Search:dimension 6

2023 Repress

2001, the first year of the 21st century, but especially for many born in the 60's, 70's and 80's, the year that was surrounded with an aura of "the Future" and which became symbol of the new and unknown things that life has in store, the starting year of a new transgression period in both scientific, cultural and spiritual evolution. In that year Transllusion recorded music in the Dimensional Waves Productions studio of which till date two known productions saw a release: "The opening of the Cerebral Gate" and shortly after that the mysterious "L.I.F.E." album on Rephlex. More than 15 years later, an unknown wave resurfaced, washing up an incomparable emotional state of electronic depth. Music from the Future rooted in an underwater Afro-futurist realm and the grandiose cosmological truths. This time rushing over us in a much more personal, reflective and more introspective way, yet leaving behind sonic confusion. We now know who was responsible for all these futuristic recordings perfectly reflecting what the year 2001 stood for, James Stinson can be seen as one of the last few techno musicians from his generation that lived up to the high expectations of moving forward, finding the unknown and embracing the future without reliving the past. This recently discovered DAT-tape, using his Transllusion alias, is the 3rd outing of the project and, surrounded with an even brighter aureole than the previous recordings, confirms the status of its producers mastermind. No further details are known, except for the project name written on the tape, but these intimate moments in the studio tell us what the future sounds like according to James Stinson!

Félicia Atkinson: »Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe)« (2021)

Félicia Atkinson’s Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe) is approached as a meditation, not as meditative music, but as a reflection on the art of creation: how to inhabit one’s creation, how to convey it, domesticate it and live with it. Drawing inspiration from the artist Georgia O’ Keeffe, both in her work as a painter and in the houses in which she lived in New Mexico, and even in the landscapes that surround them, Félicia Atkinson has composed a piece that evokes and celebrates, in a poetic and holistic way, the mystery of art, the somnambulic oscillation that accompanies the act of creating. Blending fragmentary voices, islands of piano, electronic textures and patterns, and field recordings, Félicia Atkinson’s music is sincere and inspired, a meditation, then, but also a lesson we sometimes forget: being an artist is not an activity, even less a profession, it’s a singular way of approaching the world and, in so doing, densifying it.

Richard Chartier: »Recurrence.Expansion« (2020)

Richard Chartier’s music takes up residence at the frontiers of the audible, on the edge where sound diffracts into an inter-dimensionality where sounds, space, listening and silence recombine in an arborescence of becomings that present themselves to us and then disappear. The space-time in which Richard Chartier’s music unfolds is a stretched space-time, barely emerging in the world of sound. The delicacy, precision and accuracy of the composition Recurrence. Expansion lies precisely in this dialogue between a shape that is exposed and developed in an inspired and masterful way, and the sonic biotope in which this shape develops. It is from such an encounter that the singularity of Richard Chartier’s music emerges, music of attentive listening, but also sensitive, inhabited music, a music of discreet metamorphosis.

Ben Sterling joins Damian Lazarus’ renowned Crosstown Rebels imprint, partnering with Caitlyn Scarlett for ‘Don’t Truss’.

Building on the release of arguably one of the tracks of 2022 with his remix of Tiga’s iconic ‘Mind Dimension 2’, UK hotshot and Planet X boss Ben Sterling has made 2023 another year of raising the levels, with his debut on Solomon’s Diynamic becoming an instant summer anthem in the midst of his busiest summer to date. Adding yet another huge label debut to the mix, he continues to showcase his range across house music as Damian Lazarus invites him to Crosstown Rebels for the first time, partnering with singer/songwriter Caitlyn Scarlett for ‘Don’t Truss’ on the revered imprint.

A rolling and crisp production with Scarlett’s alluring and hooky vocals at its core, it’s easy to see why ‘Don’t Truss’ has become a stand-out track from Sterling’s own sets across the globe over the past 12 months. Fusing tightly programmed percussion, warped murmurs, and a slinking, snaking groove, it’s a track crafted for the dancefloor, moving crowds unison and leaving a lasting impact. On the flip, ‘Bring Me To The Surface’ is a groove-led and bubbling cut that keeps the energy levels with skittering drums, acid-dipped basslines, resonant synths and yet more vibrant vocals.

