Suche:2 mad

Lolina project emerged at a time when CDJs became standard in clubs and artists from many disciplines began exploring their possibilities. In Lolina’s records and performances, they are used as a live sampling tool allowing her to move between composition and improvisation. On “Fast Fashion”, discarded vocal takes and phone recordings made while watching videos online or walking down the street are re-sampled across long-form collages. “Mark Ronson’s TED Talk Intro (Using Computer Remix)”, restyles a lecture about sampling and constructed of samples into a track that can’t be contained by any of its elements. Relaxed beats break down into stuttering, jokes turn into abstract situations, and meaning is altered through repetition. With transitions between different parts defining the listening experience, “Fast Fashion” reveals a process by which one thing can be changed into another. “Fast Fashion” is Lolina’s fifth album and first working with Deathbomb Arc. Digital to be released on Oct 27th with vinyl to follow in early 2022 ~ both on pre-sale now. Lolina previously released music as Inga Copeland and was a member of the band Hype Williams between 2009 — 2013.

When you drop the needle on Vocal Patterns, you are entering a world that is equal parts suave, smooth, cool, nostalgic, and kitsch. With haunting and beautiful vocals, upbeat numbers, and smooth sounds made for a late 60’s summer holiday, let this cult classic transport you back to a simpler time. Originally released in 1971, Vocal Patterns features compositions by Roger Webb and vocal performances by Barbara Moore. This powerhouse duo has their own recognition outside of library music. Roger Webb worked as a musical director alongside the likes of Rex Harrison and Bette Davis and wrote songs for Shirley Bassey and Johnny Mathis. Barbara Moore, composer of the de Wolfe cult classic “Vocal Shades and Tones”, collaborated with the likes of Jimi Hendrix, Elton John, Dusty Springfield, and Tom Jones.

Obscura label head Fedele makes his long awaited return to the imprint for new EP ‘The Awake, Pt.1’, backed by remixes from Extrawelt and Midnight Operator aka Mathew Jonson and Nathan Jonson. Fedele’s penchant for synthesizer techniques and drum machines has caught the ear of global tastemakers, with projects released on the likes of Turbo, Afterlife, and Ellum receiving support from the likes of Maceo Plex, Tiga, Tale of Us, Dixon, John Digweed, Miss Kittin, and DJ Stingray. With sights set towards summer peak, the Italian returns to his Obscura Music imprint with his latest work, The Awake, Pt. 1.

Riot Dance leads the line with crisp kicks on a heady rise to set the groove before an analog-tinged synth line claims the hook. Acidic tones & ethereal stabs offer a generous dose of psychedelia, while the gritty groove ensures the cut’s ability to ignite dance floors. Modular Madness harnesses ominous flavors and a driving bassline that ebbs & flows to keep minds melting. The melodies open into swirling synthetics, with revolving reverberations and rich soundscapes capturing the ear from start to finish.

Storied German duo Extrawelt arrive on remix duty, taking the reins on ‘Riot Dance’ to twist a low- slung groover. They bring the bassline into the foreground, keeping a delightful vibe alive and welcoming a touch of light to the dark underbelly of the original, before diving back into the deep as the track unfolds. Obscura regular Mathew Jonson connects with a producer he knows well – his brother Nathan. Together, they remix ‘Modular Madness’ under their alias Midnight Operator. Picking up the pace, they maintain the acid-laced grit from the original arrangement, while adding serene melodies to the high-end. A balanced rework from two seasoned veterans.

