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Matching expansive ambience with environmental sound, Chihei Hatakeyama’s new album continues Field Records’ exploration of Japan and the Netherland’s shared approach to water management. As with Sugai Ken’s 2020 album Tone River, a specific project becomes Hatakeyama’s area of focus - in this case the Hachirōgata Lake in Akita Prefecture.

Previously the second largest body of water in Japan, the government ordered extensive drainage work of Hachirōgata Lake after the second world war with the help of Dutch engineers Pieter Jansen and Adriaan Volker. After the project was completed in 1977, reclaimed land took up eighty percent of Hachirōgata Lake’s total size. As a result, a new ecosystem was established as plants spread from surrounding areas, bringing with them a wider variety of birds and other wildlife.

Hatakeyama’s approach to this unique subject matter took in field recordings from particular locations around the lake - the drainage channels, the Ogata bridge, grassland conservation reserves and other key areas. The aquatic subject matter and sonic material is a natural fit for Hatakeyama’s accomplished sound, which has featured on numerous solo works for labels including Kranky, Room40 and his self-run White Paddy Mountain.

From the intimate intricacies of the sampled material to the glacial expanses of droning synthesis and languid guitar, Hatakeyama creates a tangible environment which at once reflects the settings around Hachirōgata Lake, while offering the listener any number of imagined scenes to observe in their mind’s eye.

Black Truffle is pleased to announce The Leisure Principle, a new solo LP from London-based bassist and sound artist Otto Willberg. A key player in the London underground, Willberg is often heard on acoustic and electric bass in free improv settings and bands with Laurie Tompkins (Yes Indeed) and Charles Hayward (Abstract Concrete), as well as the fractured No Wave unit Historically Fucked. His previous solo releases have ranged from extended technique double bass to explorations of the acoustics of a 19th century artillery fort. But nothing Willberg has committed to wax so far prepares a listener for The Leisure Principle, six unashamedly melodic improvisational workouts created almost entirely with heavily filtered bass harmonica and electric bass. On the opening ‘Reap What Thou Sow’, a single-note bass harmonica loop pulses along underneath a roaming bass solo, the side-chained envelope filtering (where the dynamic behaviour of the bass determines the filter for both bass and harmonica) fusing the two instruments into a single stream of burbling shifts in resonance. After several minutes of patient exploration of this low-end landscape, the music suddenly opens up in widescreen with the entrance of Sam Andreae’s graceful melodica chords, spreading out across the stereo field. From this epic opener, each of the remaining pieces goes on to explore a slightly different aspect of the terrain. On ‘Shadow Came into the Eyes as Earth Turned on its Axis’, a similarly buoyant harmonica bass line provides the foundation, but this time playing a soulful descending riff, its almost R&B feel abstracted and half-obscured by the filtering. On ‘Mollusk’, echoed bass arpeggios skitter between elegiac chords somewhat reminiscent of the opening of John Abercrombie’s ‘Timeless’, before settling into a hypnotic groove. On the record’s second half, Willberg pushes further into the possibilities of his idiosyncratic instrumentation. On ‘Wetter’, bass and harmonica come together into a monstrous, growling jaw harp; on ‘Had we but world enough and more time’, the subtly shifting pulsating patterns start to feel almost like a kind of evaporated, drum-less dub techno until an eruption of wheezing bass harmonica gives the piece a comically folkish turn. Willberg’s melodically inventive and virtuosic bass performance calls to mind any number of fusion touchstones, from Jaco Pastorius to Mark Egan’s singing tone in the early Pat Metheny Group—even Anthony Jackson’s work with Steve Kahn. But with its radically reduced instrumentation, The Leisure Principle is also an exercise in minimalism, and the absence of percussion gives even its funkiest moments a strangely abstracted quality. At times, its uncanny blend of the abstruse and the immediate suggests the fried pop experiments of David Rosenboom or the skewed but deeply musical DIY of 80s underground groups like De Fabriek. Both easy on the ear and profoundly strange, The Leisure Principle proudly takes its place among the most eccentric offerings on the Black Truffle menu.

