither side voiced somehow became the obvious choice. The combined Quintet represents what Wilkes calls “two disparate worlds in my community,” that of the “virtuosic, fast-paced grid” of music played with Fishman and Gill, “and this other thing with Dylan that’s coming from different elements of traditional American music.” Luckily, Weinrib fits seamlessly into both worlds. While all members of the group played on Wilkes’ 2023 album Driving, they’d never all played together. They had one five-hour rehearsal in Tokyo, but, Wilkes says, “It was impossible for me to predict how this music was going to sound.” His strategy, after showing them the arrangements of several of his own compositions and a few covers, was to “allow everyone to blossom fully” with the hope that “what I’ll get is everyone’s personality being expressed unfettered.” iiyo iiyo iiyo is Sam Wilkes’ fifth album as bandleader and arranger, and the atmosphere is so rich it spills out of the speakers. The album, a document of the Quintet’s meeting, was recorded live at Festival de Frue in Kakegawa and at WWWX in Tokyo, where they played headlining sets for hundreds of people. Not that you’d know it from the intimate interplay between the players or the small-room feel of the recording. In opener “Descending,” which made its debut on Wilkes’ 2018 self-titled album, the mood is so cozy you’d swear the sound of kids at play in the back of the hall had been sampled in—another perfect bit of serendipity. For Wilkes, setting the right tone for a performance or a recording is paramount, and it’s inseparable from how he understands his role as a bassist. “My entryway into understanding my thing, what I care about the most in music, was through accompaniment; focusing on time, feel, tone, form, and most importantly, listening.” he says. “There are things that are ineffable about that, which is the energy. But there are also conscious and subconscious decisions, where I’m arranging and orchestrating to create the ultimate environment for, say, Dylan to play his melody over, or Thom to play his. Those are choices as much as reactions, combining in equal parts in-depth preparation and total improvisation” The title iiyo iiyo iiyo is a Japanese expression used in response to an outpouring of gratitude, a cheeky way of brushing the accolades off of oneself. Accordingly, the record is full of charming, homespun personality. In a gorgeous version of the standard “I Wanna Be Loved,” Day plays the melody in a way that moves between washed-out ambient gauze and a traditionally beautiful run of lines that echoes the Dinah Washington original. While the band circulates the mantric melody in “Descending,” Fishman dots around it on his Moog One, opening a new seam in a song that’s quickly become a Wilkes standard. Weinrib’s patient, impressionistic brush strokes seem to swirl beneath the melody, while Gill fogs the room with thick, reverb-heavy accompaniment from his keys. And where is Wilkes in all this? He’s guiding his friends, helping them decorate a room that he himself built, drawing them deeper into the song’s wistful, hopeful, grounded atmosphere. His polyphonic voicings—a signature of his playing—sets out the song’s boundaries and acts as both its musical and emotional anchor. It’s the approach Wilkes takes across the album, using his phrasing as both the music’s gravitational center and its heart, and he does it to perfection in the opening minute or so of “Girl.” The song originally appeared on Sam Wilkes “Sings” (2014–2016)” in what he calls a “psychotically different arrangement.” On stage in Kakegawa, he slows the song to a crawl and isolates its central chords. He plays them gently, patiently; he voices the chords with the clarity of a person who’s just cried out all of their confusion. As Wilkes says, his role as a bassist means that he’s the foundation of these songs, and foundations by their very nature tend to be obscured. Here, for one lovely moment, he strips everything back to the studs, revealing the lush architecture that holds this miraculous music together.

Previously unreleased live recording from the Ranta archives. The creative duo of Michael Ranta and Takehisa Kosugi performed many times in the 1970’s and 1980’s. On this outstanding performance, recorded at the Japanese Culture Institute in Cologne in 1987, the application of an advanced multi delay system, independently utilized by both players, plays a central role. The smartly treated cyclic tapestry of the delay system (modulated, transformed, harmonized) injects additional dimensions to the highly coordinated improvisation with voice, percussion, violin and electronics, creating interactive ‘composition-like’ textures being ‘Multiple Musics’.