Imperfect Stranger is the pseudonym of Glasgow based soundtrack composer and producer Kenny Inglis. “Everything Wrong is Right” is his debut solo album for Castles in Space.
Born in 1975, Kenny didn't listen to much music, unless it was the opening credits to a TV show or a film score that had caught his ear. "I loved the pre-title music on a lot of those 80's U.S. TV shows. From the family orientated stuff like The A-Team, to darker dramas such as The Equalizer. My mother would let me stay up to watch the opening sequence of the latter then send me to bed because the story would be too heavy for a kid. That left me with this hanging sense of ambiguity as to what would happen in that hour after the titles came up.”
Exposure to a work colleague’s tiny project studio in a kitchen cupboard was a lightbulb moment for him and the experience of utilising music technology as a way of writing and producing entire tracks stirred a wave of determination to chase a career in music using the opportunities that technology could offer. Kenny figured the best way to move forward was to start a small project studio and learn his craft as a recording engineer. "It was a bit of a shock to the system. I literally had no idea how to work any of the equipment. Kenny focused on learning as much about the craft as he could whilst winging his way through recording and mixing everyone from the likes of singer/songwriters to bands, to voiceovers artists and anything in between. "Eventually, I stopped writing the music I thought people would want to hear, and started writing the music I wanted to make. I didn't come from a music loving background, but I was always obsessed by the way music and film would interact - how music brings this atmosphere and tone to even the most mundane visual stuff. I wanted to capture that. I wanted to grab some of that ambiguity I felt from the TV shows of my childhood and make it into a project of some sort". That project was Spylab. A dark, downtempo project with a cinematic edge. The initial demo consisted of three tracks, with the melancholic 'This Utopia' leading the playlist.
"At the time you did demos on normal cassette tapes. I remember having this endless battle with the bias control to try and get the best sound I could on these little tapes. Ten went in the post one Monday morning, and the following Monday there were three offers from three different labels. Studio K7 were interested in a singles deal, as was Flying Rhino in London. But then there was an offer from a Chicago based label by the name of Guidance Recordings. They wanted an album, and were offering a $15,000 advance. It wasn't a difficult decision to make"
Writing and recording Spylab 'This Utopia' began in 1999. The album took a whole year to produce. The album was to catch the attention of Mary Anne Hobbs at Radio One. At the time Mary Anne was presenting The Breezeblock - a late Sunday night show with an eclectic playlist of alternative electronic music. Picking out the album's title track 'This Utopia', Mary Anne would go on to play it no less than 8 weeks in a row. A request for Spylab to DJ on the show was to follow. "I had never DJ'd before. I think I had a week to figure out how to do that and put a playlist together. I'm not entirely sure how I pulled that off.” In March 2001 the Spylab album was finally released to a hoard of excellent reviews. A North American live tour would follow. From the launch party in Los Angeles, to a sell out show at SXSW in Austin. "I then started a new project under the name Cinephile. It had some of the core elements of the Spylab sound but it was deeper, more cinematic.” Kenny received news that a track from the previous project Spylab had been requested by HBO for the first episode of a new TV drama called Six Feet Under. This was to become a major turning point in Kenny's career. The Spylab track 'Celluloid Hypnotic' dropped during a poignant party scene of the first Six Feet Under episode. Within a couple of days Kenny was getting requests for music from other music supervisors. "It was a chain reaction. The Six Feet Under sync was like the tip of an iceberg. One day I called CBS in America and they put me on to the CSI music supervisor and I managed to get on a call with him. I sent the Cinephile stuff out and within a few months I got this fax through from CBS - a quote request for one of the tracks for a potential use on CSI. It changed my life."
The tone and style of Kenny's music sat perfectly with the CSI score requirements. So much so he found himself part of a pool of incidental writers who worked on all three aspects of the franchise - CSI, CSI: NY, and CSI: Miami. This would continue until 2013, when the last of the series would come to an end.
"I was juggling a bunch of stuff for those ten years. Writing material for CSI, whilst releasing new Cinephile stuff and playing live. As Cinephile continued to gather pace, one of the tracks from Kenny's efforts on CSI was chosen for the Hollywood trailer for the Samuel L. Jackson film 'Lakeview Terrace'. Further trailers would follow, from Gangster Squad to Dead Man Down, Spike Lee's Undisputed Truth, to Fifty Shades Freed.
At the same time, Kenny picked up his first factual commissions in the UK, and this too would be the beginning of a regular run of fully scoring factuals and documentaries. By 2021, six of these had won BAFTAs. He also would find himself soundtracking adverts for the likes of Nike, Audi, and American AirlinesIn early 2020, Kenny made a return to focusing on his own music under the pseudonym Imperfect Stranger. A tweet from Colin Morrison from Castles In Space regarding a charity compilation album 'The Isolation Tapes' caught his eye. Kenny had made a start on his debut album as Imperfect Stranger and submitted the track 'Hymn To The Sun' (which would become the lead track on the album). Further discussions ensued, and the album found a home on CiS. "I had been doing TV and film stuff for almost ten years. It paid the bills and was as close to a 'real job' as I'd had, but I yearned to get back to writing for myself, so doing an album for Castles in Space was a joy.
“The music I write is like a diary. There's an authentic narrative to everything i do. I don't write tracks for the sake of writing. I write tracks to diarise and process the stuff that I've lived through, and the experiences that have come along with the passing years. That's what makes me tick. It's a very public and vulnerable way of expressing myself. If people want to know the real me, all they have to do is listen."