65daysofstatic feiern 2023 das 10-jährige Bestehen von "Wild Light" mit einer längst überfälligen Vinyl-Wiederveröffentlichung des beliebten Albums auf 180g transparent-magenta-farbenem Vinyl. Das ursprünglich 2013 erschienene sechste Studioalbum der Band wurde von The Quietus als "an exploration and expression of sonic freedom" bezeichnet und hat sich seitdem zu einem Favoriten unter den Fans entwickelt. Im September 2023 geht die Band auf eine UK- und Europa-Tournee, auf der sie das Album in voller Länge sowie weitere Titel ihrer Karriere vorstellen wird.

You have said too much to a stranger in a bar bathroom; your back is killing you because of everything you haven’t said; you’ve overwatered your houseplants again. Small Million is here for you. Flowing from the collaboration of longtime creative partners Ryan Linder and Malachi Graham, the Portland-based indie pop outfit welds deeply affecting sonic production to smart lyrics about intuition and inhibition, losing control and ending up in unexpected places, being willing to fuck up, bodies hurt and bodies joyful.

The effect is both intimate and epic, delicate and fierce. Listen to it to ache, dance to it to heal. In the time since Small Million's last release, years of chronic pain have led lead vocalist and lyricist Malachi Graham to deep explorations of embodiment that have changed everything from her singing voice to her dance moves to her observation of human frailty. “There’s one side of chronic pain that leads you towards intuition, self-discovery, and listening closely to yourself. But it also means you end up sitting on the side of the room a lot, watching people and paying attention. Also you’re pissed,” notes Graham. Producer and instrumentalist Ryan Linder’s background as a filmmaker informs the textured richness and intelligent restraint of his song building. He approaches production with obsessive technical rigor that’s always in service of centering intense emotion.

Graham’s clear, unadulterated vocals breathe at the heart of Linder’s rich sonic terrain, drawing comparisons to The Cranberries and Florence + the Machine. Linder and Graham have been writing as a duo for a decade, but for their newest chapter they've expanded the band, enlisting Ben Tyler (Small Skies) on drums and Kale Chesney (Lo Pony) on bass and harmonies.

Small Million's evolution into a four-piece has expanded the band’s sound from their synth pop origins to encompass more organic, raw indie rock energy. Small Million has played with artists like Fakear, IDER, Hatchie, HÆLOS, Lo Moon, and Loch Lomond, and their tracks have been featured on compilations by Tender Loving Empire, PDX Pop Now!, and Vortex Music Magazine. They released their debut EP Before the Fall in June 2016, their follow-up, Young Fools, in Fall 2018, and singles “Saintly” and “Tarot” in 2019. Their newest music is dropping throughout 2022.

A year after its first edition, the Open Space series returns in order to keep exploring what ambient music might mean nowadays.

A breadth of fresh artists, some new to the label and others renowned for their more dance-centric works, the compilation aims to give each individual artist their creative freedom to explore the space.

Techno producers such as Arthur Robert or label head Len Faki himself keep the beats present but this time focus on evoking states of introspection rather than the shuffle of dancefloors.
On the other end of the spectrum, we find seasoned multi-instrumentalist Laraaji, who has been crafting deeply meditative soundscapes since the 80’s. Using the special opportunity, the label reaches outside its usual sphere, inviting artists like the modular synth expert Jeremy Wentorth or Jimmy LaValle’s band project The Album Leaf. All while still featuring some well known veteran producers the likes of John Beltran or Exos.

No matter their respective scene or background, all artists are using their unique approach to display something deeply emotive. Be it the warm, expansive electro of Future Beat Alliance or a bubbly cosmic arpride by Hamburg Duo Can Love Be Synth.

Truly living up to its name, the Open Space series aims to open up possibilities for artists to freely pursue their creativity in a completely undefined area, a space for exploration and connection.

As time moves forward, it becomes increasingly clear that the need for emotional expression through artistry is more important than ever, especially in the wake of emerging AI technology that threatens to replace human creativity. Minus & MRDolly's new album, "Giant Stops," is a testament to the enduring power of art to connect with audiences on a deep emotional level.

Named in direct reference to arguably one of the greatest albums ever created, "Giant Steps" by John Coltrane, "Giant Stops" pays homage to the rich legacy of jazz while pushing the boundaries of the genre with a contemporary twist. The album seamlessly blends jazz, hip-hop, and electronic elements to create a unique sonic landscape that is both nostalgic and modern.