Miraculous reissue of a Japanese 80s new age - ambient masterpiece! The spiritual sound spun by the original composition of synthesizers and live sounds such as flute, oboe, guitar, and percussion!

After a classical career as a flutist, Matsuzaki became a composer/arranger in 1982, and from 1985 to 1987, she worked as a studio musician and tour support member as a flutist, synthesizer/keyboardist mainly in London, gaining a high reputation overseas without passing through the Japanese music scene. Yuko Matsuzaki, who was highly acclaimed overseas without passing through the Japanese music scene, has decided to reissue "Raden no Hako (Box of Raden)", an extremely rare album she produced in 1985 before moving to the UK in a limited edition of 100 copies/LP only! The spiritual and fantastic sound with a hint of Japanese taste in many places was inspired by Simon Jeffs of the Penguin Cafe Orchestra, who heard this work and decided to participate in "Pink, Blue and Amber" by Roderius, a German electronic musician and pianist known for his work with Cluster, Harmonia, and others. This album is a world-standard masterpiece that was born in Japan during the late 80's, when ambient music was expanding globally along with the rise of house and techno music!

Building off of their debut album last year, legendary musicians and 577 mainstays reunite for a second volume. As in the first, saxophonist and multi-instrumentalist Daniel Carter, pianist Leo Genovese, bassist William Parker (also playing Gralla and Shakuhachi on this album), and drummer and vocalist Francisco Mela, unite for another cosmic album. This project again draw from classic jazz arrangements, juxtaposed with a modern experimentalism and a huge range of instrumentation. Shine Hear, Vol. 2, their newest avant-garde album is testament to their mastery and ease. The album and tracks titles are inspired by another poem Carter wrote about the transience and motion of modern life. The project will be released LP/CD/DL this September.

After two years since second effort Eurybia, Francesca Heart returns to Leaving Records with a new seven-tracks album detailing the progress in her personal musical lore. Bird Bath expands on the musician’s childlike cosmic approach, crafting new tales where feelings and symbols of unearthly love and possibility, inner protection and desire become the album’s pillars. An iteration of the artist’s interest in mediterranean mythology and the evolution of sacred icons, Bird Bath begins with the figure of the angel as depicted by early renaissance Italian painter Beato Angelico, visible at Monastero of San Marco in Florence. In that period, the not-yet-achieved perfect perspective in painting would give an abstract feeling to the image, leaving room for imaginative contemplation and therefore aiding the monks in meditating for long periods of time. As the album unfolds, the listener is playfully transported through a puzzle of whispering grottos, mossy architectures and theatrical fountains that follow the idea of the Genius Loci, the generative essence of places, and the guardians that may inhabit them. It therefore calls for a devotional relationship to nature. Bird Bath is a playful, adventurous, and whimsical journey towards embracing a delicate vulnerability. Through Francesca’s imaginative musicality, the sacred unites with the mundane, the digital and even the kitsch to generate a healing field where her compositions can come to life. In Rose Petal Place fantasy-tales meet video game sounds with a repetitive, samba-like rhythm that could recall a secret spring party. Caryatids evokes marine ambiences and insular melodies and was inspired by the island of Ponza. Angelsummit.net is a tender sound tapestry enriched by sampling which invites the listener to collect shiny floating gems along the way. Continuing in the spirit of Eurybia, Bird Bath uses fantasy as a musico-devotional choreography where Francesca’s intuitive and impressionistic approach to composition, reefs of midi arpeggios, constellations of samples and foamy ambiences become instruments to build and connect the virtual, spiritual and earthly channels of the artist’s labyrinthine and spellbinding world.

The Intercommunal Free Dance Music Orchestra was created in 1971 by an “old hand” of French free jazz, François Tusques. Free Jazz, was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. After having wondered, together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), if free jazz wasn’t a bit of a dead end, Tusques formed the Inter Communal, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).{French Popular Music, ndlt} As with L’Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a “people’s jazz workshop”. In 1981, at the then famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu an “afro-Catalan tale”. Over a slow bass line (exceptional work from Jean-Jacques Avenel) backed by percussion from Kilikus, saxophones (Sylvain Kassap and Yebga Likoba) and trombone (Ramadolf) which presented a myriad of constellations. The sky has no limits, let’s make the most of it. The following year, at the ‘Tombées de la Nuit’ festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive “brotherhood of breath”: Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on… bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.

