Cerca:body

A cat may have nine lives, but Peter Cat Recording Co. has a multitude of dimensions. Formed in New Delhi around 2010 by the crooner Suryakant Sawhney, it's a group that's mutated over time, shedding members and accruing more, always evolving musically with each album: from gypsy jazz to psychedelic cabaret; ballroom waltzes to epic space disco; bossa supernova to uneasy listening. What's more they play jajj, which you've almost certainly never heard of. 
'Gypsy jazz is the description we used around the time of our first album Cinema that we sound nothing like now,' says Sawhney, before adding: 'At the time I was really into Strauss.' 

Portrait of a Time 2010 - 2016 is the first taste many Europeans will have of this highly original, musically capricious and deeply inscrutable New Delhi four-piece. The compilation helps you get to know a band who are essentially unknowable, not that that will stop you from trying. Furthermore, in a capital city known for its mystery, madness and mayhem, Peter Cat Recording Co. is something of ananomaly there too. 

While Suryakant's crooning is spookily reminiscent of a hipster 50's Sinatra, it was more his intention to ape legendary Bollywood playback singers like Kishore Kumar, Mohammed Rafi and especially Hemant Kumar. There are diverse American influences in the mix too, including Sam Cooke, Etta James and even Tom Waits, and time spent in San Francisco studying film may have contributed to the cinematic melange. Thrown together it becomes something unique that equates less to a listening experience and more to an out-of-body experience. 

They were signed to new French record company Panache after label boss Alexandre Rabia was trawling through YouTube one day and happened upon their remarkable promo for 'Love Demons'. It's a mind-blowing eight minute epic featuring the desert, one camel, a movie theatre, swirly organs over coruscating beats, dancing girls, more police and a cavernous pit that then-bassist Rohan Kulshreshtha falls into. 

You can try to compartmentalize them all you want, but just when you think you've got them pegged, they will evolve and transmogrify and the description you have in your hand will slip through your fingers like sand. Who knows if Peter Cat Recording Co. has nine lives, but you can listen to a past life on Portrait of a Time, and a future incarnation - much of it recorded in Paris - will be available in the autumn. Just remember, unlike a cat, you'll never put them in a box. 

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

With a celestial voice that's been streamed over 3 million times thanks to acclaimed features with The Kite String Tangle, Golden Vessel and label mate Sampology, Brisbane-based artist Tiana Khasi (Kah-see) shares her debut EP, 'MEGHALAYA', out 29 March via Soul Has No Tempo.

The Sampology-produced debut is a rich tapestry of styles and influence, with inspiration drawing from themes of self-empowerment, family and heritage, collaborating with contemporary musicians while studying jazz. ''Meghalaya' is both geographic and spiritual. It's a place I creatively resort to seeking affirmation of my identity and for true holistic inspiration. I wanted to create a body of work that honestly showed where I was at musically and personally. I felt the growing pains of being a young woman, mixed race/Australian born and studying jazz. I was neither here nor there.'

'Nuketown', the first single from the forthcoming release, is out now following global premieres with Complex UK & London's Worldwide FM. Upon hearing early mixes, Gilles Peterson handpicked the track to feature on his most recent compilation, Brownswood Bubblers Thirteen, via Brownswood Recordings. Touted by local tastemakers and HypeMachine blog Purple Sneakers as "the debut single we didn't know we needed", 'Nuketown' has found airplay with national stations triple j & Double J, placement in Spotify's Just Chill playlist, rotation with Sydney's FBi Radio, and enthusiastic support from community radio and online media around the country and beyond.

"A flawless example of the kind of music we can expect from Tiana going forward. [Nuketown] creates something completely original, drawing elements from jazz but never chasing a particular sound or vibe. Everything comes naturally, taking you on a journey with the instrumentation matching the ebbs and flows of Tiana Khasi's sweet vocals. It serves as an exemplary debut for the young artist, and can only mean better things are on the horizon." - Complex UK

A keystone artist in her hometown whose live reputation precedes her via her work fronting local jazz/hip-hop collective Astro Travellers, Tiana Khasi's voice has been praised as "elegant" (Life Without Andy), "most dope" (Audiosteez) and "as venomous as it is honey-sweet" (Happy). A trained jazz vocalist, Tiana's unique sound is heavily influenced by her Samoan and Indian heritage, and has seen her support Jamaican-American "TrapHouseJazz" sensation Masego, Swedish soul artist Fatima and acclaimed Australian collective 30/70.