For Minus & MRDolly, "Giant Stops" represents a new chapter in his evolution as a musician, showcasing his growth and commitment to pushing boundaries in his genre-bending style. Taking inspiration from the creative process of Makaya McCraven, the album features dynamic instrumentals backed by a live band, with Minus & MRDolly's signature lyricism and storytelling shining through both the instrumentals and the lended work of guest musician such as Meta_ or Luca Argel. By using this production method the album takes a bold stand for the importance of sampling as an art form hoping to encourage listeners to appreciate the rich history and evolution of hip hop and to recognize the essential role that sampling has played in shaping the genre.

As a nod to his Portuguese roots, "Giant Stops" represents a deeper exploration of the artist's identity and a commitment to looking inward to find creative inspiration. With this album, Minus & MRDolly hopes to inspire others to embrace their own unique perspectives and use them to create art that connects with audiences on a deeply emotional level.

In a world where technology threatens to replace human creativity, "Giant Stops" is a reminder that the power of art to connect with people on a fundamental level is enduring and will continue to shape our world for generations to come.

In celebration of its 10th anniversary, Rhymesayers created this limited edition 3xLP vinyl package that includes a gatefold jacket with revised art layouts, printed sleeves, a 4-panel insert with full album lyrics, two cream & black marble-colored vinyl, and a UV printed ultra-clear bonus disc vinyl with four exclusive bonus tracks! Whether you're a vinyl enthusiast or simply appreciate great lyricism, this album is a must for any collection. Initially released in 2012, Aesop Rock's sixth studio album Skelethon marked a significant moment in the rapper's career. It had been 5 years since his previous effort None Shall Pass was released, and his former label had since been shuttered. As a result, Skelethon became his first solo release on Rhymesayers Entertainment. Coincidentally, it was also his first album that was entirely self produced. The album's title, a portmanteau of "skeleton" and "telethon," was a metaphor for what felt like a long period of many adversities for Aesop. Throughout the album's 15 tracks, he meticulously exhumes and examines these many skeletons in detail, exploring everything from death to distrust, insecurity and isolation, with moments of humor and hope scattered throughout as well. Some of the many standout tracks from the release include "Zero Dark Thirty," a rapid-fire exploration of displeasure over dizzying drums, "ZZZ Top," an impressive ode to youthful expression, and "Cycles to Gehenna," with its haunting production and imaginative musings. Upon release, Skelethon was praised for its intricate storytelling that expertly balanced abstract imagery with concrete details, and its immersive production incorporating sample-based beats with dusty pianos, distorted guitars, and psychedelic synths. To this day, the album remains a fan favorite and a critical darling, praised for its poignant introspection and razor-sharp wordplay.

Sucesiones is a compilation of studies written for 53 equal divisions of the octave (53 EDO). This tuning temperament was selected after analyzing the work of Mexican researcher and visionary Augusto Novaro, one of the microtonal and just intonation pioneer theorists. Novaro claims that 53 EDO is one of rich musical qualities, which has good approximations to the harmonic series.

The use of simple textures such as sine waves was a conscious decision, this in order to maintain the focus on the relationship between the frequencies and the possibilities this tuning allows, that fluctuate from aggressive beat frequencies to pure intervals. These four compositions serve as an introduction and familiarization to the tuning’.

Recorded, mixed and mastered by José Orozco Mora in his studio (Mexico City)

José Orozco Mora (Chapala, México) has worked with different aspects of sound creation, such as composition, sound design, recording and production. His work mainly explores the fundamental aspects of the sonic spectrum, implementing alternate tunings and temperaments, exploring their harmonic content through the combination of frequencies, using both acoustic and electronic sources. These explorations had led Orozco to utilize different artistic mediums such as quadraphonic compositions, sound installations, and others.

Orozco has released his work in labels such as Debacle Records (USA), Constellation Tatsu (USA), Hole Records (MEX). He has performed and presented his work in Austria, Germany, Greece, Italy, México, Netherlands, New Zealand, Switzerland, etc.

The tender and curious songs on the first album by songwriter and preschool teacher Mr Greg and acclaimed indie chameleon Cass McCombs
celebrate the joys of learning and discovery
The pair of longtime friends make connections for young children just beginning
to find their own way in the world and for parents regaining their own childlike
sensibilities. Set to tunes straight from the mold of Ella Jenkins and Woody
Guthrie, the duo sings about the importance of friendship, understanding those
different from yourself, and taking care of your body. They also pay musical
tribute to heroic figures of bravery and justice like Ruth Bader Ginsberg and
Harvey Milk. These songs are bridges to many adventures in the making and
include suggested activities for youngsters to supplement their listening and
exploration.
Coverage in Pitchfork, Stereogum, Under the Radar, Brooklyn Vegan, SPIN, Our
Culture

With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.