Mr Bongo is thrilled to announce a special RSD Black Friday edition of 'Speak Your Peace,’ a stunningly beautiful album by the legendary Terry Callier. This remarkable record not only showcases Terry Callier's immense talent, but also features production by Bluey (Incognito) and Marc Mac (4 Hero). It includes the single, ‘Brother to Brother’, a song co-written and performed with British musical icon, Paul Weller. This stellar cast of producers and collaborators infuses the album with modern sensibilities while maintaining the integrity of Terry Callier's unique sound.

'Speak Your Peace' is a testament to Terry Callier's enduring legacy as a singer-songwriter and guitarist. Known for his ability to blend genres seamlessly, here he takes listeners on a transcendent journey through soul, jazz, folk, and blues. His captivating voice and exceptional guitar playing create a musical landscape that is both timeless and profound. This collection of songs tackles a range of themes, from love and introspection to social justice and the human experience. Terry Callier's poignant lyrics and soul-stirring melodies intertwine, creating a multi-dimensional work of art. It rates with his incredible Cadet work in its vision, articulation, and execution.

Mr Bongo Records is honoured to present 'Speak Your Peace’ and to celebrate the legacy of Terry Callier and his impact on the musical landscape.

Occasionally, you find music outside the commercial mainstream, outside of everything – the music of visionaries, eccentrics, inventors, loners, the keepers of secrets, the path-finders. Moondog, Daphne Oram, Harry Partch are from this mould. And so too is Lori Vambe.

New on Strut, the first ever reissue of Vambe’s privately pressed original albums from 1982, Drumland Dreamland and Drumgita Solo. A self-taught drummer, inventor, and sonic experimentalist, Lori Vambe is a unique figure in British music. Creator of his own instrument, the drumgita (pronounced ‘drum-guitar’) or string-drum, Vambe intended to create a kind of music that had never been made in order to pursue access to the fourth dimension.

Vambe was born in Harare, Zimbabwe and his father, Lawrence Vambe, was a noted Zimbabwean journalist and author. Moving to London in 1959, Vambe immersed himself in the Brixton squat movement of the early 1970s, teaching himself to drum and creating a short-lived performance group, The Healing Drums of Brixton (Vambe, the sculptor Alexander Sokolov and outsider musician Michael O’Shea). Vambe later had a dream-vision involving a feeling of ecstasy while playing an unknown instrument that extended from his own umbilical cord; the instrument would manifest itself as the drumgita. In 1982, he privately produced a pair of home recordings, the diptych set Drumgita Solo and Drumland Dreamland, releasing them on his own label Drumony. On these records, he rejected any commercial aesthetic and employed tape effects, temporal shifts, reversed sound and overdubbing to investigate space-time and access the fourth dimension. Combining layered drums with the rhythmic throb of the drumgita and, on Drumland Dreamland, an improvised piano performance by Brazilian concert pianist Rafael Dos Santos, the albums are both hypnotic and perturbing.



Both albums were cut at Portland Studios by Chas Chandler and stand as a concealed monument of Black British experimental music. 500 copies of each record were originally pressed, and both were released together. The albums were never performed live.



For this first ever reissue of Drumland Drumland and Drumgita Solo, Strut presents the two albums in their original artwork, housed in a deluxe slipcase including an additional 8-page 12”-sized booklet featuring unseen photos, liner notes and an interview with Lori Vambe by The Wire magazine writer Francis Gooding. Both albums are fully remastered by The Carvery.

Released in 1998, THE CHRISTMAS ATTIC earned double-platinum certification and continues to captivate audiences with fan favorites like “Music Box Blues,” “Boughs Of Holly,” and “Ghosts Of Christmas Eve.” The album also introduced “Christmas Canon,” which has become one of the band’s most popular songs and a modern holiday classic. THE CHRISTMAS ATTIC tells the heartwarming tale of a little girl’s magical night spent in an attic filled with yuletide memories, accompanied by spellbinding guitar solos and soaring choral vocals set against a rock orchestral backdrop. The record serves as the second installment in TSO’s celebrated Christmas trilogy, which also includes Christmas Eve and Other Stories (1996) and The Lost Christmas Eve (2004).