"Anthony Linell's Lundin Oil project suggests a politic and an aesthetic in one swift movement. We may make certain deductions about each, but we must work backwards from where they meet. Through the brutalising industrial mechanisms to which titles cryptically allude, we are given an exponentially urgent image of devastation. This is projected, pitch-perfectly, into a rapacious and erosive aural demonstration that barely meet metrical demands. Exploit Divisions, the first Lundin Oil release since 2016, redoubles this threatening realisation. The album pivots between seismic static waves and jagged rhythmic noise, seeking a wider vantage with melodic drone ensembles. A ferocious departure from his primary work, Exploit Divisions is a purposeful reminder of the savagery of brevity." Words by Patrick Quick

Markus Guentner returns to his longstanding label, A Strangely Isolated Place following the triptych of Theia, Empire, and Extropy, presenting eight inspiring collaborations on Kontrapunkt. Collaborations are nothing new to Markus, but it’s hard to see beyond his strong singular presence as a pioneer of long-form ambient and drone. Collabs have punctuated his albums in various places over the years, and he is no stranger to working as a duo amongst other projects, with such a strong conceptual thread throughout his prior ASIP releases, Kontrapunkt represents a literal pivot and counterpoint in his production approach. Instead of music encapsulating a strong conceptual narrative, Kontrapunkt sees Markus create a dialogue between himself and a collection of inspiring production partners. Kontrapunkt opens with ‘Vanish’, a widescreen cinematic odyssey created in collaboration with fellow German and Affin label-head Joachim Spieth, forming the perfect opener with its modest subtleties. Australian-born Karen Vogt, renowned for her voice layering and looping, brings a beautiful, and natural addition to ‘All Light Will Remain’. Sonae, who appeared on ASIP’s early digital releases, demonstrates her evolution into experimental flourishes with ‘Farbe Der Nacht’, adding pulsating techno tendencies and a menacing, metallic approach to Markus’ foundations. Multi-instrumentalist Pepo Galán harmonizes beautifully with Markus on ‘Ancestral Images’, adding complex nuances to a slowly evolving euphoric piece. A master of synthesis, Arovane delivers a powerful display of supercharged electronics and coils of energy on ‘Utopian Fragments’. Benoît Pioulard's renowned expertise with guitars and tape distortion become a perfect counter to the electronics of Markus, blending styles seamlessly on ‘Father Of Waters’. ‘An unstoppable force meets an immovable object’ on ‘While Hunting Nightmares And Dreaming For Peace’, as Abul Mogard adds powerful restraint in a meeting of two drone titans. The album concludes with ‘Presence’, where Hollie Kenniff’s uplifting vocals provide a shimmering finish, perfectly bookending an album of perfected counterpoints and evolutions on the Markus Guentner sound. Kontrapunkt will be available on Gatefold Black/Grey/Blue marble 2LP, digital and streaming on August 30th 2024. Mastered by Gio at Artefacts Mastering, Berlin, and featuring artwork by Noah M / Keep Adding.

For AI-38 Italian duo LF58 (Giuseppe Tillieci and Filippo Scorcucchi) present ‘Radials’. A site-specific concept piece that was recorded live on location in Venice, Radials showcases the powerful and transportive sound world which LF58 have become known for. Radials takes its name from the homonymous exhibition created by the Roman artist group Sbagliato, for the 2023 Biennale Architettura of Venice. Following a landmark renovation of the Fondaco dei Tedeschi by renowned Dutch architect Rem Koolhaas, Sbagliato proposed the spatial transformation of the historic sixteenth-century building that would blur the lines between fiction and the real. The concept, to create unexpected “voids” within the fixed order of architecture, prompts the observer to question the fleeting and subjective nature of the reality that surrounds us. The building’s main loggia – a series of five archways exposed to the Canal Grande – take on a theme of reproduction and multiplication, giving rise to infinite perspectives in a dizzying mise en abyme. Through the portal-like potentialities of the loggia, the visitor enters the gateway to a fluid realm of distorted time and space. LF58 arose to translate the visual concept of Radials into sound, delivered through a special quadraphonic concert performed at the Fondaco dei Tedeschi in October 2023. Quadraphonics, with its four distinct audio channels, were used in direct correlation with the visual elements of the installation to immerse the audience in a dreamlike, multisensory experience. The opening scene of running waters and the cacophony of the bustling city streets quickly dissolves under the chiming of nearby bells, as hidden liminal spaces become revealed. It’s not long before all remnants of the ordinary are left behind, as the listener is submerged into the shimmering frequencies of parallel dimensions. A spatial soundscape of ever-moving forms and colours, Radials descends into ever-deeper waters. As the facade of what was once known falls away, a transportive journey of mind-body alterations begins.