With the rock'n'roll panache of a dive bar matador and the emotional
force of a knife in the guts, Hemi Hemingway makes music that thrills,
spills and breaks hearts
The effortlessly slick New Zealand star has a connoisseur's ear for the finest
parts of musical history, sweeping 60s rock, 50s sheen and 80s romanticism into
the present day, refurbishing them and refashioning them into something new
and fresh.
Debut LP "Strangers Again" is the sound of a starry-eyed dreamer, taking in the
shock of meeting destiny head-on, and figuring out their place in the rough and
tumble of life. It brings together candle- slow burning ballads, soaring, epic
highway rock and thunderous torch songs to soundtrack the sky falling in. But it's
much more than that, a thoughtful and heartfelt exploration of modern themes, of
relating to a world that sometimes lifts you up, sometimes lets you down, and
everything in-between.

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

The concept of strict musical genre has arguably been dead for decades, and the latest offering from Danish powerhouses Gustaf Ljunggren and Emil de Waal once again reinforces this notion. Their third collaborative album "Stockholm Kobenhavn", a spacious, cinematic and boundaryless exploration of their shared musical connection is set to release on July 7th on April Records. Emil de Waal has been one of Denmark"s leading drummers for three decades. Gustaf Ljunggren initially studied the saxophone at the Rhythmic Conservatory of Copenhagen, where whispers spread throughout the school that he was the best saxophone player in town and yet never practiced. His career has seen him prove that he can bring grace, musicality and heart to any instrument he touches, from the pedal steel guitar, to the bass, piano, and more. In the words of Danish multi-instrumentalist Kresten Osgood, "Although an instrument may be new to him he is able to play it like he has had a lifetime of experience working with it. Over the years I think the only instrument I haven"t seen him play is the drums." "Stockholm Kobenhavn" has a vast array of influences including Jazz, Americana, Film Music and Electronica. It is full of space, coaxing the listener into a meditative state and inviting them to drift away with their own imagination. The record plays as a series of open-ended sketches or moods, absent of big defining melodies or familiar song-like structures. Each piece evolves over time, providing musical interest in the form of rhythmic ideas, rich harmony, texture, and repetitive melodic patterns from a guitar or rhodes. Imaginative electronic production techniques combine the warm sounds of acoustic instruments with a constantly developing palette of otherworldly textures and effects. Grounded by an unwavering pulse, the combination of programmed beats and acoustic drums provide the hypnotic foundation over which the pair explore and challenge their common musical ground. The album closes with an intimate recording from a performance at STUK in Belgium, with a comforting guitar-led Americana tune bringing the listener back into the room and sharing in the joy the duo have felt in playing together over the past twenty years.

The Undertones formed in Derry, Northern Ireland, in 1975 and released their fourth album ‘The Sin Of Pride’ in 1983 which peaked at #43 in the UK Album Charts.

The Sin of Pride was by far the most exploratory album the Undertones ever issued. For their fourth album, the band injected more post-punk dance into their growing soul sound and so the album is looser and more focused on mood and groove than their previous titles.

The record still offers some classic tracks from the Northern Irelanders, including ‘’Got To Have You Back", "Chain of Love" and fan favourite "The Love Parade’’.

Covers such as Leon Ware's "Got to Have You Back," which opens the LP, and Smokey Robinson's "Save Me," which closes it, are bookends for a moving blend of funky, driving, deeply textured psychedelic soul music that makes pearls of tracks such as "Untouchable".

This reissue is an exact replica of the original release and has been pressed on plum colour vinyl for the first time.

The collaboration between Klara Lewis and Nik Colk Void somehow seemed inevitable. Both artists having seen their releases published by Editions Mego, individually carving out idiosyncratic voices in the worlds of extreme, abstract electronic music. With Full-On, Lewis and Void explore and assimilate the very edge of their individual practice where a unique collaborative interface allows two voices to combine and morph into a third voice.