‘Jim, I’m Still Here’ is the second album from James Righton under his own name; produced by David & Stephen Dewaele of Soulwax and released on their label DEEWEE, the album follows The Performer released in 2020. James’ musical past is well documented; as the frontman of the genre inventing Klaxons, he helped create a revolution in British music and spawned a youth subculture. ‘Jim, I’m Still Here’ is a captivating meditation on the artists experience of the pandemic as James looks to conceptualize the myriad of emotions and events into a fascinating third person narrative. One of the album tracks features Benny Andersson from Swedish pop legendary band ABBA, with whom James has been working on putting together their new live band.

"I wrote this record during the first few months of the pandemic. At the time I wasn’t intending to make any music. I’d just released ‘The Performer’ on what turned out to be the first week of lockdown. The outside world shut down and I was busy being Dad. Then. I started making notes on my phone. Just words. In moments stolen from family life I’d head downstairs to my garage studio and put the words to music. When I was happy with a song I’d send it to Dave and Stef. Demos and Pro Tools sessions were passed back and forth between my home studio and the Deewee studio in Ghent. I was nervous about their response to the music I was making. It was personal, raw: unlike anything I’d ever written before. A conversation with the outside world during these times of isolation. For the most part my life was centred on the domestic. Getting to spend so much time with my family was a blessing. Making music was my play time. Isolation opened me to memories and allowed me to dream of the future. As the outside world tried to adapt to the pandemic I was asked more and more to promote ‘The Performer’ in live stream concerts on various platforms. As the pandemic went on, demands on production increased (more camera angles, better lighting, higher quality audio recordings). It became a one man show. I’d head downstairs to my garage, put on my Gucci suit, comb my hair and become someone else. Jim. Jim the deluded rock star, living out his fantasies from the confines of his garage. A lonely stardom. And yet, Jim was part me. He made me feel like I still existed. Jim became the centre of the new album. Dave, Stef and I worked into the sessions over the following months. It was always exciting to see where they would take my initial demos. The working method and the restrictions of making music together but in separate spaces, separate countries shaped the sound and feel of the record.
I won’t make another record like this again”.James/Jim

WRWTFWW Records and MEG Museum (Geneva) are honored to present the first new solo album by renowned Japanese percussionist Midori Takada (Through The Looking Glass) in 23 years, Cutting Branches From A Temporary Shelter, available on vinyl LP, housed in a 350gsm sleeve, with OBI, and liner notes, as well as on digipack CD.

Recorded in a live setting and played with instruments conserved in the collections of the MEG Museum, Cutting Branches For A Temporary Shelter is Midori Takada’s very own rendition of "Nhemamusasa", a traditional work emblematic of the musical repertoire for mbira of the Shona of Zimbabwe, well known worldwide, thanks notably to its version by Paul F. Berliner included on the famed 1973 album The Soul of Mbira.

The choice of this title by Midori Takada evokes the links between traditional African and contemporary music which are the foundation of this work, and it also translates the resolutely multicultural vision of the artist.