The five-track EP by Leonid Nevermind has everything you want for your body and mind. Picturesque electronics with deep funky, jazzy and mellow Electro moods. Musically rich with a blend of attractive drifts between breezy and melodious Detroit House, dark and smooth 90s indie-house, jazzy piano flourishes, clunky broken beat, and sticky Lo-Fi House.

Seasoned Producer Oliver Kapp Takes Us Back To The Glory Days Of Underground Techno Where Pounding Sound Systems Ruptured The Space Time Continuum For Fun. The Old Guard Will Already Know That Kapp Has Pedigree, From Running And Releasing On His Own Record Labels Indulge And Raygun To A String Of Appearances On Stockholm Ltd, Logistic And Gigolo, His Dedication To The Cause Is Unquestionable. Which Is Why His First Appearance On Cocoon Recordings Is Long Overdue. What We Get Are Dj Friendly Tools Designed For That Time Of Night When The The Second Hand Stops Ticking. Kapp Presents A Perfect Collection Of Timeless Warehouse Techno, Like The Genre Itself There Are No Beginnings Or Ends, Just A Constant Barrage Of Hi Octane Machine Funk, Underpinned By Heavy Duty Beats That Somehow Manage To Induce A Sense Of Weightlessness On The Dance Floor. Scaling Down The Bpms To A Sub 130 Tempo, The Ep Is A Masterclass In How To Balance The Old School With The New. - loud Whisper Is Both Tough And Relentless, Generating An Hypnotic State That Ensnares The Dancer In Suspended Animation As Strobe Lights Flicker Across Closed Eyelids. Scattered Hihats Motor Forward And Trance Inducing Sequences Splice And Dice Causing Mind And Body To Drift Apart. - mantash Is An Altogether Gentler Excursion. Loose Tribal Rhythms Slalom Through The Metronomic Kicks Before Giving Way To Distant Chords That Embrace The Dancefloor In A Warm Fuzzy Glow. This Lush Vibe Extends Over The Rest Of The Track While The Beats Roll On, Accompanied By Delicate Melodies That Enhance The Ride. Euphoria And Delirium Combine On The Aptly Titled - rapture , As Chopped Up Vocal Fx Alternate Across A Hard Hitting 909 Pattern Complete With Angular Snares And Ride Cymbals That Bang The Box Into Submissio

Alessandro Adriani has become a trusted source for all kinds of beyond-the-grave minimal synth, industrial and coldwave delights. Aside from his work in releasing forgotten gems and up to the minute synth incantations, Adriani has also been quietly issuing out his own music as well.

Originally released in 2016, 'Montagne Trasparenti' is now repressed on Mannequin Records with a full new graphic design.

'New wave/neu beta psychopomp, Alessandro Adriani ov Mannequin Records, makes an arresting solo LP debut with Montagne Transparenti's ghoulish suite of atypical Italian horror atmosfear and stylised body music, highly recommended if you're into Demdike Stare, Not Waving or Italian Library Records...' (Boomkat)

The album was recorded between Adriani's native Rome and adopted Berlin, 'in various years of travelling, composing, fighting with cables and machines.'

Robert Steenkamer is known as a purveyor of exquisite house music. Under his Roberto S guise, the Torontonian has released several landmark records. Besides this, he is known as a valued selector in his native Canada. The collaborative releases with Jex Opolis under their "Conga Radio" moniker have received worldwide praise throughout the house community. For his Pulp debut, Steenkamer has created a diverse body of music that touches different moods and genres.

On the A-side, the opening track "Inner Rhythm" is a orchestrated piece of work that uses an uplifting vocal cut and ethereal flute sounds to create a calm and positive dancefloor experience. Also on the A-side "Swizik" is a melody-heavy work where Steenkamer uses fun sequences, euphoric pads and well balanced drum patterns.

The title track is placed on the A3 position and is a genre-transcending cut. The tempo is is low and the beats are dragging along with the well-executed pads and synth riffs. On the B-side, the title track is being remixed by fellow Canadian "Florist". On this remix, Florist turns the slow vibe of the original into a soul touching dancefloor creeper that will definitely gain a lot of support in melodic circles. "Remember When" is a positive work with a snappy bassline and oozing synth sounds. Glass Road EP will be available from all specialized retailers in early 2019.

Following Releases From Rude 66, Vakula And Mick Wills, Arma Continues To Explore The Dark And Wild Corners Of Contemporary Machine Music Via A New Split 12' Featuring Lvrin And Maoupa Mazzocchetti.

Lvrin Has Previously Released On Pinkman, Crimes Of The Future, Mrt And Sign Bit Zero. He Occupies A Sound World Where Blown Out Boxes Spit Out Gnarled Beats And Slimy Basslines Through An Overdriven Desk, With The Ghosts Of Post Punk And Industrial Looming Over His Nocturnal Incantations.