Lewis and Void play ping pong with the conversation of sounds, generating ideas and bouncing them off each other, simultaneously encouraging the other to go further with their ideas opening up an opportunity to engage with previously unexplored terrain. Guitars, synths, euro rack modular systems, voice, sampling and outboard processing are folded in a playful unification with a propensity to tease, explore and extract new ideas and shapes, sometimes brutal, sometimes playful.

Trust was also a compositional tool allowing instinct to freely move on any aspect of the sound and space. This sound/feeling/instinct/association let this wild and wonderful material grow organically into something new.

The result of this exploratory interplay are 17 intense miniatures reveling in the process of unadulterated experimentation and whimsical interplay, not just between the humans, but the machines themselves. United in an endless series of sonic U-turns, this daring duo intertwine pop and noise whilst also bringing together visions of tender techno and forthright ambient.

The various zones which manifest from all this reveals vocals shifting in mysterious ways, dust drenched beats churning limpidly and devilish string loops navigating a disorientating domain. The experience of listening to Full-On is to be confronted with a range of ideas resulting in a platter of emotions. A place where beauty and the beast collide with the impulsive and outright weird. What a wonderful world.

Tom James Scott holds a unique position in experimental music. With a soft brush approach Scott, who currently lives on the North-West coast of England, has explored delicacy in music with a variety of sublime releases on a variety of labels. Predominantly known for gentle investigations of guitar and piano, Scott has shifted to incorporating different technology and tactics over time. All of this, either in performance or recording, is embedded with a spirit that is quintessentially his own. Nightshade is the latest in his expanding catalogue, one which ignites an alarmingly new take on his approach to music. Echo on Water initiates proceedings with the unmistakable sound of tape.

Any instrumentation is buried amongst the woozy sway of the medium itself, with its rough dynamics soon morphing into an overwhelmingly swirling mass of emotionally decayed sound. The movement of matter takes on a haunted shape with sounds looping and falling apart as the physicality of the medium holds it all together. The second track Blue Mist furthers this approach with its smeared haze of gorgeous emotion. This is deep exploration of ideas meeting matter. Wasting Stars takes up the entire flip side with the sound of tape recoiling a bit to allow the delicate glow of instruments to come more to the fore, with gentle effects that weave the musical matter. As a skewered take on Scott’s earlier piano explorations the atmosphere here is a subdued soundscape evoking the spiritual sadness found in the piano works of Gurdjieff/De Hartmann, with a modern lo fi angle.

Nightshade is a deeply effective journey and one of the most exquisite examples of Scott’s delicate approach so far. Two sides of form which inhabit contrasting yet complimentary clouds of sound communicating in an stunning emotional flow. As music with only trace elements of melody, Nightshade is a beautiful take on tools being used to explore paths both highly idiosyncratic, deeply moving and discreetly personal.

Renowned Danish trumpeter Kasper Tranberg reforms his delicate chord-less trio with Nils Davidsen (bass & cello) and Frands Rifbjerg (drums) for the release of "Nobody"s Heart". Active on the jazz and improv scenes since the early 90s, Tranberg has been described as a player of great heart and purpose. Inspired by the iconic improvisers of our time, the album explores the connection between their instrument, their body and their soul. A collection of eight songs that Tranberg has deemed his favorites of the past few decades, the repertoire ranges from tin pan alley legends Rodgers and Hart, to visionaries like Ornette Coleman, to contemporary Danish singer/songwriter C.V. Jorgensen. On selecting the repertoire, Tranberg says "it was not about surface flash, technique or speed, but I followed my heart, my own footsteps and encounters in the previous 2 or 3 decades". Tranberg, Davidsen & Rifbjerg have been performin together since the early 1990"s, united by their passion for an exploratory and unpredictable playing style. With emphasis on stillness, melody, and texture, the record"s tone is melancholy, peaceful, and restorative. Tranberg"s intimate, warm trumpet sound soars above a bed of fluid bass and drum texture, slowly evolving from miniscule and sparse to dense and chaotic. Egoless, mature, and without flash, it is apparent the ensemble holds listening in high regard The trio seems to breathe as one, with each member aiming to make every note and sound mean something. Capturing the essence of each of the songs and making them undeniably their own, "Nobody"s Heart" is deeply personal, meditative and intricate. "Sometimes something else sings through the room and music - not often, but it"s a great feeling when it happens." - Kasper Tranberg

With his sophomore full-length album, Born Hot, Chris Farren paired polished, up-beat pop songs with lyrics full of self-examination and insecurity, all while developing a newfound sense of humor when it came to promoting himself. Stereogum called it “a tongue-in-cheek exploration of ideas of confidence and self-loathing," while The Atlantic featured it on their “Best Albums of 2019” list.