Rolf Gehlhaar (1943-2019) was an instrumental and electronic music composer, and a pioneer in computer controlled interactive music. He grew up in the US where he studied philosophy and composition at Yale University. In 1967 he moved back to Germany to become Stockhausen’s personal assistant and member of his performing ensemble. In 1969 Gehlhaar co-founded, along with Johannes Fritsch (Metaphon 012) and David Johnson, the Feedback Studios in Cologne, a new-music performance center and publishing house. He later moved to England, where he became in 1979 a founding member of the Electro-Acoustic Music Association and later on senior lecturer in design and digital media. Gehlhaar's compositions include symphonies, instrumental works, experimental and electronic music, interactive computer controlled music and everything in between. The three previously unreleased tracks on this LP only show a glimpse of the versatility of his adventurous and innovative musical ideas. The LP comes with a foldout insert including photos and extensive program notes.

This album is a bit of an accumulation of coincidences. It is the first recording session I did with Kris Vanderstraeten, back in 1994, together with Daniel Duchamp and Luis Ferin. The session recording had since disappeared from attention and 30 years later, while going through old DAT tape archives, I came across it by chance, initially even not knowing who/what it was... The tape started with a recording of cars, captured from my balcony in Brussels, where I lived at the time. I decided to integrate the cars as an intro to the music session that fitted in seamlessly. Both the recording quality and the musical performance were remarkably good. A lost and found little treasure. It was a refreshing time for me, playing with people from a jazz and free improvisation background. We became good friends.

Not to be confused with the In Camera who had a couple of post-PiL releases on 4AD in the 80s, this In Camera is the work of Christoph Heemann and Timo Van Luijk. Four years after they got Lost in Spice they reached the point of Arrival. An altar on the surface of the water is burning with flames. Behind it you can see a half of the Earth’s globe, and on it there’s a bright throne. A pale, translucent ruler wearing a crown sits in the throne. The globe is surrounded by a ball of shadows on which sits a larger dark ruler on a dark throne. Behind the globe are mountain peaks, and all of it is reflected in the water. Above the mountains are clouds which merge into rivers and end in a curved horizon on which forests stand, and the sun rises between them. Above this horizon is another sky with lunar crescents and comets. Above this sky are rows of angels bent over, above which the stars shine. The sun shines in the top left corner and the crescent moon in the right.