Maoupa Mazzocchetti Has Been Weaving Defiantly Unconventional Strains Of Electronic Music Since First Emerging On Unknown Precept And Mannequin. He Delivers Three Rugged, Body-poppin' Grooves To The B Side, All Laden With Madcap Sampling And Mischievous Synth Splashes That Proudly Stray From Established Norms While Still Holding Down A Solid.

The Second 2019 Release On Seilscheibenpfeiler Is Reserved For One Of The Most Unique Producers Of Our Times And Marks The Label's Most Experimental Moment Yet. Peder Mannerfelt's Discography Stretches Back More Than Ten Years To When He First Started Putting Out Techno Records As The Subliminal Kid. Amongst Other Things He Helped Producing Two Acclaimed Albums By Fellow Swedish Artists Fever Ray And Gained Recognition Under His Real Name, Especially In Recent Years With Releases For Numbers. Or Hinge Finger And Critically Acclaimed Albums Like - controlling Body (2016) Or - daily Routine (2018) On His Own Imprint.

Last Year Mannerfelt Contributed To Modeselektion Vol. 4, Now He's Back With A Set Of Four Tracks Following His Unique Strain Of Abstract Techno. - life Without Friction Is About Disruption As Well As Peculiar Moods And Rhythms, And Other Than Its Title May Suggest, There's A Lot Of Friction And Tenseness In These Tracks. The Title Cut And - un - Air Show Mannerfelt In Almost Straightforward Mode, Always Ensuring It Never Gets Boring Or Too Comfortable. - lucid In The Sky And - hold The Line Combine Mellow Sounds With Stabs Of Noise And Twisted Percussion. As Always, Peder Mannerfelt's Productions Remain Unpredictable, But Predictably Great.

hvmble is a newly-formed Berlin-based collective engaged in house music production and label work. Merging ideas in a fresh way is the intent of our approach and sound.
Exchange in a diverse community is key to our spirit. hvmble aims at staying versatile. hvmble"s debut-EP series "Textures" features an eclectic practice where diverse elements
of dance music are teamed playfully. Hypnotizing groove structures, vibrant Hi-Hats and a sublty-formed Bottom-End unite and stimulate the bodymind. Textures invites the listener/dancer to float through skillfully meshed patterns and dreamy layers, to
experience promising new spaces.
The sounds appearance and cover-artwork was created by visual artist Peter Aurisch. Textures is a collective creation.

Moderne Recordings Split EP 12 vinyl release: The Revolving Eyes & Nelson Bishop. An excursion between Exotic/Slow/Disco/Body/Wave.

Qestion is an emerging talent from Madrid and, alongside Kwartz, is part of the "Body Unknown" project with which he has edited on Horo.

Now Qestion makes his solo debut via Order&Devotion and, following the wake of the label, he delivers a five track EP (including a remix by head honcho Kwartz) impregnated with dark atmospheres, killer synths, and powerful beats.

The 68th edition of the DJ-Kicks mix series is another landmark one, withexperimental producer Laurel Halo taking the reins. The American's adventurous28 track trip features seven exclusives, including two of her own plus thosefrom Rrose, Machinewoman, FIT Siegel, Nick LeoIün and Ikonika. An electronic outlier, Halo hails from Ann Arbor, Michigan, but has been basedin Berlin for a number of years. Landing on labels like Hyperdub, Honest Jon'sand Latency, Halo has released a body of work ranging in style, yet cohered byproduction and compositional tendencies that sound distinctly her own. Herstudio work tends to be a multi-layered mix of the electronic and theacoustic, the organic and the synthetic. As a DJ, meanwhile, she lays downmore floor focussed mixes of techno, bass and worldly drum rhythms, and herlive sets are similarly visceral and direct. Halo's DJ-kicks packs a lot in to just 60 minutes. It kicks off with the firstof two of her own exclusives, 'Public Art', a tactile piano loop that sets themelodic tone of the mix in focus. Crunchy drums soon take over and begin whatis a blistering ride through electro, trippy minimalism and textures thatrange from icy and dubby to steel plated and sharp from the likes of Red Axes,Parris and an exclusive from Rrose. Another exclusive, rough and ready cut from Machinewoman follows, before themid section twists and turns on surging drum patterns, frantic industrialtextures and spaced out gqom sounds from the likes of Griffit Vigo, DarioZenker and Final Cut. This is a mix forever on the move: one minute itstightly coiled and kinetic, the next it's loose and joyful before switchinginto more cerebral and insular passages that keep you intrigued. Fusing together so many disparate sounds and textures is no mean feat, butlike everything Halo does, here they all add up to something as thrilling andedgy as it is unpredictable and compelling.

