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Expanding from Theodore Cale Schafer’s introverted and veiled personal composition style, ˋOur Blood For .Sˊ sees the musician writing for a trans-american ensemble spanning Chicago, Northern Colorado, Texas, and New York City. Schafer has directed and sourced recordings from instrumentalists Tommy Paslaski (cello), mari rubio (violin), and Matthew Sage (clarinet), carefully grafting discrete parts into his own unique fidelity. Across these four works, the musicians’ arterial acoustic performances circulate around Schafer’s emotional core—enchanted by his ability to distill poetic introspection out of dry audio. A careful balance between file-sharing and Schafer’s diaristic approach allow the works to scale into both miniature and empyrean vistas—big skies and small rooms—a moving music where an audio file shot across the plains finds celestial orbit. Schafer’s music often confronts the tropes of ambient, drone, field recording, and now chamber music to arrive at a kind of “concrete” aesthetic. “Our Blood for .S” is a clear step into a more formal approach for Schafer, hybridizing his penchant for documentation and “minor music” with a clear ear for writing for ensembles. Noble and “chapbook-like” in its immediacy, the longform works on “Our Blood for .S” establish an emotional crossfade between his digital and acoustic orientations—the merchant room in Resident Evil and the court chambers of classical and Gagaku ensembles—the dividing lines that music flows between … “Our Blood.” Theodore Cale Schafer (b. 1994) is a musician based in New York City. Informed by his occupation as an audio engineer, his work combines digitally sourced audio, manipulated self-recordings, and parts written for musicians to create music that is equally influenced by Playstation OSTs, modern classical composition, confessional narrative, and spoken word. Recently, he has collaborated with Natalia Panzer, Angelo Harmsworth, Claire Rousay, Sydney Spann, and picnic, participated in the Neo-Pastiche: Changes in American Music Festival at the Black Mountain College Museum, and curated the “Casualism” mix series with Retreat Radio in Malmö, Sweden.

With his third album, The Big Swim, on Les Disque Bongo Joe, Augenwasser ventures once again into the paths of synth wave exploration with a pop feel. Still laced with the folk textures of his early days, he nevertheless develops a dance approach that can at times be akin to melancholic drone. His music takes you to an imaginary, dark club, lulled by a haunting rhythm, surrounded by the fumes of the night, where it is possible to indulge in that quiet voice that has already confessed that it is too late but will never stop repeating its soft, cold poetry. "You'll realize one sad morning/some things change without a warning." In the same way that we realize as a child that things are bigger than they seem, so we discover the music of Augenwasser. A simple and disturbing melody, beautiful and sincere, declined to excess, which grows with each track, as a stream turns into a lake, a music that builds a world of broken papers and enchanted ideas.

Superabundance is back with Extrasolar, the new 2x12” hot wax album on Future Times. The duo of Jackson Ryland (Peach Discs, Fixed Rhythms, Rush Plus) and FT honcho Max D follow up 2021’s self-titled debut LP with a hyperfunk techno gallop, hurtling further out from where they began. Extrasolar’s tracks all burst into existence, produced in a quick, sometimes entirely improvised nature. 
Cuts like “Sizeable Jackfruit”, “20 Spectrum” and “Tempopalace” show off brash bursts of swinging loopy DJ creation, while “Reset” oscillates between cliff-hanging and solid ground time changes and “Crossfade Diving” slides thru wet streets with a paranoid step. 
 On tracks like “Perplexion”, “Dex Holo”, and closer “Goth Hi Tek”, the duo paints new shades of their sound, getting into a twist on synthpop soundworlds and Cure progressions.“Perplexion” enters smudged shoegazing territory, smearing percussion in the mix with soaring chords. 
 “Particle Busters” repurposes industrial junk into soundsystem punk machinery. “We XL”, a rave slammer featuring one of DC’s best, Nativesun (Black Rave Culture) is for booming warehouses only. “Big Deal” breaks out the sliced funk and melted data. TIP!

The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: 'New Standard'. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJ- friendly muse: “I realized I wanted to make a record where every track could go off in a live setting.” These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics – record scratches, orchestral stabs, the “Yeah! Woo!” from Lynn Collins “Think (About It).” Ramirez describes the process as immediate and instinctual: “I'd turn on the MPC, pick a tempo, and just improv – it was incredibly fun.” From sleek freeway techno (“110 Cruising”) to arcade lurker acid (“Coast 2 Coast”) to big room bangers (“666 Ambience”), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It’s an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