Ludvig Cimbrelius returns with his third full-length album on ASIP under his illustrious ambient jungle/drum’n bass alias, Illuvia. Shifting focus from the stratospheric highs of 2021’s Iridescence Of Clouds, Ludvig now reflects on the meaning and spectrums of life on Earth. "According to my lifelong research, Earth appears to be a modulation of light. It is said that what the eyes receive are rays emitted by a star, whose flow of photons is invisible to the human eye until they are reflected and modulated by matter. Matter — the patterned dance of charged particles appearing out of nothing. Simultaneously, it is observable that light converts into matter. And matter converts into light. Logic tells me that they are one, appearing as two. And, as a consequence of their division and subsequent interaction, the spectrum of a world appears. Being a manifestation of something as ethereal and ephemeral as light modulated by the dance of charged particles, the world feels surprisingly solid. Less like a prism and more like a prison. That is what the surface tells us. Those who seek freedom look deeper." –Ludvig Cimbrelius (Illuvia) Earth Prism will be available on A Strangely Isolated Place on transparent vinyl, gatefold 2LP + digital formats from June 20th 2024. Mastered by Hollis Nolan, Lacquer cut by Andreas LUPO Lubich, featuring artwork by Noah M / Keep Adding. ***** “The rhythms are complex and riotous, but they feel like some elemental process taking place thousands of meters up (perhaps in the titular iridescent clouds), surrounded by layer upon layer of mist and radiance.” Joe Muggs (Bandcamp, Best Electronic Music, 2021) ***** “The typical Illuvia track is panoramic, majestic, and ethereal; packed with detail, the material engulfs like a blinding snowstorm.” - Textura, 2021 ***** “Forget liquid d’n’b, this is steam drum and bass” - Forestpunk, 2021 ***** “Full of pastel soundscapes and poignant melodies, Iridescence Of Clouds luxuriates in its gauzy aesthetic, weaving in kinetic percussion and rollicking Amen breaks that would likely be quite ferocious on their own; here, however, they’re largely kept in check.” - Shawn Reynaldo / First Floor, 2021 ***** “Creative mixers combined drum ‘n’ bass with ambience and a hint of dub, creating a hybrid that was simultaneously soothing and exciting; Iridescence of Clouds falls into this vein, an hour-long set that unfolds like a dream.” - A Closer Listen 2021

This Trio is very Californian, even though Surya is based on the East Coast . . .We swim together in the Pacific Ocean, Vibing, bonding, talking, listening, riding the Waves . . .as often as we can. - Carlos Niño Together these three adventurously creative Musical Artists have played in Portland, Oregon, Manhattan and Brooklyn, New York, London, England, Amsterdam and Zaandam, NL, Köln, Germany, San Diego and Ojai, California, and many times throughout Los Angeles County, since February 2022. They first came together in July 2021 at the Glendale, California Home Recording Studio of Jesse Peterson and Mia Doi Todd. Nate was invited by Carlos to meet Surya and to possibly play. No specific plans were set other than to explore with Surya. (Multi-Reedsman Randal Fisher was also there.) That Session turned out to be Day 1 of what became Surya's debut album Everyone's Children released by Spiritmuse Records on November 4, 2022. Suyra and Nate were both featured extensively on the Carlos Niño & Friends album (I'm just) Chillin', on Fire released by International Anthem on September 15, 2023, though not together on any of the same pieces. The first in-depth representation of the Trio was in collaboration with André 3000 on his album New Blue Sun released by Epic Records on November 17, 2023, where they are featured as co-writers and co-creators of 5 of the 8 album pieces. Niño also Produced that album in collaboration with André. Nate enthusiastically took it upon himself to be the Trio's Archivist and would get to Mixing and playlisting the group's recordings as soon as he received them from Live and Studio recordists. He took the lead on Producing and Mixing this album, Subtle Movements. His unique perspectives, thoughts, feelings and intense heart energy went into telling the story of how these pieces, recorded in different settings, with a wide range of gear, by an array of characters, all flow together. "It is a blessed opportunity and Cosmic Gift to be at the keyboards with Nate and Carlos," Surya gleams. "In appearance, I play a few keyboards at a time: a MIDI controller that I use in tandem with music studio software, my absolute FAVORITE analog sensibility synth Roland SH-201 (although it is digital), and typically another 88key board (the Roland SV-1). If there is a piano available, I will also use that with us for a total of 4 keyboards at my station, (that my cousin Georgia Anne Muldrow has forever deemed “Praise Console no.3”), Surya enthuses. "My instruments and sound are the last thing I consider about this Trio. For me, it is about us as human beings first; as members of our respective families and soul tribes before anything else. I think whatever sound that comes forth is a result of that inner connected soul conversation. That, at least in my view, is the Sound." "I play guitar, guitar synthesizer, and midi-guitar sampler," writes Nate Mercereau of his Instruments on Subtle Movements. "In addition to my main GR300 guitar synthesizer sound, I am sampling the band live as we perform and using the sound . . .It takes many different shapes, but I am often playing something like the sound of Carlos's percussion from 30 seconds earlier in a new key and tempo, or as a chord — or a quick slice of a pad from Surya’s keyboard pitched down into sub frequencies, anything can happen," Nate details. "I live-sample and expand, magnify, permutate, repeat, live-remix, live-edit, and reframe moments of our sound within our sound while it's happening. Worlds Within Worlds and Worlds Upon Worlds, Currents Within Currents. I also use previously recorded and created samples from my library in this context, allowing my guitar to be anything." Nate also offers: "I consider what I do in this trio to be a part of and extension of the greater sound of this group, which is often oceanic (which represents everything to me), waves, it's full communication. Love and support in sonic form. Going beyond together in all ways." Carlos Niño plays everything that you hear in the Aerophone, Drum, Percussion and Plant realms . . . He was the group's "Connector" and its first advocate. Depending on who received and accepted the opportunity to present the Trio their names have appeared in different orders. Hear, on Subtle Movements the order is Alphabetical by last name: Botofasina, Mercereau, Niño