Lunch Money Is A New Breed Of Psychedelic Jazz. Adventurous Compositions That Keep Both Body And Mind Fully Engaged, The Music Juxtaposes Expansive Textures With Off-kilter Hooks And Rhythms. Deep Basslines Rub Shoulders With Angular Post-punk Guitar Riffs, Floating Synths And Horns, All Blending Onto A Head Nodding Syncopated Drum Beat. A Heady Brew Of Dilla, Davis And Kraut Marks The Arrival Of London's Newest Jazz Deviants.

The Run Of 300 7" Singles Will Be The First Release From New Label None More Records. The Record Will Also Be Available Digitally.

The new sampler on Siena has arrived! Number 4.0 is a real dance floor filler. The A1 comes from Lonely Planets Records artist; Sinan Alakus, who opens the EP with his raw drums and sharp synths. To keep the A-side housey, A2 is collab between the mates Tetelepta & Amro. Rollin' bass and smooth melodies. House 2 tha Bone it is!

On the flip, Tom Liem opens the B-side. A perfect dreamy minimal joint. Jocelyn, who had his debut EP on the main ESHU Records last year, delivers the last one on the EP. This B2 is a badass trip you don't want to end. Mean body in the low end, spacey chords on the up. From the start till the end you will dance!

There are some elements in electronic music that make them timeless, elements that if melted together they can give an impressive result, to the mind and to the body. Sawlin - Ursprung is the first album of the career of Sawlin, after his debut in 2010 he evolved like a wonderful orchid, an orchid that never followed the flow of the other flowers around him, but found his own way to the music. Ursprung is the result of an interminable evolution in the mind of the artist, 8 elements that complete a circle built on a very mysterious atmosphere, like a film that you never saw, but you always had in your head, something more bigger then a memory, and something more deep then a picture. This 8 elements are the blueprint of the work that comes from the background of the artist, Deep raw imaginary pictures, mixed with oldschool wallpapers of a new wall based on an old concrete. Sawlin Mix the new to the old in a way that no-one can do, and probably no-one risked to do. This is the power of an artist that needs more attention and more time, you can feel at the first listening that there is something really big going on, but you need time to understand what he wanted to create, meticulous details that he wanted to paint, in a way that we cannot see them at first, but we find them quite impressive after. Sawlin present himself in the most modern way he can, no compromises, he don't want to please you, he want to paint the future. in the most Artistic way possible.

As humans living on the planet today, we have become so removed from our original, natural habitat—the forest—that we forget our wild roots, our primal, animal origins. Music is one of the things that can bring us back to that place, that can put us in contact with a felt world of instinct, immediacy, and presence: a world where language and the problem-solving mind are not needed, where the music keeps your mind and body in the present moment, and the point of dancing becomes the dance of our inner wildness and animality itself. Hans Berg's Sounds of the Forest Forgotten affirms that music can bring us to a state of mind and body that can help us feel what we've forgotten from the forest. The overlaying project of the album is to conjure musical and conceptual resonances between mysticism and nature, summoning the incredible depth and force of nature that we usually miss, especially living in contemporary urban cities. Sounds of the Forest Forgotten channels the creativity, playfulness, and freedom of a life both before and beyond ours through the sounds of analog and digital synthesizers, a modular system, drum machines, and computers. Recorded between Hans's studios in Berlin and on the Swedish countryside, the album similarly shuttles between contemplative and ecstatic, between delicate and powerful, mixing sublime psychedelic techno compositions like 'Emerald Sea' with acidic dance-floor bangers like 'Storm' and 'Milk Thistle,' all nestled between contemplative and textural ambient compositions like 'Butterfly' and 'Glow Worm.' Berg is known for his enthralling productions and energetic livesets that capture dance floors with his particular brand of hypnotic techno, replete with angular lines, affecting melodies, pulsating basslines, and big drums. He also produces atmospheric scores and ambient soundscapes to accompany the video art and installations of long-term collaborator and celebrated artist Nathalie Djurberg. Berg's live sets have found a home in nightclubs around the world, with recent gigs in Berlin, Stockholm, New York, Tokyo, and Melbourne, to name a few. In addition to 2MR, he has released his solo work on record labels including Ian Pooley's imprint Montage, Klasse Recordings, and The Vinyl Factory. His ongoing collaboration with fellow Swede Johanna Knutsson - as Knutsson/Berg - has led them to start the label UFO Station Recordings, on which they release their own material. The duo also has released on labels such as Idle Hands, Default Position, Kann, and Random Island.

