Suche:concret

Die PBS-Serie Earth Focus befasst sich mit den komplizierten Verbindungen zwischen Südkaliforniens Naturlandschaften und städtischer Entwicklung. Jede Episode erforscht einen bestimmten Ort, darunter den Los Angeles River, das Diablo Canyon Nuclear Power Plant, Joshua Tree National Park und die Mojave Wüste. Der Soundtrack der Serie, komponiert von Elori Saxl, unterstreicht die emotionalen Erzählungen dieser Orte und betont das Zusammenspiel zwischen Menschen und der Natur sowie die Auswirkungen der vom Menschen geschaffenen Umwelt. Dabei ließ sie sich von Künstlern wie Alice Coltrane und Hiroshi Yoshimura inspirieren, Saxl hat die Musik mit digital manipulierten Aufnahmen von Wasser und Wind, analogen Synthesizern, MIDI-Samples und bearbeiteten Holzbläsern gespielt von Stuart Bogie (Klarinette, Bassklarinette, Flöte) kreiert. Diese einzigartige Mischung aus Klängen erinnert an das musikalische Erbe von Los Angeles und an die allgemeine Atmosphäre von Wind, Sonne und südkalifornischer Kultur. Die Musik bezieht sich lose auf die psychedelischen und traumhaften Klänge, die mit der Vergangenheit und Gegenwart von Los Angeles verbunden sind. Sie enthält jedoch einen modernen Twist, der reale und synthetische Elemente vermischt, um das zeitgenössische und zunehmend spürbare der von Menschenhand geschaffenen Landschaft in Los Angeles und den angrenzenden Regionen zu reflektieren.

Ornette Coleman's hugely influential 'The Shape Of Jazz To Come'
pressed on limited edition 180g premium orange vinyl.

'The Shape of Jazz to Come' was a watershed event in the genesis of avant-guard jazz. The record shattered traditional concepts of jazz harmony, disposing of both the piano player and the whole idea of concretely outlined chord changes. The album includes Coleman's classic tune 'Lonely Woman.'

"The element that pours out of this disc is creativity in strong, concentrated waves. Four of the half dozen Coleman originals in this collection grow out of bop roots, but Coleman hears other things, too. This is not easy music for the listener, but even at its most difficult it remains compelling." - John S. Wilson, DownBeat

You Never End is the third album from Valentina Magaletti, Tom Halstead and Joe Andrews (Moin) out via AD 93 on the 25th October. Its title alone expresses the teetering and shifting nature of both the album and band. This record marks the Moin’s shift into a new phase with vocal collaborations across the album from Olan Monk, james K, Coby Sey and Sophia Al-Maria.

The album’s collaborators all have voices that are alluring in their own right whilst hard to pin down: from james K’s ethereal, reverb drenched vocals, Coby Sey’s words that bounce and echo across London’s concrete streets and Olan Monk’s emotive songwriting, while artist Sophie Al-Maria’s voice and thoughts are known to stretch across her multidisciplinary practice as an artist, filmmaker and writer. The unique mystique of each collaborator is maintained throughout the record while simultaneously opening Moin up to new possibilities, in a gentle shifting alchemy.

Continuing their enigmatic re-configuring of the traditional band, Moin use a mix of conventional and unique production and compositional techniques. Subtly re-framing the current conversation about what band in 2024 needs to be, Moin walk the line between what's reassuringly familiar and what's unsettling and inquisitive. You Never End is a more sensitive record in sentiment, it re-contextualises grunge, shoegaze and indie rock with a weirdly comforting melancholy while still sounding direct and alive.

Showing Moin at their most accessible, the vocal collaborations bring the most articulate moments and lucid emotion while still remaining uniquely within Moin's established world. Alongside this, the record fine tunes the elements of electronic production that have always been a feature of the band's unique sound in a deeply subtle way. Elements are simpler and more direct, offering robust functional support as well as textural and emotional resonance. Together they show the potential for both practices to intertwine.

You Never End is both produced and mixed by Tom and Joe, demonstrating the extended range of control the pair have over the band's sound, and their ability to truly hold together Moin’s intricate world.

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

Throughout the 1960s, Canadian composer Bruce Haack was as ubiquitous on children’s and variety shows as were exotic animals from the San Diego Zoo. But he wasn’t there to perform so much as demonstrate. In his formative compositions for theatre and ballet, he had experimented with tape loops and musique concrète techniques; by the early ’60s, he wasn’t just playing around with electronic sounds, but also making the very gizmos that generated them. By day, Haack would eke out a living as a composer for commercials and a series of instructive, interactive children’s records made with collaborator Esther Nelson.