Clan Caimán, led by composer Emilio Haro, is a group from Argentina, but their timeless, organic music transcends nationality. “Pica-Pau” (woodpecker), their third album, is their most abstract and minimal to date, but this is not a cold abstraction nor an austere minimalism; the music here, with its focus on rhythm and texture, is warm and hypnotic, seeming to have existed forever despite the fact that it was recorded in 2023-24. As on their previous albums, all with EM Records, the music is driven by the kalimabafon, Haro’s self-made tuned percussion instrument. The kalimbafon’s patterns weave through waves of reverb-drenched lap steel and guitar, as bass undertow and sans-cymbal percussion allow the music to flow inexorably forward, like a broad, timeless river. The compositions here have a feeling of being immersed in deep night, surrounded by life, away from the enclosed isolation of the urban environment. As with previous albums, the compositions are instrumental, the exception being the final song, a vocal version of the opening track, sung in a language invented by Haro.

Clan Caimán, led by composer Emilio Haro, is a group from Argentina, but their timeless, organic music transcends nationality. “Pica-Pau” (woodpecker), their third album, is their most abstract and minimal to date, but this is not a cold abstraction nor an austere minimalism; the music here, with its focus on rhythm and texture, is warm and hypnotic, seeming to have existed forever despite the fact that it was recorded in 2023-24. As on their previous albums, all with EM Records, the music is driven by the kalimabafon, Haro’s self-made tuned percussion instrument. The kalimbafon’s patterns weave through waves of reverb-drenched lap steel and guitar, as bass undertow and sans-cymbal percussion allow the music to flow inexorably forward, like a broad, timeless river. The compositions here have a feeling of being immersed in deep night, surrounded by life, away from the enclosed isolation of the urban environment. As with previous albums, the compositions are instrumental, the exception being the final song, a vocal version of the opening track, sung in a language invented by Haro.

Madelyn Byrd’s practice is built on the intersections of hydrofeminism and neuroaesthetics, an exploration into uncanny interactions between ecology and technology. Under their Slowfoam moniker, they have produced a string of intoxicating EPs, synergizing acoustic and synthetic sounds. In a mutated evolution from 2000’s glitch and micro-tonal experimentalism, Slowfoam’s queered ambience oozes with sensual tactility, an effervescent gurgling of digitally processed organic material. On their debut LP, Transcorporeal Portal, aqueous field recordings are stretched, compressed and elongated into a symphony of celestial purls, smudging all sense of time. Digital ripples are traced by murmurs of the body; the steady pulse of a heartbeat and the intimate breath of whispered words. Slowfoam embraces the glossy tonality of the hyper-digital, metamorphosing samples through deep manipulation. Sounds are sequenced in intricate arrangements like branching fractals of living organisms, with complex patterns forming at every scale. This process, layered and enigmatic, evokes the unfathomable processing of AI algorithms, offering prophetic glimpses inside the shimmering portal. Through all the digital rendering, there’s a profound vitality to their sound, evident of the immensely rich source material. Collaborator Pablo Diserens, founder of the forms of minutiae imprint, contributes exquisite, esoteric field sounds, too strange to be fictional; bubbling sulphur pools, gushing, glacial streams and the intense, shrill calls of krías (birds of death), interlacing the record with mythical wonder. Elsewhere recordings are sourced from the delicate thrum of a hand-made lyre harp, the spiritual flute playing of Diane Barbé and the digital instrumentation of composer Ran Park. From the rumbling inception of Enlightened Smudge on the Machine, Slowfoam’s sound world erupts into life in rapture, like sparkling light through opalescent glass. As quickly as they appear, these heightened reverberations decay, revealing the deep depths below the surface, radiant drones drifting and rolling eternally. The allure of these unadorned drones evokes altered states of consciousness, a full-body tingling of erotic synesthesia. There is a meticulous balance in the way sounds materialise and disintegrate, hypnotizing in their free-flowing sway. Byrd describes their creative process as resonant with the alchemic manifesto ‘solve et coagula’ and Transcoporeal Portal is teeming with the remnants of former encrypted layers that were ripped away. They find catharsis in the transformative cycles of regeneration, reconstructing their narratives with a tender embrace of the present through interconnection with the fluttering of life in the here and now. “Degenerate to regenerate, rend to reconstruct, in art, and in life. All circles back to Earth, and our exuberant fidelity to the Now, the Here, and the Tomorrow. Slowfoam teaches us that speculative melting yields radical presencing.” - Lou Croff Blake