Midori Takada explains: "African music is remarkable for its polyrhythms. Not only are there simultaneously several rhythmic motifs, sometimes as many as ten, but furthermore it may be that the part played by each musician has its own starting point and its own pace, all combining to form a cycle. All the cycles progress at the same time according to a single metrical structure which functions as a reference point, but which is not played by any one person from beginning to end. The structure emerges out of the multi-level parts, all different. With the Shona, the musical system is based on the polymelody: one performs simultaneously several melodic lines which are superimposed, each having its own rhythmic organization. It is truly captivating. In Western classical music, one four-beat rhythm induces some precise temporal framework and regular reference points, which come on the strong beats 1 and 3. But in the logic of the Shona musical system, and in other African music, the melody can begin in the very middle of the cycle and be continued up to some other place in an autonomous manner, as if it had its own personality. It’s very rich."

The album comes with in-depth liner notes that include an interview by Midori Takada, a point of view by Zimbabwean scholar, musician and activist Forward Mazuruse, and background information on the project by Isabel Garcia Gomez and Madeleine Leclair from MEG Museum.

The sleeve features an artwork by celebrated Zimbabwean painter Portia Zvavahera.

Part of the budget for the album was donated to Forward Mazuruse’s Music For Development Foundation whose aim is to identify, nurture, and record young but underprivileged musicians in Zimbabwe.

The album is released in conjunction with Midori Takada and Shomyo of Koya-san's You Who Are Leaving To Nirvana, also available on LP and CD on WRWTFWW Records.

White Vinyl.
Includes postcard and poster.
Part of the Optic Sevens 3.0 Reissue Series.
Originally released on the Sub Aqua label in 1988. It appears here on 7” for the first time. This is a previously unreleased version of Back Between Places. The band were never really happy with the original single release and having discovered the master tape of a superior version, it is to be mixed and released here for the very first time.
From East Village
Both tracks were recorded at Greenhouse Studios at the same one day session in August 88 and are technically unreleased.
‘Back Between Places’ is an alternate mix made at the time and better than the one we chose to release.
‘Violin’ is a completely unreleased recording. It was planned as the original B-side but ended up being replaced by two early recordings ‘Her Fathers Son’ and ‘Precious Diamond Tears’ on the actual 12” release.
We rerecorded ‘Violin’ at few months later at Scruttocks along with ‘Freeze Out’, ‘Vibrato’ and a couple of others that have appeared on the ‘Hotrod Hotel’ LP.

“Babygirl” is the new album by CTM out on Posh Isolation. In its composition channels a sensuous consciousness. The music is like a prism reflecting tactile perceptions, light, movements and memories. Relations between the composed structures and the undetermined of the improvisations, the cracks in the form and the digital glitches, create a poetic and open elsewhere. With a sensibility of pop, the musical landscape moves from nostalgic popballads through the austere pomp of a deconstructed baroque menuet for solo cello, to lingering piano ornamentations and distorted guitars. There is a soft and wild intimacy to the music. Common collective musical languages are weaved effortlessly into the musical canvas, while the form and perspective change and move. With a profound emotional resonance in the music, tenderness and devotion are reflected in the narrative. The sense of nostalgia comes like glimpses of pastimes revisited, when life cycles reveal themselves repeating in the now. Babygirl continues in the track of her latest album “Red dragon”, exploring feverish dreams and personal material through a digital ephemera. Digital effects splinter the intimacy and transform into something more than human, shaking the balance between the codes of the popsong and the unexpected digressions, guided by the voice of CTM that is central throughout the album. The album is produced by Holger Hartvig, Malthe Fischer and Cæcilie Trier. It features vocal and instrumental contributions by Ydegirl, Coco O., Johan S. Wieth (Iceage), ML Buch, Jakob Littauer (Yangze), Emil Elg, Claus Haxholm among others. The album, containing bits and pieces of recordings and compositions made over several years, is like a musical platform with expressions of many voices, and with relations and time weaved into the compositions. Trier is a Copenhagen based cellist, singer, and composer, with her classical training apparent across her many and varied projects and collaborations. Having received critical acclaim from the earliest moments of her career, Trier's previous album 'Suite For A Young Girl' was nominated for the prestigious Nordic Music Prize in 2017.