But by night, Haack was making music that was decidedly adults-only.

Originally released in 1970, The Electric Lucifer was Haack’s first work pitched to a contemporary rock audience, released by Columbia Records in the dying days of a post-hippie moment when bizarro outsider-psych could still find a home on a major label. If it was not the first rock record to feature electronics, it was certainly among the first to give them a starring role—both musically and conceptually.

A collection of music created based on Hayao Miyazaki's storyboards and sketches. Includes four vocal tracks.

Using a variety of tape stocks, Black Swan creates a haunting atmosphere that evokes the sensation of uncovering long-lost, sacred recordings hidden in time on his ninth album, Ghost.

The New York-based artist reveals that he was inspired by musique concrete and ambient while making the record, which is made up of 20 pieces that all form a continuous suite. Each track varies in length and complexity from short and sweet sketches to more elongated studies and that are made from intense layering and harmonic surges using an array of tape stocks.

The result is a haunting, unearthly atmosphere that sounds perfect in this cassette format.

Repress of the original RPG7 tunes... and, on the flip a 2016 Version. Babakar this time did a translation in french of the original words... And King Smoke did a more Techno / tekhouse version of the track... 2 Worlds for one Peace ! LTD 100 copies !

The Wild Classical Music Ensemble is a Belgian experimental rock band formed in 2007 by artists with mental disability within the social-artistic non-profit organisation Wit.h in Kortrijk. Their unique sound is a blend of punk/rock riffs, fanatical rhythms and soaring flutes and fiery synths, over which gravitate multiple, multilingual voices that scratch harshly as much as they comfort. There's something very Belgian about this harshness and noisiness. We often think of compadre Arno, from the TC Matic era. During the Covid crisis, the disabled members of the Wild Classical Music Ensemble were undoubtedly subjected more than others to the harsh conditions of confinement, alone in their rooms. Damien Magnette was still able to visit them with sound equipment. This was one of their all-too-few windows onto the world. Forbidden to meet, let alone play together, the members of Wild were nevertheless able to compose songs in tandem with Damien. The tracks were then sent to musician friends - Fabrice Gilbert, Ava Carrère, Wim Opbrouck, Shht, Arthur Satàn, Nathan Roche and Julien ZLDR - who added their artistic touch. Jean Lamoot and Carl Roosens joined the adventure, one as mixer, the other as video director. It's a result of the conditions under which it was created, this is the band's most highly-produced album, and perhaps its most accessible: frankly rock, with a great deal of freedom in production, and sometimes with a certain pop allure. Jean Lamoot's contribution to the mix had a lot to do with it. In addition, the forced slowdown allowed us to devote much more time and attention to writing the lyrics. Leader Damien Magnette says: "For over a year, we were all confined. But what about when you're a mentally handicapped person? Well, it's very different from you and me... We have the right to choose, the luxury of deciding for ourselves what rules we want to follow or not. We have free will. They don't. This series of confined songs is dedicated to all the people who have gone through this crisis, deprived of their free will. We send them our thoughts, hugs and kisses full of true love! The songs respond to a deep desire to look out for each other in adversity (the so obvious "Comment ça va?" by Johan Geenens and Wim Opbrouck, or "Waarom ben je boos" by Sébastien Faidherbe with Wim Decoene, the latter full of empathy). A sense of loneliness is logically present on the album ("Dat is mijn verdriet" by Linh Pham, a very real, very concrete and particularly touching poem, or "Loneliness", whose text was improvised by Wim), if not an understandable rage ("Je ne veux pas" and "My Frustrations"). It worth noting that on "On reste heureux", Sébastien Faidherbe composed all the parts in one go, with an optimism that stands out from the anger expressed in his other songs. Let's make no mistake: none of this is really over. All these emotions, suffering, pain and hope, speak to us far beyond this grim story of covid.

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix)

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix)