“This is where the story REALLY starts getting interesting!” Ship to Shore PhonoCo. is proud to present the first ever vinyl release of the soundtrack to the 2004 Gamecube video game Viewtiful Joe 2! Following on directly from the ending of the 2003 game, Viewtiful Joe 2 sees the titular hero return to save the world from an alien invasion by stopping the evil Black Emperor from collecting all seven of the Rainbow Oscars. Utilising the same gameplay and graphic style as its predecessor, Viewtiful Joe 2 ups the ante by introducing a second playable character – Silvia – and bringing in “VFX Powers” that allow you to manipulate the time & space of the game itself! Masami Ueda is once again on soundtrack duty, along with composer Sayaka Morita, and together they complement the frenetic on-screen action beautifully, combining epic orchestral flourishes with techno guitar hooks in the Viewtiful Joe-style fans know and love. This 2LP gatefold release features new liner notes by games journalist Anthony John Agnello, as well as artwork by acclaimed artist Drew Wise that actually connects with the original Ship to Shore Viewtiful Joe gatefold artwork, turning it into a stunning panorama of viewtifulness! “Just go for it!”

Reshape contains musical interpretations by alva noto, ASC, bvdub, Warmth, Markus Guentner, Simone Giudice, zakè and Głós. The works are related to original pieces from Joachim Spieth's past creative phase and thus form a musical conclusion to the 15th label anniversary of Affin. Reshape is released as 2 x 12" vinyl album and digital formats. All tracks were mastered at Artefacts Mastering Studio in Berlin. The graphic design was realized by Markus Guentner.〈Artefacts Mastering Studio〉でのマスタリング仕様。

Ahem is a new project from Housecraft Recordings head Jeffry Astin (aka Xiphiidae, Digital Natives) along with co-conspirators J.P. Wright and Brian Kinkade. Recommended for fans of smoked out dub-bient and deep Appalachian drones.

The original single from Escape From New York finally gets an official reissue. Originally released in 1983 ‘Save Our Love’ was released a year before ‘Fire in My Heart’ and sets out their highly effective fusion of New Wave, Disco, Italo and Post Punk. Featuring Jaki Graham and D.C Lee on backing vocals, the 12” also includes an instrumental mix and cult classic ‘Slow Beat’ (Dance Mix). Escape From New York were short lived and disbanded in 1984 following the release of ‘Fire in My Heart’, ultimately buckling under the weight of commercial expectations for their unique brand of pop music. History has kind and these singles are now rightly regarded as pioneering classics.。

Sergeant is the avant-pop band of composing cineast Benjamin Cools and search-singing actor Ferre Marnef. For a long time they only burst out exclusively on stage, but now they have gathered their sampled selves at the abyss of pop music anyway. The songs on the record sound like a "date gone wrong" between post-punk and krautrock, but mostly like the kind of indie rock that Warp thought was cool for a very brief time in the 00s. Through the Paris of the 70s (Gainsbourg!) and the industrial Ruhr, they take you on a trip brimming with Dadaist collages and abstract punk. Their self-titled debut is released by the Ostend-based experimental music label STROOM, run by Ziggy Devriendt (aka Nosedrip). For this record, the musicians sampled themselves - Sergeant calls that method DJ Shadow in reverse. From their archive, they drew a mountain of analog loops, which they then meticulously montaged into nine poetic songs. In the tracks, 1 Fender Mustang, 1 Microkorg, 1 Rdr Rhythm DR-670 and dozens of flutes are ground through effects, processors and DIY recording techniques. For Cools and Marnef, making music is getting sound layers and textures moving. Like editing a movie, Sergeant cuts the sonic scenes into one. 
 Sergeant's home base is Brussels, the metropolis on the verge of bankruptcy, and that is audible in the density and rushy contrasts on this pop record. Cools and Marnef operate in the world of film, theater and music. Previously they have been involved with bands such as Soldier's Heart and De Nooit Moede, and in theater they share a history with Tibaldus, Desnor, Bosse Provoost, Ezra Veldhuis, Buren, ... 
 The mixing is the work of the Antwerp godchild Milan Warmoeskerken (Milan W.) who produced other people's music for the first time. With his eye for detail and balance, he created a deeper layer in Sergeant's music.

"Guppyloid: World Tour" is the debut project from mystery artist Guppy, who found me on discord and asked me if I liked Vocaloid. I said yes and they sent me this.

Hidden Hawaii is back with this lovely reissue, coming with two of my favorite tracks by Double O, Niaibingi and The Love Of Jah. Hidden Hawaii, under the impression of Jungle and Drum and Bass music from 1993-1996 was founded in the end of 1998 by Felix k and friends. Besides a few dub plates and events it stayed unknown for a while. It was the relaunch in 2008 which gave it a real start. The second release in 2008 was Double O's Niaibingi as part of the "For My Brother" EP. The Love Of Jah came out digitally in 2011, later pressed on vinyl for "Volume Two" for Hidden Hawaii LTD. I am proud to present the remastered versions in 2023.

My first album in 11 years, for crying out loud.