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes
the rarest and most sought after fuzz funk, spooked surf and
interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico
Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus
himself.

 Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a
Halloween fancy dress competition but for the previously uninitiated you
have just been ordained into the congregation of the many split
personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the
nine-headed monster as he mutates and shape-shifts back through time
to his humble beginnings in a Buenos Aires province ravaging and
pillaging the music of the European people for his own twisted
benediction along the way.

 This might, as intended, sound a little bit dramatic but if there is one
single ingredient that gives the eccentric Jean-Pierre Massiera his
distinct flavour it’s a large dollop of drama. Add sprinklings of
schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese,
taken over thirty years to mature to perfection. Like all the best monsters,
his split personality is the key to his infamy and the secret of his blood
sucking success.

 This is why Jean-Pierre Massiera is (un)commonly known for two key
periods in his career which, like a worm, can be split down the middle to
thrive and flourish independently. To cut a long story short, Massiera is,
above all, a lover and purveyor of musique fantastique, and is willing and
able to hijack whichever stylistic vehicle that passes him buy in order to
do feed his lust. In the earlier part of his career he honed his sordid craft
amongst psychedelic circles in Nice and Quebec. From late 1972
onwards he moved to Antibes and started a disco revolution and
became an in demand cosmic record producer. For years, prog rock
obsessives and disco aficionados have wondered if there was two
unrelated freak merchants called Jean-Pierre Massiera but, in this rare
instance, exploito-maniacs from both sides of the cosmic coin are united
by the work of this singular, single-handed monstrous music
manufactory.

 Remastered and available once again on deluxe black vinyl since the
initial Finders Keepers limited edition 2009 pressing

Lo-fi Beats is a fine and elegant new collection made for a cosy trip in music. Relax with a jazzy sound.

Moxie’s On Loop label is back with a new release from Eternal Ocean label founder Ronan. The new EP, Interdependence, follows on from his highly acclaimed debut album ‘Reflections On Intrinsic Value’ and further contributions to labels such as Pressure Dome, Vanity Press and Jungle Gym.

Ronan’s productions are described as ‘aquatic sounds for healing’ and this release for On Loop is no different. Very much driven by percussion, the EP opens with a trippy dub-infused ‘Suderoso’, whilst the second track ‘Interdependence’ showcases a more emotional driven production, filled with blissful, ethereal pads and hypnotic vocal samples. It’s a moment of reflection before picking things up again on ‘Geodesis’ where excitable drum patterns lead the way, bringing you to the centre of the dancefloor. ‘Morning Glory’ rounds off the EP in glistening style - the perfect sunrise anthem.

Deciding to take a brief hiatus after the 2020 release of Moxie Presents Vol. 5, On Loop made its return at the end of last year with the stunning release of Matisa’s ‘Peace Building’ EP. Back for good, the label has now evolved into a new era, signifying the start of this chapter with the the brilliant On Loop 001 compilation earlier this year. The release showcased Moxie’s global impact, enlisting new tracks from the likes of Eris Drew, Nicola Cruz, Space Ghost, Olive T, Nachtbreaker and more.

100 copies only

Apron Records has been instrumental in shaping the current landscape of contemporary electronic music coming out of the U.K. since 2014. After almost a decade of pushing their unique vision has made the Apron Records imprint one of the most in-demand labels in most independent record stores. Now more than 45 releases deep in their journey, Apron Records have teamed up with Patta Soundsystem to work on their first various artists release and to celebrate this monumental milestone, both camps have collaborated to create a clothing capsule to accompany this release. After working with the artist formerly known as Funkineven on ‘The Wave’ late last year, it was only right to showcase the diverse talents behind this movement.