Emma Anderson, Mitbegründerin von Lush und Sing-Sing, veröffentlicht Spiralée: Pearlies Rearranged. Es besteht aus neuen Versionen aller 10 Tracks ihres letztjährigen Solo-Debütalbums Pearlies, die von Julia Holter, LoneLady, The Orielles, deary, Daniel Hunt (Ladytron), Lorelle Meets The Obsolete, MEMORIALS, Concretism, Masal und dem Produzenten des Originalalbums, James Chapman alias Maps, neu interpretiert wurden. Wir nennen es nicht Remix-Album, denn es ist so viel mehr als das - alles wurde neu arrangiert, von den Tracks über die Reihenfolge bis hin zum anagrammatischen Titel (der zu Stuart Jones' atemberaubendem Spirograph-meets-Saul Bass-Artwork führte), und das Ergebnis ist im Grunde eine brandneue Platte. ,Es war eine Chance, einige wirklich einfallsreiche Leute zu finden, die die Tracks auf den Kopf stellen, und genau das ist passiert", erklärt Emma. ,Wir haben eine interessante Reihe von Künstlern ausgewählt und ihnen die Stems ohne Vorgaben gegeben, um zu sehen, was sie sich einfallen lassen würden. Das Ergebnis ist absolut brillant und eine Platte, die für sich allein steht, ohne dass man weiß, wie die Originale sind." Tracklisting: 1. Willow And Mallow (Daniel Hunt Mix) 2. The Presence (Concretism Mix) 3. Clusters (LoneLady Lost Minds Mix) 4. For A Moment (deary Dub Mix) 5. Xanthe (Witching Time Version) 6. Inter Light (MEMORIALS Mix) 7. Taste The Air (Julia Holter Mix) 8. Tonight Is Mine (Lorelle Meets The Obsolete 84-86 Mix) 9. Bend The Round (The Orielles Blend The Round Mix) 10. I Was Miles Away (Masal Spectral Mix) Limitierte Summer Wine LP Edition

It's official! Post Malone is finally releasing his long-awaited country album. This marks his concrete foray into country music. He ensures us this isn't just a few fleeting off-hand singles. Rather, he's doubling down on his excursion into Nashville. Includes the single ft. Morgan Wallen “I Had Some Help”. A 9x diamond-certified GRAMMY® Award-nominated phenomenon, Dallas, TX artist Post Malone regularly rewrites history, blurs boundaries, and incites internet-breaking conversation with every move.

*Full colour artwork coming soon, this is a digitally generated mock-up. Comes in a risograph sleeve featuring liner notes and original Saturn artwork. *

Recorded at the Choreographers’ Workshop in New York, 1963, Waaghals Records presents two songs from Sun Ra’s Continuation sessions on vinyl for the first time. Known for its lo-fi recording quality coupled with heavy use of echo and reverberation, the material recorded at the Choreographers’ Workshop holds a special place within the Sun Ra catalogue. This unique blend of avant-garde jazz and bold production methods is described as “low-budget musique concrete” by Sun Ra biographer John F. Szwed.

Taken from the 1970 Saturn album Continuation, side a features the complete unedited version of New Planet. A bouncy Ra track that somehow ends up in a sound-bath of low, throbbing frequencies and echoes. The b side, Meteor Shower, remained unreleased until 2014, making its first official appearance on vinyl here. The opening trumpet salvo warms us up for a micro trip through the vast cosmos, with more echoed percussion and a beautifully bowed bass solo. It is no surprise that in recent years this particular piece has been sampled, most recently by RP BOO and Armand Hammer.

Tape transfers and audio restoration by Michael D. Anderson and Irwin Chusid of the Sun Ra Archive.

In a simultaneous act of defiance and impishness, Sham Family are etching their name in the wet concrete out front of the establishment. Hailing from the vibrant music scene of Toronto, Canada, the dynamic quartet is emerging as a prominent voice in the contemporary post- punk landscape.

To know Sham Family is to witness them perform live in the flesh. From the very first note, the room teeters between collective catharsis and a sort of beautiful, focused chaos. Blisteringly loud and remarkably lush, their live show is not only a testament to the meticulous craftsmanship of their music, but a downright physical feat. Broken strings, sweat, and the occasional minor lesion are collateral damage that only serves to strengthen their ultimate goal: deliver the loudest, most captivating show utte rly possible. Catching the attention of the newly formed Wavy Haze Records, spearheaded by indie icons Born Ruffians, Sham Family were the first non-Ruffians to join the label’s esteemed roster.
In 2022, they released their debut self-titled EP: a strikingly raw introduction to their leave-it-all-on-the-floor brand of shoegazey punk. The release quickly gained traction, propelling Sham Family onto stages across the United States and Canada. Now, Sham Family are gearing up to release their highly-anticipated full-length album, A Deaf Portrait of Peace, in 2024. Produced by the renowned Graham Walsh (METZ, Debby Friday, Preoccupations, Alvvays), the record promises to embody the propulsive ener gy of their live performances while venturing into uncharted sonic territories.

Finnish electro duo Morphology, comprised of Matti Turunen and Michael Diekmann, is set to release ‘Made Up Reality’ on Deeptrax Records, the label with a mission to deliver high-quality, groundbreaking electronic music focusing on the deeper side of electronica and eclectic leftfield dance jams, exploring those spaces between deeper house and techno, with hints from the past and a strong vision of the future.