On his third full-length album, Doom Singer, Farren injects his latest work with a newfound sense of power and cohesion. Collaborating for the first time with outside drummer Frankie Impastato (Macseal), Farren's songs take on a whole new dimensionality, with Impastato's live drums bringing a fresh spontaneity to the tracks. Doom Singer marks another significant milestone in Farren's career as it is the first time he collaborated with a producer, multi-instrumentalist Melina Duterte (Jay Som, Bachelor, Routine). Her masterful production experience adds a layer of sophistication to Farren's sound, creating a rich and multi- dimensional sonic landscape that takes his music to new heights. With Duterte's keen ear and meticulous attention to detail, the album resonates with a level of clarity and depth that showcases Farren's songwriting and vocal abilities in a whole new light.

Chris Farren’s music has been praised in outlets such as MTV, Stereogum, and The Atlantic, who describes his music as having “bright-eyed hooks, sparkly orchestration, and tight songwriting.” With numerous world tours alongside artists such as Jeff Rosenstock, The Gaslight Anthem, Laura Stevenson, and others, Farren has been building a dedicated following of fans who connect with his introspective lyrics and infectious pop sensibilities.

MIZMOR, is a one-man heavy music exploration that began in 2012 as a
way of dealing with the mental and spiritual anguish mastermind A L N
feels as a person
More specifically, the content behind the project is that of the existential - primal
and innate musings about cause, purpose, self, and god. It is the search for light
and truth, or the fact that there is none. It comes from an embittered, burned,
confused, and broken heart. It is the fight for survival when reason and
foundation has turned to nothingness. It is the crashing down of towers of
falsehood and the freedom that comes through a certain kind of grief. Ultimately,
MIZMOR is the manifestation of my long-felt depression, and neither have an end
in sight.
In A.L.N.'s own words behind the new MIZMOR album "Prosaic":
"The idea behind "Prosaic" was to make an intentionally less conceptual, more
slice- of- life record. I wanted to make an album that was less precious and
obsessed-over, more honest and real; less grandiose and more human. I found it
an interesting challenge to find the line between 'you can do better' and 'you're
beating a dead horse.' I tried to make my process more efficient and even fun at
times. I simply wanted to share, but if that meant exacting all-out perfectionism, I
wasn't going to make a record. Right now I'm interested in making less selfindulgent music. The themes are the absurdity/futility/purpose/meaning of work,
mindfulness/ consciousness/ living in the present moment/ shedding illusions,
depression/ acceptance/ contentment. This is the first MIZMOR album without
any content relating to god/atheism. You also won't hear any shrieks."

A fascinating blend of jazz and contemporary classical influences, How Time Passes is the debut album from the envelope pushing trumpeter and composer Don Ellis Known for his extensive musical experimentation, particularly in the area of time
signatures, Ellis began his long career in the New York City's post bop and avantgarde jazz scenes of late 1950s. Most notably he appeared on Charles Mingus'
Mingus Dynasty, and albums by George Russell and Maynard Feguson. But he
also worked with, among others, the Glenn Miller Orchestra, Lionel Hampton, and
Woody Herman. On subsequent albums, Ellis would take an even wilder direction.
Here, on his first recoding date as a band leader, the experimentation begins. Ellis
stretches the boundaries of bop-based jazz playing with time, tempo and meter. It
is the start of his exploration of Third Stream - a fusion of jazz and contemporary
classical music. The album title itself - How Time Passes - was taken from an
article written by the controversial German composer Karlheinz Stockhausen on
the "function of time." The exceptional section features Ron Carter on bass, the
underrated Jaki Byard on piano and saxophone, and Charlie Persip on drums. The
LP includes extraordinary liner notes by Candid A&R man and producer Nat
Hentoff, and noted musician, historian and writer Gunther Schuller - the originator
of the term "Third Stream" - giving a context and insight that adds to the
experience of hearing these extraordinary performances.