Sharing a drawing board with Patta for the first time with Apron Records, together they have created a Trucker Cap and a Graphic T-Shirt that echo the racing theme of the whole project. Better Together is the slogan that runs throughout the entire collaboration, stressing how unity makes us stronger as individuals. Artwork for the record has been provided by Amsterdam based artist Jim Klok. His unique Acetone printing technique has now been immortalised on this LP, juxtaposing vintage cars with checkered racing flags to create a dynamic cover that would be right at home in a picture frame as well as a record bin.

System Olympia’s ‘Passi Mai’ is a beautiful 80’s inspired driving riddim layered with her own vocals that wouldn’t be out of place in an arcade or a sticky nightclub floor. Followed up by ‘Leven’ by Brassfoot, we get a wobbler from the NTS regular. Layed with Jamaican vocal samples and audacious arpeggiated bleeps, Leven is a soulful approach to techno tropes that have been bouncing around Brassfoot’s head. Shamos’ 737363 is a cryptic masterpiece. With dreamy pads as a backdrop for shuffling drum beats, euphoric sweeps and dynamically designed synthesis, this closes off the themes explored in the first half of the record.

Side B kicks off with J M S Khosah’s contribution to the record titled ‘Lessons’ which is a dancefloor filler, adorned with glamorous percussion, vocal samples and syncopated stabs ontop of a driving 4x4 kick pattern. Kicking things into 6th gear is a club-ready production from London's most soulful selector Shy One. Groovy basslines and a 2-step riddim make ‘Candy Floss’ an ode to the grimey and the glittery sides of London nightlife. This project champions one of the people that have been pivotal in the success of the label, Steven Julien whose track E46 is an emotional journey through his synth-laden East London studio. Bookending the project are two compositions from Compton’s-own AshTreJinkins. Showcasing his abilities to approach the project from both an ambient and a pure beat-making perspective in order to hold the whole project together.

LTD 50TH ANNIVERSARY REISSUE

Originally released in 1971, during the dark days of the military dictatorship in Uruguay, this unique album made a strong and lasting impression on Juana Molina when she was a child. The present reissue on Sonamos (Juana's recently-formed owned label) is the result of a patient labor of love conducted by Juana and her associate producer Mario Agustin Gonzalez. This anniversary release comes our as a very limited-edition containing the remastered original LP, a second LP with 16 unreleased tracks, and a thick, informative booklet: Musicasión was a series of collective shows by a group of artists, mixing theatrical elements, poetry, improvised stage effects, and of course music, with a very special blend of rock (then called beat, in a dual reference to British pop bands of the sixties and to Beat Generation poetry), candombe (the percussion-driven style created in Uruguay among the descendants of liberated African slaves) tango, jazz and bossa nova. A combination which bears more than a passing resemblance with Brazilian Tropicália, which originated around the same time.

Was sold in previously in March but orders have timed out. So reselling! Art Pepper + Eleven – Modern Jazz Classics is a 1960 jazz album by saxophonist Art Pepper and a group of other musicians performing arrangements by Marty Paich who directed the ensemble. The recording is one of several dates Pepper made with Paich in 1959 and is the only one with Pepper as leader. MAY HAVE EXISTING ORDERS ON SYSTEM- PLEASE CHECK PORTAL

Matte Gold 180g. Free MP3 Download. GUM aka Jay Watson is a multiinstrumentalist, founding member of POND and touring member of Tame Impala. Gum’s 2015 album Glamorous Damage has been newly remastered by tour mate Kevin Parker. ‘Glamorous Damage,’ is a warped comb running thru the shiny blonde hair of pop and disco. Produced and mixed by GUM and mostly recorded at home, the album is at times reminiscent of the elastic robo-glam of Prince, the sci-fi waves of Chrome, early Eno experimentalism and a love of Beach Boys melody. In 2015 ‘Glamorous Damage’ was critically acclaimed by the likes of Pitchfork, NME and Stereogum and featured on the longlist of the 2015 Australian Music Prize. Glamorous Damage features lead single ‘Anesthetized Lesson.’