Continuing Morphology's tradition of dark, melodic, and skilfully produced electro funk that has captivated international audiences, they’ve have been holding down the retro-activism of Detroit and its call for an illuminated future of programmable, motorized, electro-fantasies for over 15 years. With releases on Semantica, Solar One Music and a slew of albums for Germany’s Zyntax Motorcity, it’s been Cultivated Electronics and Central Processing Unit that have given new rise to the music of Morphology. Their Traveller LP released through FireScope, helmed by the UK’s B12 in 2018, the floodlights remain unshakably fixed on the Finnish pair’s brilliance, appearing on landmark compilations like CPU’s 50th release jubilee to DJ Stingray’s Kern mix for Tresor, or holding it down in the underground at Scand nights in London, to bookings at Concrete Paris and Closer in the Ukraine, to Berlin’s unmissable Berghain. With a forever exploratory live set, Morphology’s place as a mainstay of futurist electro is rock solid and burning bright.

Renowned for their soul charged, emotion rich melodies and signature blend of techno and traditional electro, Morphology's new EP takes listeners on an unforgettable auditory journey. ‘Made Up Reality’ showcases the duo's ability to integrate acid lines and vibrant drum patterns creating a sonic landscape that is both innovative and deeply resonant. ‘Seven Fingers’ is a deep dive into the darker side of electro, with haunting melodies and pulsating rhythms. ‘Particle Swarm’ is an acid-infused cut that melds techno elements with classic electro beats. ‘Gradient Descent’ is a more electrifying electro acid heater, blending head nodding bassline with sharp acid riffs and pulsating rhythms that will ignite the floor. ‘Active Inclusion’ is a vibrant, drum-heavy composition that brings the EP to a powerful close.

The London-based electronic musician Luke J Murray aka Stonecirclesampler and the award-winning writer Travis Elborough have combined forces on a new collaboration to be released on The Tapeworm label under the title 'Memorex'.


Luke J Murray is a man of many musical aliases, releasing and performing variously as: Superior Grime London Blue DNB-like South Sand Dynamics Luke Marblex The In 2.5G Label White Dark Rainfall J Escape NCR London The From Cracks In Concrete 900Cold Liquid DJ Pulp Grime Murray The endorphin Old 0161 Conflicting 2 Solo Widens Damage Ambient Glow Electronics and Stonecirclesampler.


Described by The Guardian as 'one of the country's finest pop culture historians', Travis Elborough's books include 'Wish You Were Here: England on Sea', 'The Long-Player Goodbye', a hymn to vinyl records that inspired the BBC4 documentary 'When Albums Ruled the World', in which he also appeared, 'Through the Looking Glasses: The Spectacular Life of Spectacles' and 'Atlas of Vanishing Places', winner of Edward Stanford Travel Book Award in 2020.

Kin Ping Meh wurde 1970 in Mannheim, Deutschland, gegründet. Die Band wurde in der Krautrock-Szene mit ihrer spannenden Mischung aus Pop-Rock mit progressiven und psychedelischen Elementen bekannt. Concrete ist das fünfte Album der Band und ihr erstes Live-Album, das während ihrer Tournee 1975 aufgenommen wurde und die Band in Bestform zeigt. Das lange Zeit vergriffene Album wurde nun endlich für Vinyl remastered und als 2LP neu aufgelegt.

Soul Jazz Records" new Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Club music reduced to its essential elements, those elements then pushed to their limits! Dangerously malfunctioning DJ tools! The Feeling of Power!
All that and much more on this striking new record from the one and only Barnt, the great reductional absurdist finally appearing on Studio Barnhus, providing concrete proof of the secret, decade-long love-affair between artist and label, after a bunch of Barnt b2b Boman DJ sets over the years, Kornél Kovács’ legendary “disco edit” of classic Barnt track “Chappell”, endless “Studio Barnthus” jokes, etc.

Amazing next SCKT. All tracks written and produced by Markus Suckut. Limited purple Clear marbled Vinyl.

A collaboration project with renowned artists Rob Le Plar, Hobzee, Sicknote, Uneven and Metro. Tony Justice creates music that intertwines the contemporary essence of urban life with the smooth, sophisticated sounds of jazz. His compositions blend modern beats and rhythms with the soulful melodies and improvisational elements characteristic of jazz, creating a vibrant fusion that resonates with the urban atmosphere. The music carry elements of groove, sleek instrumentation, and Jungle/Hardcore beats blended seamlessly with the finesse of jazz melodies.

Here comes JIN09: a four track solo EP from Seoul’s Cosmo. Cosmo began her DJ career in 2017 and has since become one of the most active and consistent artists in the Seoul club scene, having residency at BBCB: Beton Brut + Concrete Bar.