TSO was conceived by the group’s late founder, composer, and lyricist Paul O’Neill. His ambitious vision was to create a progressive rock band that combined rock opera and classical rock with a dazzling live show that featured lights, lasers, and pyrotechnics. In the 1980s and 1990s, O’Neill produced several albums for the influential heavy metal band Savatage, which is how he connected with longtime collaborators Jon Oliva (vocals), Al Pitrelli (guitar), and Robert Kinkel (keyboards/producer).

With more than 10 million albums sold, TSO has inspired generations of fans to rediscover the multi-dimensional art form of rock opera. Since its touring debut in 1999, the band has emerged as one of the world’s top live acts, performing for over 10 million people across the globe, selling more than $280 million worth of tickets, and donating $11 million to charity.

Released in 1998, THE CHRISTMAS ATTIC earned double-platinum certification and continues to captivate audiences with fan favorites like “Music Box Blues,” “Boughs Of Holly,” and “Ghosts Of Christmas Eve.” The album also introduced “Christmas Canon,” which has become one of the band’s most popular songs and a modern holiday classic. THE CHRISTMAS ATTIC tells the heartwarming tale of a little girl’s magical night spent in an attic filled with yuletide memories, accompanied by spellbinding guitar solos and soaring choral vocals set against a rock orchestral backdrop. The record serves as the second installment in TSO’s celebrated Christmas trilogy, which also includes Christmas Eve and Other Stories (1996) and The Lost Christmas Eve (2004).

TSO was conceived by the group’s late founder, composer, and lyricist Paul O’Neill. His ambitious vision was to create a progressive rock band that combined rock opera and classical rock with a dazzling live show that featured lights, lasers, and pyrotechnics. In the 1980s and 1990s, O’Neill produced several albums for the influential heavy metal band Savatage, which is how he connected with longtime collaborators Jon Oliva (vocals), Al Pitrelli (guitar), and Robert Kinkel (keyboards/producer).

With more than 10 million albums sold, TSO has inspired generations of fans to rediscover the multi-dimensional art form of rock opera. Since its touring debut in 1999, the band has emerged as one of the world’s top live acts, performing for over 10 million people across the globe, selling more than $280 million worth of tickets, and donating $11 million to charity.

What comprises a dream?

An astral plane of our own making where thoughts, love, and desires of the inner mind abound with irreverence - ripe with connection & perspective beyond constraints of time, set, and setting.

Azu Tiwaline exists within the wonders of these interstitial worlds, diving deeper towards inner sanctums of mystic imagination, sublime intrigue, & profound understanding on her second full length LP “The Fifth Dream”.

Released again through her beloved partnership with I.O.T Records, “The Fifth Dream” finds Azu painting an expansive vision towards unified multitudes, mercurial realities, & abundant inner sanctums.

Where her first album “Draw Me a Silence” was a loving ode to her family & upbringing in the form of an elegant diptych, “The Fifth Dream" is the enactment of actualizing her roots into new routes, taking her multifaceted identity into new means of communication towards herself, the world, & the cosmic unknowns that surround her.

Throughout The Fifth Dream’s 54-minute runtime, we hear all elements of the uniquely transcendental sound that Azu is beloved for worldwide. “Antennae Opening”, “Blowing Flow”, & “Amen Dub” embody her talents for tectonic, dubwise soundscapes that channel the innately maternal elements of bassweight into bold & abstracted pulsations, indebted to the most psychedelic & body activating ends of dubstep.

Still attuned to the spatial awareness of dub sonics but giving way to the hypnotic syncopation & synaptic frequencies of techno, “Reptilian Waves”, “Long Hypnosis”, & “Mei Long” bring forth her spectacular expertise for entheogenic rave rhythms - guiding us warmly towards trance-inducing hyper states of dance & delight. Fluctuating between an adventurous velocity and enveloping stasis, the expansive abyssal planes of “Golden Dawn”, “Night in Palm Tree”, & “Canope Imaginaire” conjures a wondrously invigorating rhythmic enlightenment & celestial comprehension - simultaneously moving us forward, inwards, & outwards through Azu’s uniquely omnidirectional & kaleidoscopic musical visions.