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson

Chemistry between individuals is an amorphous and elusive notion. It is usually seen as something that occurs between two people who are sharing a physical space, with access to each other's body language and energy. However, modern technology has provided many other opportunities for chemistry to blossom and be explored and this record is just one example of that: Vent is proud to present Kina, a double LP of musical collaborations between MAYa and Tolga Baklacioglu.

Tolga Baklacioglu is an associate professor in aeronautical engineering. He is also a musician. For several years, he has been steadily building a body of work that explores the outer boundaries where techno and abstract textures merge and blur. In 2014, Tolga created a label, VENT, as a platform for his explorations and those of likeminded travelers within this sonic realm.

MAYa Hardinge works in film. She is also a musician. She has collaborated with numerous artists. Beginning in 2008, She released 4 EPs under her solo guise MAYa. Considering her background in film, it comes as no surprise that her work has a strong visual element. Pre- dating Beyonce´'s Lemonade by many years, her last two EPs were visual albums made in

collaboration with various directors.

It makes total sense that MAYa and Tolga should have made an album together. Their interests and backgrounds overlap and diverge meaningfully in a way that has all the hallmarks of good musical chemistry. There is however one unusual element to their collaboration: they have never met. Tolga lives in Eskisehir (Turkey) and MAYa lives in New York City.



Always on the look out for inspiration and new collaborators, Tolga stumbled across MAYa's videos online. What he saw and heard inspired him to reach out and contact her. After some correspondence they decided to experiment with the prospect of making music together. Perhaps deprived of the traditional notions of chemistry defined by proximity, they found inspiration across time and space in the name of exploration and discovery. Tolga began by sending MAYa files of beats and ambiance. Upon finding the ones that spoke to her, MAYa went to work disassembling, adding, subtracting and rearranging. MAYa's work would then go back to Tolga, a world away, for further input and then back again. In this way each track was painstakingly constructed and a true chemistry was born. One built on sensitivity, support and honest artistic communication. In a word: LISTENING.

The songs cover a broad spectrum of topics, from the deeply personal feelings and experiences, to world events, and the fundamental aspects of life and death. Kina is a document of two artists from different backgrounds and their shared visions of the interplay

between one's private microcosm and the global macrocosm of our time; a testament to the fact that, for all its vastness and diversity, this world offers inspiration and potential collaboration around every corner. The music contained within has traveled around the world many times before reaching your ears. As MAYa and Tolga have done before, it is now your turn to LISTEN.

Corey Fuller Is One Half Of The Duo Illuha On 12k And Break Is His Frst Solo Recording For 12k. A Crashing Wave, The Breaking Dawn, An Impact, The Crushing Of Emotional Spirit... The Breaking Of A Storm. These Are All Relevant Ideas Behind His Choice Of A Title For This Highly Emotional Abum. Fuller Has Addressed The Universality Of Human Struggle Without Going Into Specifcs Of His Own Personal Waves. The Ideas That We As Humans All Share Many Of The Same Diffculties Is Both A Launching Point And A Message He Wishes To Share With Break — The Catharsis.
While Illuha's Music Is Known For Its Attention To Small Sounds And Light Textures, Break, While Equally As Fragile, Sees Fuller Working With Much Heavier Elements. Still Highly Melodic, The Work Pulls And Churns Between Harmony And Tension, Weight And Air, The Crash Of A Wave, The Pull Of The Undertoe. The Album Is Focused Intensely On Melody And Harmony, Progressions More Carefully Composed Than The Serendipitous Found Sound Of His Work With Illuha.
The Piano Is Often At The Center Of These Songs, An Instrument (his Own) That Has Become Much An Extension Of His Own Body. His Own Voice Plays An Important Role As Well, Sometimes Lyrically Ethereal And Sometimes Just A Breath Signifying The Ever-fragile Thread Of Life. Beautifully Recorded
In His Tokyo Studio, The Sounds Are Captured With All Of Their Inherent Physical Faws. As Fuller Himself States About The Piano Being recorded In A Way That You Can Hear The Bones, Like An Open Ribcage, Moving Contorting...' Everything On Break Is There For A Reason, Not Just The Sound And Soul Of The Piano But The Electronic Elements As Well, Rattling Bass Tones And Dramatic, Emotional Waves Of Synthesizer Rising And Dissolving.
If A Single Word Can Be Used To Describe Break It Is Physical. From The Instruments And Techniques Used To Produce The Album To The Concepts Of Vulnerability Of The Human Body. Break Is An Emotional Riptide Where Violence And Rest Struggle To Be The Last Voice.


i) Adrift
ii) Asunder
iii) Aground