JIN09 sees Cosmo's productions take on an ethereal and cosmic atmosphere drawing from the traditions of house and balearic music. While A side is lush, and dreamingly chugs along, B side sees Cosmo venture into techier and grittier sounds.

We are excited to present our first solo EP from such a talented producer, and can't wait to see what will come next from one of the region's rising stars.

Stripped down techno groovers.New Made Of Concrete by Alexander Kowalski & Rebar.

We are delighted to present the debut record by pianist, poet and radio producer Phil Smith. Turning his attention away from BBC feature-making, and his cult Jazz-Disjunction NTS show, Phil offers us the diaristic, heartfelt and homespun "Tagebuch".

"Tagebuch" is a collection of musical journal entries, spanning Phil's time living in Berlin from 2013—2017. Using sweetly tumbling piano as a starting point, he flexes his storytelling chops, shifting from scene to scene via voice, folk-jazz arrangements, musique concrète and the occasional techno-synth chugger.

Don't be fooled by Phil's back-of-envelope charm, this is an expertly-crafted radio biopic without words; the minutiae of life percolated through layers of accordion, U-Bahn harmonics and beer foam. A talented cast of guests and friends, notably multi-instrumentalist Zac Gvi, add an unassuming weight and emotional muscle to this deeply personal source material.

Recommended if you like John Carroll Kirby, Penguin Cafe Orchestra or Alabaster DePlume. The vinyl edition of "Tagebuch" comes complete with a book of poems and photos by Phil.

The unconscious and unknown must be really nice places. In any case, if you take the second album of Menelaos Tomasides under his given name as travelogue. A trip into dreamlike territory, yet concrete enough, a journey without target yet looking forward and looking back into familiar places, „dreamhike“ both continues and departs from the style Menelaos has found earlier, in “When the Moon Comes Through”, or his more conceptual-intentional “31 Minuten” works. As the album title - which roughly translates to “dream hiking” but also hints on “walkabout” and “songlines” – suggests, we are rambling between the real and the imaginary. From the bucolic border triangle of Belgium, Germany, and the Netherlands to the buzzing streets of the capital of Cyprus, where Menelaos has lived for many years, the tracks are about real places, about real experiences and emotions yet interwoven with a dreamlike fabric. Something that is just not tangible, yet substantial and palpable. Something concrete that manifests in the genuine and special sound design of this records - basically all of Menelaos’ works - his really special treatment of dynamics and loudness. It is one of the very few records where the established language of music making, specifically Techno, House, Dub, and early 2000’ Electronica, the clicks, thumps and plops from an earlier age of electronic music, transmogrify into slow movements of something new. Something that is gentle and truly personal, looking inwards. There are four-to-the-floor beats, there is wobbly bass, and dubby chords, even sublimated clarion calls. There is an immense energy in these tracks, the sheer materiality of low frequencies of a massive sound system manifested in a tiny room. Yet it is without any aggression, stripped bare of sonic pressure. It is quiet music no matter how high you turn up the volume. A rare treat, that requires exceptional skills and exceptional restraint and control on the technical side of music making. Probably it is a result of Menelaos specific combination of instinctual, intuitive approach to making music, which meets a genuine love for sound in seemingly endless loops of refinement that can lead to such a result as „dreamhike“. The elegant floating balance of control and playful experimentation manifests for example in a track that continues the ongoing collaboration with seasoned Cologne improviser Achim Fink on bass trumpet. Not only in this respect, the album can be described as a product of openness. It comes from a lot of taking in the world, of travel, of places and people met, of friendship and conversation (not necessarily with words). The deep trip of “dreamhike” further manifests Menelaos as one of the truly independent voices of electronic Cologne and beyond. Somewhat alike in character and attitude probably to what late Pete Namlook has established for Frankfurt with his label Fax +49-69/450464 (though ultimately warmer and much less uncanny) Menelaos has found his very own sound and vision. Music that answers to no one but speaks to everyone. Uncompromising yet gentle to the core: kind sounds from a kind spirit, arguably the most extraordinary and valuable quality music can have these days.

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT096), Making Conversation documents a different facet of cole’s work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions.

The side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia / San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she ‘observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place’. Drawing on field recordings as memory aids (but including none in the finished piece), cole’s piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to ‘imitate nature in her manner of operation’.

‘Valid ForeverrRrrRRrrr… (pt. 1)’ began as cole’s contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood’s Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole’s piece begins from Beth Anderson’s Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on ‘two large similar paper things and one 5-pin bowling ball’. Rolling from one side of the stereo field to the other, the bowling ball’s uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction.