Adorned with sampled field recordings of her deeply inspiring home in the desert of El Djerid in South Tunisia, Azu opens a portal into the synergistic inner sanctums of being, self, and the world around us that’s essential to her work as an artist - from the macro levels of humanity’s naturally intimate connection to the Earth we share, down to each of our own micro levels of culture, ancestry, and belonging. All of this is alchemized through a combination of timeless Saharan knowledge & modern cybernetic tools, creating new dimensions of bewitching, euphonious sonic energy. This is music that gives back as much as the listener wants to give themselves unto it - detailed and layered, orbiting a steady core as ethereal swirls and intonations of the natural world embrace us warmly within a spellbinding journey.

8 of the album’s 9 tracks feature a deep level of collaboration from innovative Franco-Iranian percussionist Cinna Peyghamy. Cinna’s use of Tombak, the principle drum of Iranian music throughout time, is beautifully sonorous - channeling the passion of centuries of Southwest Asian rhythm & expression into his own personalized flourishes, with Azu adding her own electrifying frequencies & undiluted artistic freedom to their shared interplay. This profoundly communicative diasporic essence is transmuted between Azu & Cinna, their expression, & the listener. Both are music lovers, intimately connected to their respected Iranian and Tunisian cultures - concurrently acknowledging the wisdom of their resonant pasts, while proudly bringing the sounds of their heritage into the present & future.

“The Fifth Dream” embodies a cosmic anodyne for those feeling caught in between life’s abyssal inbetweens, whilst aiming for a consonant awareness of where our home truly lies in the swells of life’s spiritual maelstrom. This dream belongs at once to none & to many, that of a common language unified in concentric depth - finding beauty in all aspects of our world, and ultimately, within oneself.

Deluxxe is a new post punk/new wave band from Buffalo, NY.

It was formed by Mason and Greg, and later completed with Nick, Bailey and Mackenzie, sharing members of Oi and hardcore bands such as Violent Way, Bad Blood and Exhibition. Their punk background can be heard in the music, but it’s the love for new wave, post punk, darkwave, and goth that led to creation of their debut record “If You Were Me”. Written in the cold winters of Buffalo, you can almost feel the harshness of the weather affecting the sounds that propagate from these grooves. Icy and frostbitten but somehow still relevantly civic and urban.

The Chameleons and The Sound are two main references here, but that whole cold dimension is rocked by a strong pop vein reminiscent of After The Snow-era Modern English and occasionally enhanced by an hoarseness typical of a young Paul Weller. Passionate lyricism proper of Echo And The Bunnymen and hopeless romanticism à la Sad Lovers And Giants get balanced by a sharp songwriting which keeps everything in perfect order, giving you exactly what you need, nothing more and nothing less.

You can tell some skinheads are involved here because the outcome is so tidy and neat, without losing one inch of atmosphere or enchantment. If you are wondering how something that was invented forty years ago can still sound, literally, fresh and cool, look no further because what this band delivers lives just up to its name.

In the heart of the cosmos, a tale unfolds. It begins with "My Space," where ethereal synths weave a cosmic tapestry, guiding you through distant galaxies. As you journey further, "Satan" emerges, beckoning you to dance with the darkness itself, under the canopy of sadistic beats.

Venturing deeper into the EP, "Get Stupid" takes you to an enigmatic dimension, where gravity-defying rhythms entice you to embrace your wildest instincts. In "Yallah," the atmosphere shifts, transporting you to a mystical oasis where sonic mirages shimmer in the desert of sound.

And just when you thought the adventure reached its pinnacle, "Can't Get Enough" mesmerizes with its infectious grooves, leaving you irresistibly addicted to the sonic enchantment.

Turns out Coco Bryce is more than just a hot piece of man meat. On "My Space" this enigmatic master of sound once again harnesses the forces of the universe to craft five enthralling compositions. His boundless creativity and passion for exploration shine through in every beat, taking you on a euphonic jungle expedition like no other.