Selkie Reflections was originally conceived by Alliyah Enyo as a 2-hour composition of tape loops, made for an installation at the Edinburgh Sculpture Workshop in 2022. In album format, Selkie Reflections materializes as a split-side release; a dialogue between Alliyah Enyo and Florian T M Zeisig, under his new alias Angel R. On the A-side, Enyo re-works the material into a seamless blend of layered vocal calls, dub-mixing at Green Door studio to stimulate the spontaneous spirit of the original takes. Her motifs ooze around one another in overlapping cycles, conjoining the distant cries of the solitary selkie into an evolving ballad of fragmented song. Zeisig assimilates the archival recordings, shattering them apart to piece them back together. His compositions are traced with the angelic echoes of Enyo’s vocals, yet his intricate processing taps into the arcane sides of the selkie. As vocals twist, warp and distort, disturbed reflections emerge, contending the sublime radiance of the choral drones. In his reinterpretations, infinitesimal moments are stretched out infinitely, like calls from the gods, eerie and cosmic; the cries of the selkie immortalised.

After many years drifting in and out of each-other’s orbit, ‘Jazz Plates’ finds Ulla and Perila making music in the same room for the first time, exhaling a double album’s worth of gorgeously evocative mood music, gently crackling with a dream-textured haze for the ages. It's remarkably intimate material, linking the duo's own hypnagogic portrait of jazz, in all its hushed permutations. ‘Jazz Plates’ catches the mutual spirits measuredly channelling their shared love of Alice Coltrane and Pharoah Sanders, making use of voice, clarinet, guitar, piano, vocals and various non-musical objets - logs, leaves, an aquarium - until they hit their emotional core. Previously separated by an ocean, their first recording sessions in person find an intoxicating play of slow and atmospheric sounds porous to the shifting weather outside, with one plate subtly guided by the sun, and another by heavy rain. Unhurried, etheric, and wistful, the album’s 13 parts wash over the senses with a soothingly meditative resonance that emerges from their “mutual dialogue of our instruments and souls”, as Perila puts it. Distant voices swirl around the duo's dampened instrumentation on opener 'lasting like a grass leaf', as themes duck and dive over plangent ambience. It isn't a capital A Ambient record, by any means, but Perila and Ulla's approach is impressionistic rather than figurative. They form ghostly half-songs around hollow trace rhythms on 'a josh outside the window', coating the breathy romance of modern jazz in a layer of dust, and let the clarinet do most of the work on 'placing in shell parcels' as it slow dances around a reverberant vocal. More than anything, ‘Jazz Plates’ seems to highlight the sensuality of collaboration; you can almost hear the duo trading glances and allowing the mood to dictate the momentum. When they switch things up on the second disc, they pull their ideas more tightly together without losing any of the intimacy. Muffled electric guitar prangs punctuate woody rhythms on 'messages from a floor', as if the two are trying to rethink the logic of free jazz, and on the heart piercing 'cheese homework', blues-y guitar phrases are sunk under a powerful, loping bassline.