On ‘Valid ForeverrRrrRRrrr… (pt. 2)’, cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. The result is refreshingly puzzling, comparable perhaps only to the sparsest moments of Keiji Haino’s classic “C’est parfait…” Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole’s work, extending her signature concerns in new sonic and conceptual directions.

Kendra Morris' stellar and soulful debut album 'Banshee' is finally back on vinyl for the first time since 2012. Originally released via Wax Poetics, Colemine Records is now proud to make this album widely available again on record shop shelves, right where it should be. Pulling influences from late-60s and early-70s psychedelic R&B and funk, Kendra adds her own rock twist in collaboration with producer/guitarist Jeremy Page. The album is a rich sonic tapestry, with hip-hop references and beats weaving throughout. All of this sets the perfect backdrop for Kendra's known powerhouse vocals. 'Banshee' effortlessly blurs the lines between sounding old and new, and has left a lasting impression over the last decade. Kendra, in her own words, "howls like a banshee... and roars like a wolf."

GLACIAL TOMB are set to leave their mark on 2024 as they prepare for the release of their second full length studio album, Lightless Expanse. The Denver, CO trio have embraced the foundations of sludge-corrupted death and black metal from their debut album while leveling up instrumental technicality and nuanced song writing. Glacial Tomb’s unique blend of “sludge-corrupted blackened death metal” sets them apart from the bulk of modern extreme metal outfits. Featuring Ben Hutcherson of Khemmis on guitar and lead vocals, the group has made a name for itself as a devastating force whose releases have received critical acclaim. Careening from hardcore-tinged death plod to full-on D-beats to a cavernous blackened grind with a nitro tank of blasts, Denver's Glacial Tomb, deliver the goods with their Prosthetic Records Debut, Lightless Expanse.

Legendary electro explorer Emile Facey aka Plant 43 is back on his Plant43 Recordings imprint. Despite being hugely prolific, the artist always managed to find fresh new creative ground with each new outing and Concrete Echo is no different. The title cut is a high-speed opener with shimmering lines, fizzing static electricity and drama in the chords that make you take note. 'Emerald Shift' is a broken beat kicker with raw claps and scintillating liquid metal leads while 'Raw Vectors' layers up acid wobbliness and textbook electro rhythms. 'Mist Memory' closes down with a melancholic vibe and heady synths that take you into the cosmos.

WE ARE WINTER'S BLUE AND RADIANT CHILDREN (WAWBARC) is the new quartet of Mat Ball (BIG|BRAVE), Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion), and Jonathan Downs and Patch (both Ada). On "NO MORE APOCALYPSE FATHER" they present six modal lullabies drenched in seared distortion, slathered across striding electronic pulses. Ball and Menuck began creating music in and for the bleakest moments of Montréal winters: "We're honoring that idea of winter, when you come inside and your house is warm, a place that only exists because of how cold it is outside," says Menuck. They later recruited Downs and Patch to flesh out their initial ideas. Menuck met them in 2015 when recording Ada's final album at Montréal's Hotel2Tango _ where they reconvened to make this record. "NO MORE APOCALYPSE FATHER" is an album about witnessing bleakness from a place of safety. Carrying newfound descriptive depth, thanks to the quartet's open-ended songs freeing him from writing in meter, Menuck likens his lyrics to photorealism. On opener `Rats and Roses' he sings of an unnamed city struck by an unknown cataclysm, but the details are local: specifically, his neighbors inadvertently poisoning birds when tackling a rat infestation. It's backed by blown out synths and guitars reaching a soaring crescendo. "Seeing things from a distance and not being able to intervene happens a lot on the record," Menuck explains. "If you're a feeling and thinking person, that's just part of the human condition. We watch horror unfolding from afar, unable to do anything concrete to change it." A powerless witness, able to describe but not intervene. `Dangling Blanket From A Balcony (White Phosphorous)' references Michael Jackson holding his child over a hotel balcony in 2002_the bizarre media spectacle still lodged in Menuck's psyche. This and the album's closing track also elegize white phosphorous, a technology of war designed to light up battlefields but capable of inflicting horrific burns on those it touches. Illumination and horror in one, here underpinning scenes picturesque and terrifying. "The last song `(Goodnight) White Phosphorous' is deliberately like a lullaby," says Menuck. "Written from the viewpoint of watching white phosphorous falling outside your window." Scorched and tarnished and laden with harrowing imagery, "NO MORE APOCALYPSE FATHER" is also a record bathed in light: the bewilderment of hopeful spirits witnessing despair, watching a blizzard of distress unfold outside from a place of relative shelter and comfort. You could call that emotional ambivalence, maybe numbness. But those words are too passive for the weight of conflicted feeling resonating through the album. "I never know how I feel on an overcast day when the sun is still bright despite the grayness and the light is very flat. The colours become more saturated, and you see a single flower, say a morning glory, whose colour is so vibrant beneath the gray, I don't know if that's a lovely sensation or a terrible sensation. It's both," says Menuck.