ChatGPT rated this release 5 out of 5 on Tripadvisor

**AVAILABLE ON BLACK VINYL AND COKE CLEAR INDIE EXCLUSIVE**Detroit has a long tradition of being the farm team for the Big Apple jazz big leagues, but just as important is the acknowledgement of local legends who left their mark on the city by staying put and releasing amazing music right in Detroit. Kenny Cox and the Contemporary Jazz Quintet is one such group that could have and definitely should have had a wider audience in their day, but their recorded legacy continues to grow in estimation. Truly a comprehensive group with no weak links, the compositions and playing on this record show the incredible talent and innovation that was brewing in Detroit before, during and after Motown locked its doors in the Motor City. Of note is group member Charles Moore, an important figure in the jazz and arts scene in Detroit and founding member of an underground art and music co-operative called the Detroit Artist Workshop. A talented musician and composer in his own right, Moore and group leader Cox composed all the material on Multidirection. Cox described it as “more of an orchestral-type effort than just a combo per se.” in the original release liner notes by Nat Hentoff. Both were integral in the future DIY jazz universe by co-founding the highly influential Strata Records. But before embarking on that journey, his group recorded two timeless classics for Blue Note Records. Like many of the greatest musical albums, this work shines brightest as a whole with new dimensions to discover with each listen. This new and exciting re-issue is certain to provide the listening experience with the best possible platform.

**AVAILABLE ON BLACK VINYL AND COKE CLEAR INDIE EXCLUSIVE**Detroit has a long tradition of being the farm team for the Big Apple jazz big leagues, but just as important is the acknowledgement of local legends who left their mark on the city by staying put and releasing amazing music right in Detroit. Kenny Cox and the Contemporary Jazz Quintet is one such group that could have and definitely should have had a wider audience in their day, but their recorded legacy continues to grow in estimation. Truly a comprehensive group with no weak links, the compositions and playing on this record show the incredible talent and innovation that was brewing in Detroit before, during and after Motown locked its doors in the Motor City. Of note is group member Charles Moore, an important figure in the jazz and arts scene in Detroit and founding member of an underground art and music co-operative called the Detroit Artist Workshop. A talented musician and composer in his own right, Moore and group leader Cox composed all the material on Multidirection. Cox described it as “more of an orchestral-type effort than just a combo per se.” in the original release liner notes by Nat Hentoff. Both were integral in the future DIY jazz universe by co-founding the highly influential Strata Records. But before embarking on that journey, his group recorded two timeless classics for Blue Note Records. Like many of the greatest musical albums, this work shines brightest as a whole with new dimensions to discover with each listen. This new and exciting re-issue is certain to provide the listening experience with the best possible platform.

Five years since the release of the universally-acclaimed Omnivium, Germany's progressive metal masters OBSCURA are poised to return with their strongest and most dynamic release to date. The aptly-named Akroasis (Greek for "hearing" or "listening") draws on all the various elements of OBSCURA's signature sound and combines those qualities into a mind-blowing and cohesive whole. Produced by the band and V. Santura (Triptykon, Pestilence), Akroasis is eight songs diverse enough to serve as a near-comprehensive introduction to all of extreme metal. Packed to the gills with virtuosic musicianship, compelling themes, and airtight songwriting, OBSCURA will undoubtedly breathe new life into death metal, progressive metal and beyond.

With a heavy-hoofed gallop, the gargantuan High on Fire bash out towering dimensions of sound on the highly-anticipated Surrounded by Thieves. Burning down the pillars of time with quadrupled intensity, High on Fire inject tonal infectiousness as the mammoth, plaster-cracking guitar and throaty war cries of founding member Matt Pike (Sleep) interlock with elephantine bass grooves and cannon-like percussion, creating the last word in paralysis by sheer volume.

SPLIT's debut vinyl EP is a tour de force of German Dubstep, featuring masterfully crafted original tracks and expertly executed remixes from Jafu, Zecher, and Schulzone.