Following the precursor singles of 2021, Formality Jerne-Site’s unveiling is finally cast upon her already-growing fanbase. Trained classically as a composer and completing a masters at the Royal Danish Academy of Fine Arts, Jura introduces a highly-anticipated playground of carefully sculpted characters, plots and lessons - sometimes charming, sometimes nefarious, always absolute and sincere. A fictional land opens its doors and roof to us. A trio of trans kids run amok in rural suburbia. Various sorcerers of the wild future enter the scene on some songs; on others, the mind is cast to sun-drenched drives and journeys of yesteryear. At the heart is a pop sensibility: yearning, reflections, vanity, guesswork, hope. Jura is adamant about practice and precision. Dead seriously she offers, about making music: ‘Nothing should be half-hearted or an accident.’ There’s a maturity and elegance to her compositions, arrangements that - although at first sound seem abstract - lean away from experimental, somehow. She sing-speaks in English, and somehow not typically theatrically for such a play of a record. The theatrics are all real. It’s a fantasy land for sure, but it's based on hard facts. Like academia subdivided into poetry. It’s that weird-ass specificity she mentioned. Opener ‘Someone’s Lifework’ introduces less a choir of voices, than a choir of personalities. The art of storytelling is at the center of the musical expression. A protagonist relinquishes control of chaos that’s bigger than them on a perilous journey on some vessel: they comfort their co-passengers. There’s a sense that the hero - or anti-hero - might be more canny and cunning than the sweetness they first sell to fellow players. 'Is this our getaway chance?’ sings fellow Copenhagener Ydegirl amongst swelling synths and reverb that become so definitely Jerne-Site as the quest continues. The search? For intimacy, perhaps. ‘Same late Age (dIcK bIfFeReNcE)’ imbibes at once, some further disorientation, perhaps a little hallucinatory feeling which may come over the listener. Through a synthesizing of political themes that work across time ‘Same Late Age (dIcK bIfFeReNcE)’ bears reminiscences of the musical expressions of anti-capitalism in the 1980es, although in a new body and context. “I have a feeling that music reconjures societal morals and ideas from the time in which it was written when we press play or hear a live performance. From the moment at a concert when the symphonic orchestra starts tuning in, the time traveling begins. So I imagined how it would be to be trans sitting there playing the first violin, having the job of producing that first tone that all the other musicians around me tune in ona, ” Jura explains. The listener yearns for more; and subsequent tracks deliver. On ‘How Intimate It Gets,’ Jura meditates on the futility of closeness, begging the audience to enter the blood and guts of their own entanglements, the blueprints of focusing entering. Jura sings richly about fingers being lines, pointing or bending, and we’re reminded of their own wicked ways we can’t control. A history of singing in choirs informs the harmony of myriad inner voices heard across the album. At once prophetic and enigmatic, some of the songs rearrange historical events out of pop musical language. The enormously entertaining ‘Pinot-Botticelli Toast to European Users’ conjures scenes of Cold-War world leaders stuck on a cruise in the Transatlantic vacuum, and the protagonist watches a devastating heartbreaker careen on into the picture, led by his own hips on ‘The Lasceaux Associate’. Finally, on title track ‘Formality Jerne-Site’, American English rises to the occasion like a verdict around the narrative of three trans teenagers in rural Colorado: language turns into something sensual and haptic, playing with the snare and sizzle of syllables. The words twist and bend, while the music follows its own synaesthetic logic: “around us pop culture made a vow to a normative desire, drawing in like water color percussion”. Anyines is a site of play and documentation, with a canon so far quite nice. Their future is one that envisions supporting the galaxies their dear friends embody, be it music, performance, video games or beyond. Highlights from their discerning back catalogue include myriad formats: live and digital, plus releases binded to physical artefacts that enhance the live experience such as sculptures and scents. Their history also includes disappearing time-sensitive shadow-tracked material and cross-disciplinary opportunities that reflect deep professionalism and a totally non-schooled semblance of sound and drama. Recent releases include a dance-theatre soundtrack, a traditional shiny pop record, and the acclaimed ML Buch sophomore, Skinned.