Through X Scroll Era, Gabo Barranco, aka AAAA, conducts a rigorous overhaul of the aesthetics and statements of low-profile IDM, trance, and progressive-acid music typical of the early 2000’s. In addition to this inherent and undeniable veneration for the era, the pieces on this album — which originated from recordings and experimental exercises with gear and accidentally became an album — serve also as a kind of retrospective inspection of Mexico City's suburbs (Lomas de Sotelo), with landscapes full of indiscriminate concrete, highways of two and three levels, factories, and parking lots that have supplanted nature with their own detached beauty. It is a sound memory, a specific melancholy that praises skate squads of the area, friends from the past, parties, and substances. It reviews the decline of rave culture but also its resilience and capacity for transformation. What AAAA offers us with X Scroll Era is an almost multigenerational soundtrack, a memory that feels collective and recollects euphoria, ecstasy, and nostalgia.

After several LPs and EPs (Acid Test, Omnidisc, Janushoved) and several years active in the dance and contemplative electronic music circuit (MUTEK, BERGHAIN, iii Points, RBMA), X Scroll Era is the first album by Gabo Barranco, aka AAAA, published on the Mexican label Umor Rex.

DDS presents the debut EP from unknown entity NZO, whomever she may be, dancing in the gaps between amapiano, Afrobeats, broken beat and R&B with a rare guile and flavour.

The 4th in the DDS 12” series, NZO helps stake the label’s 15th year of operations with a typically Janus-faced approach to classic >< contemporary club ruffage. Tune to tune, she decimates and distills familiar tropes in singular, whirring syncopations designed to prompt bodies to move in fresh new ways. It’s all primed for proper animist magick, bound to snag rhythm fiends with its shape-cutting manoeuvres.

Working deep in the hardcore ’nuum’s 30 odd year tradition of concrète sampler chicanery, the four tracks find fractured vocals and echoes of club classics revitalised and reset with advanced drum ingenuity. 160BPM opener ‘Concentrate’ appears like Hessle Audio’s Joe stripped for parts, whilst ‘Mallet’ swivels like SND remodelling Afrobeats’ palette of tuned percussions, next to what could almost be a lost Various Production edit in the sublime tension of syrupy R&B and frothing drums on ‘Come Alive’.

The EP ends with its standout, ‘Body & Soul’, an undulating ama simmer punctuated by dub chords like some lost Basic Channel production re-cast for the lovers.

WWM012 is Brenko's long-awaited release, a mini album that takes you on a musical journey through various emotions and soundscapes.

The project maintains a consistent feel, making it a cohesive work of art.
Brenko showcases a great talent for blending electronic and ambient elements, creating an album that’s both innovative and deeply engaging.

The album opens with "Alpha Wave," pulling you into a hypnotic electronic vibe with its pulsing rhythm and layered sound waves, creating a calming, introspective sonic landscape. This sets the tone for the whole release, offering a deep, meditative listening experience.

The next track, "Lisolia's Voice" introduces a more structured and dynamic melody. Here, Brenko plays with complex rhythms and diverse sound textures, striking a balance between energy and melody. The smooth transitions and use of synthesizers evoke a sense of journey and discovery.

"The Sky Vanished" takes the album to a darker, more intense place. The aggressive beats and distorted sounds create a stark contrast with the earlier tracks, exploring themes of tension and release while maintaining a constant energy that keeps you hooked.

With " Subconscious Activity" the album shifts back to a reflective tone. This track features a slower rhythm and ambient sounds that float freely in space. The skillful use of sound effects and pauses creates a sense of depth and mystery, inviting full immersion in the music.

" Beginner's Luck" changes the pace significantly with its mix of precise percussion and enveloping melodies, making it more dancefloor-friendly while still fitting the album's overall vibe.

"Sirius" experiments with organic sounds and vocal samples, adding a human dimension to the album by blending elements of concrete music with electronics.

The album concludes with "I Stayed Motionless In Air" a track that captures the project's essence perfectly. The ambient sounds and ethereal melodies create a peaceful and conclusive atmosphere, inviting reflection on the journey you've just experienced.