From the opening track, the listener is taken on a journey through a soundscape of deep, driving basslines and mesmerizing melodies that are sure to leave a lasting impression. SPLIT's unique style is evident throughout the EP, blending elements of traditional Dubstep with a fresh,
contemporary twist. The remixes from Jafu, Zecher, and Schulzone add an exciting new dimension to the EP, showcasing their own unique perspectives on SPLIT's original tracks.

Overall, this is a must-have release for any Dubstep fan and a strong indication of the bright future ahead for SPLIT.
Highly recommended.

The elusive Hackney basement dweller Alpha Delta colloquially known as Alpha D drops his debutsingle “The Moat” as the very first 12” output on the mysterious new hybrid Berlin++Sydney based label Delphic Iris Records. The headline single inspired by a faithful rave session in Croatia whereAlpha D was simultaneously emotionally touched, scarred and sonically pummelled by kick drums ata wild and stormy Dimensions Festival.
This dark techno beast was the aggressive, distorted acid offspring of that faithful night ravingbetween the mud and tears of the crowd at the formidable Moat stage at Punta Christo. His OG Mixis classic 132bpm heavy pounding acid techno at its moodiest. In the Remix department we have support from the entire Delphic Iris Records crew on this one. Afitting introduction to the labels sound. Sydney based Drox of Analog Cabin fame has a low end electro bass bin rattler for us that delvesinto melancholic and psychedelic 303 territory, deep, minimal and functional a perfect mid setgroover in our opinion. Critical Automator takes us on a deep and elegant techno journey transcending both murky seasand lush hazy skies in his dub mix. Definitely dialled back from the OG mix but there is no shortage ofkick drum energy in this one. 16 Faces cooks up complex drum work and funk driven baselines in a hybrid 146 bpm number that’sa just a touch rave, grime and idm in his 5am mix. The off beat stabs and euphoric strings areplentiful, more than enough to get your through any wobbly kneed sunrise.

Cypress Hill’s self-titled debut album was hard as nails, with very few pop concessions. There was humor, but it was laced by cackling, homicidal sneering. Not well known outside of the hardcore hip-hop scene at first, faces of the three group members weren’t usually shown clearly in press photos; they preferred the shadows. As their first singles began hitting the airwaves and record racks, the press and music fans started to take notice.


From the opening notes of the group’s first single, “The Phuncky Feel One,” to deeper album cuts like “Stoned Is The Way Of The Walk” and “Tres Equis,” it was clear that Cypress Hill was something different. And very, very dope. The world Cypress Hill espoused was gang-ridden and far from cheery, but they managed to laugh through the pain. Lead rapper B-Real took each fuzzed-out, rock-hard DJ Muggs beat as a challenge, jumping around it like a spark off a joint as it makes its way to the concrete. MC Sen Dog always had B-Real’s back, to bring intensity and a no-bullshit gruffness that made the group both menacing and unpredictable.


When they introduced percussionist Eric Bobo to the mix in the early 90s, it brought new dimension to the band, making their live performances one of the most unique and accomplished shows in hip-hop. Journalist and author Chris Faraone highlights the group’s relationship in the reissue’s liner notes (which is included only in limited edition Skull) saying, “By the late ‘80s the undisputed Cypress unit finally formed. B and Sen realized that their diametric styles - the latter’s deep wrangle, the former’s inimitable high notes - complemented one another righteously. By then Muggs had bangers in the bag, as well as industry experience from a jaunt with the New York duo 7A3. B and Sen waited while Muggs messed with 7A3, and in that time began to build the blueprint for their raucous and weeded no-holds-barred style. Besides getting schooled on industry pitfalls, Muggs had also grown into hip-hop’s most formidable young producer, while straddling the bi-coastal gap.”

Cypress Hill’s debut went gold by the end of 1991 and has since pushed past double platinum status, making it the first album for a Latino-American hip hop group to do so. The album received raves from the likes of Rolling Stone and the Los Angeles Times, saw a #1 Hot Rap Single with the release of “The Phuncky One” and helped the band win Artist Of The Year at the 1992 Source Awards. After 25 years, it should come as no surprise that Cypress Hill is a cornerstone of the group’s live set to this day.