Wieder einmal zerschneiden die Lärmaggressoren aus Finland den Schleier aus dem Jenseits und betreten unsere Welt, um alles zu plündern und zu Tode zu jagen, was in der Metalmusik melodisch, vorhersehbar und lieblich ist. Ihr drittes Album ist aus zwingenden Gründen selbstbetitelt und zeigt, dass die Band weiterhin das EXTREME im extremen Metal erforscht. Das ist vertonte Tollwut! Wie nicht anders zu erwarten, setzt das Album auf brutale Geschwindigkeit, schwerste zitternde Rhythmuspassagen, abgrundtief gekrächzte Flüche, stürmische Breaks und abstoßend kreischende Leads, die einen in einem Strudel des Wahnsinns ertrinken lassen. Doch dieses Mal werden dem pandemonischen Universum auch neue Schichten hinzugefügt: Schräge Stakkato-Riffing-Abschnitte gehen in verhexende Industrial-Szenarien über und lassen CONCRETE WINDS weiter gehen als jede andere Extrem-Metal-Band der letzten Zeit. Alles, was sich in der Musik etabliert hat, wurde weggelassen; alles abgeschnitten, was im Metal bequem geworden ist, und alles weggeblasen, was sich im Extrem-Metal noch "angemessen" anfühlt. Es scheint, als ob diese einst dringende Einstellung, Grenzen auszuloten, endlich wieder einen neuen Steuermann hat!

After releasing their debut album in 2022 that showcased their signature mix of psychedelic and funk, Neighbourly is returning with two EPs that explore new sonic territory. The first, “Outside 311” draws inspiration from bands like Wet Leg and Parquet Courts with more post-punk and garage rock styles. The second “Alla Discoteca” takes a sharp turn and draws inspiration from bands like Altin Gun, Nu Genea, Masayoshi Takanaka and Khruangbin, with more dancey, disco styles and all Italian lyrics. Both EPs offer the listener a sonic adventure, full of twists and turns but with the classic Neighbourly psychedelic, funky charm.

The Circus is a place of lights and colors, but also of shadows, even darkness. Admittedly, it delights children and makes adults laugh. But you only need one rainy autumn evening near a circus tent and the smell of fodder to think of the sadness of the clowns, the endless training of the animals and the freaks who are hidden in some caravan... cinema, the essence of the circus – movement, light, danger and burlesque – will have been admirably rendered in Notes on the circus by Jonas Mekas (1966), one of the inventors of the filmed diary. With Cirque, Michèle Bokanowski does similar work, entirely dedicated to spinning, in the musical field.

She distinguished herself in particular in the composition of musique concrète, among others Tabou and Trois chambres d'inquiétudes, after having studied with Pierre Schaeffer and Éliane Radigue. The latter, great lady of drone and minimalism, fell under the spell of Cirque and wrote the booklet for the piece as a poem.

The piece, divided into five movements, is based on the handling and editing of recordings captured within one or more circuses (this is not specified and is of no importance) between 1988 and 1993. The initial allegro reveals the gallop of a horse joined gradually by other images. The idea of the circular space of the circus tent is immediatly and magnificently rendered and will be constantly recalled by an insistent use of the loop technique. Children's laughter, applause and drum rolls are thus sheared, repeated before being brutally interrupted. Accordion interludes and the distortion of sounds create a dreamlike atmosphere. This beautiful nightmare reminds us, to quote Éliane Radigue, the "Magic of childhood still living in the heart of man even beyond its abrupt end."

Words by Alexandre Galand, from the book “Field Recording – L’usage sonore du monde en 100 albums” (ed. Le mot et le reste, 2012)

Major member of the french musique concrète scene, Michèle Bokanowski was born on August 9, 1943 in Cannes, FR, to a musician mother and a writer father. She now lives and works in Paris.
Music lover since adolescence, it was relatively late, at the age of 22, that Michèle Bokanowski decided to study composition. Reading In Search of a Concrete Music by Pierre Schaeffer was decisive. After classical training on harmony, she met Michel Puig, a student of René Leibowitz, who taught her writing and analysis based on the Treatise of Schönberg. In September 1970 she began a two-year internship in the ORTF Research Department under the direction of Pierre Schaeffer. She takes part in the same time in a research group on sound synthesis, studies musical computing at the Faculty of Vincennes and electronic music with Éliane Radigue.
Her main works are intended for concert: Pour un pianiste, Trois chambres d’inquiétude, Tabou, Phone Variations, Cirque, L’étoile Absinthe, Chant d’Ombre, Enfance, Rhapsodia, Cadence, Elsewhere. She has also composed for theater (with Catherine Dasté), dance (with choreographers Hideyuki Yano, Marceline Lartigue, Bernardo Montet) and cinema: music for the short films of Patrick Bokanowski and his two feature films L'Ange ( 1982) and A Solar Dream (2016).