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

Movetone Wax is thrilled to unveil its second vinyl release.
"Folly Path EP" showcases the combined talents of Maik Yells and the esteemed house producer Tripmastaz.
After Maik's debut EP, "Rima," he returns to Movetone Wax with two solid and original tracks on the B side.
On the A side, house legend Tripmastaz graces the EP with a mind-bending 9-minute remix, infusing his signature sound and injecting a new dimension of depth and groove into the release.

Perth-based artist hub 823, led by the extraordinary producer / creator Ta-ku joins forces with Berlin's Jakarta Records for the release of Godblesscomputers's fourth full-length LP, "Faded Views." The LP melds bright electronic flourishes with laidback synth-driven backdrops, weaving tapestries of mellow folktronica and groovy jazz harmony with continuous sonic intrigue that will keep you grooving into a tropical disposition. Paying homage to his musical moniker, the Bologna-based producer makes timely metallic interjections amidst lush, effortlessly groovy soundscapes. Explore a world of found, recycled, and synthesized sound on "Faded Views" out everywhere September 8.

Bologna-based producer, DJ, and sound collector Godblesscomputers (122k Spotify listeners) has returned with the release of his fourth full-length record, "Faded Views." Godblesscomputers's latest LP "The Island" (2020, La Tempesta Dischi) earned him placement on Spotify playlists like "Brain Flood" and "Coffee Club." Since then, his appearance on Willie Peyote's track "La colpa al vento" landed GBC on "Best of Indie Italia 2022." On "Faded Views," it was Godblesscomputers's creative project to explore the sonic potentials of his direct environment, picking up recordings and threads of inspiration from the most commonplace occurrences. A sonic scavenger, Godblesscomputers explored the expanses of his-both digital and physical-soundscapes. "Faded Views" does the work of crafting a unified, yet complex compilation of the noises that mark the experience of being digital natives in ever-expanding dimensions.

Godblesscomputers's use of musique concrète and found-sound composition melds curiously with his undeniable electronic and techno acumen. Superimposing metallic electronica onto esoteric sound bytes creates the occasion for complex sound collage. "Faded Views" marks a decade since the genesis of the Godblesscomputers project; the entire LP testifies to how time warps perception and sound. Godblesscomputers's music seems to decorate time, both commemorating the moments passed with mind-melting sonic collages and looking forward to the infinitudes of the future with frenetic electronic experimentation.

Themes of impermanence and transience-hence "Faded Views"-pervade the record. Godblesscomputers blurs time as each track seeps into the next in what feels like a seamless transition. He makes these swift passages in genre as well-the record opens on "Colors" with a rich horn section which frictionlessly becomes a lo-fi dance groove. It is this melding of the analog and the electronic that makes sense of his found approach to beat-making: Godblesscomputers marries the found and the synthesized; the creator and the created; the past and the future. The process of sonic dissection and recomposition that drives much of Godblesscomputers's creative process yields not only assertive breakdowns and animated dance tracks, but also complex tapestries of sound that keep the listener ever-intrigued-piano, saxophone, and modular synthesis all find a natural home on tracks like "Hello." In an apt description, the producer's work has been described as "sounding like wood, metal, and microchip."

Godblesscomputers's artistic objective lies in blurring definitive lines, constantly shifting perspectives, genres, and origins of inspiration. On "Faded Views," this design cultivates a folktronica record that truly evades definition.

Feelgood lead single "Mirrors" is out June 30th and features a rich meld of warbling layers, mixing upbeat dance music with complex instrumentation. Stream second single, "Above the Lake," for a mellow summer cut on July 21. Finally, the effortlessly groovy third single "You Feel Me" captures a genre-warping foray into folktronica. Listen to "You Feel Me" on August 11.

All LP artwork and stunning single visualizers were single-handedly put together by multi-disciplinary designer Michael Norman. "Faded Views" will be available everywhere physically and digitally on September 8, 2023. Be sure to listen for focus track "Hello" that captures the vast scope of Godblesscomputers's musical prowess. Find the LP, CD, and digital release on 823's and Jakarta Records's Bandcamp and local record stores.