For 1971’s Black Unity, Pharaoh Sanders added groove to foundation of spiritual and free jazz he had explored on his previous Impulse! albums. The result is a piercing and emotive 37-minute rhythm-driven title track exploration of African, Latin, aborigine and Native American sounds.

This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Yasushi Ide, the Japanese Street Music Icon Unleashed "Cosmic Suite 2" in a Revolutionary Blend of Genres.

Yasushi Ide, the revered figure in Japanese street music, has recently unveiled his latest musical opus titled "Cosmic Suite 2," a rebel music masterpiece that pushes the boundaries of musical genres.

This groundbreaking album features collaborations with esteemed pioneers including Afrika Bambaataa, Don Letts, Josh Millan, Jeff Mills, DJ Krush, Tony Allen, and more. By transcending the limitations of time, genre, and even mortality, Ide has crafted a truly unique and eclectic street music experience unlike anything seen before.
Notably, Ide enlisted the expertise of Grammy-winning sound engineer Steven Stanley to embark on the reconstruction of "Cosmic Suite 2" using his renowned dub mix techniques. The outcome of this collaboration is the birth of "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," a mesmerizing rendition that showcases the genius of both artists.

Hailing from Jamaica, Steven Stanley is a highly regarded sound engineer and producer whose illustrious career spans several decades, primarily in the realms of reggae, dub, and rock music. Having worked with acclaimed acts such as Talking Heads, Black Uhuru, and Tom Tom Club, Stanley has solidified his status as a living legend within the industry. His contributions to Tom Tom Club's "Genius of Love" and his Grammy-winning work on Black Uhuru's "Anthem" further exemplify his unparalleled expertise. Additionally, Stanley has collaborated with notable artists including Grace Jones and B-52's.

In "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," Stanley expertly integrates elements from the original "Cosmic Suite 2" tracks, employing his unique dubbing techniques to enhance the sonic experience. Through the addition of his signature dubby reverb and other distinctive sound manipulations, Stanley elevates the album to an entirely new dimension.
"The Battle" Transformed into an Enchanting Disco Dub Experience, Infused with Stanley's Horn Section Effects for a smoky ambience.

In the mesmerizing track "Galactic Beats," the legendary Afrobeat pioneer Tony Allen's powerful drums take center stage. Skillfully applying his dub effects, Stanley adds vibrant layers and new dimensions to the composition, further enhancing its sonic palette.
Another standout is the dub version of "LAVA," featuring acclaimed Japanese singer UA. The track, which was already a fan favorite in its original form, undergoes a remarkable transformation in this dub rendition, further accentuating its appeal.

"Outer Space" Transcends Time and Genre with a Dream Collaboration Between the Late Legendary Reggae Drummer Style Scott and Japan's Turntablist Extraordinaire, DJ Krush. While the original track exudes a stoic and deep cosmic dub essence, Stanley ingeniously reimagines it as a nostalgic old-school dancehall masterpiece.

"Sumimasen" is a track that exemplifies Stanley's mastery, where the unique Japanese word "Sumimasen" (meaning "I'm sorry") is transformed into a psychedelic and deeply immersive dub journey. The track features captivating echoes on the vocals and twisted synth elements, transporting listeners to a cosmic realm of sonic exploration.
Furthermore, it is crucial to highlight "Hear, There, and Beyond," a collaboration between Yasushi Ide, Kan Takagi, the pioneering figure of Japanese hip-hop, and RECK, the bassist from the legendary punk rock band FRICTION. This reconstructed version takes the original track to unprecedented heights. With a remarkable shift to tribal drums in the midst of the song, the energy intensifies, resulting in a wild and exhilarating musical experience.
The reconstruction of this album evokes memories of Mad Professor's "No Protection," a renowned dub reconstruction of Massive Attack's work that remains an enduring masterpiece in the genre. With its exceptional craftsmanship and artistic vision, "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub" has the potential to be regarded as another timeless dub reconstruction masterpiece, solidifying its place in music history.

To Whom It May Concern: introducing here Yogg's groundbreaking release, a fusion of experimental techno, broken beats, bass and IDM music.

Renowned and talented, Tel-Aviv artist Yogg is set to captivate electronic music enthusiasts worldwide with the highly anticipated release of his latest work, showing through 4 tracks an unmatched ability to create intricaqte soundscapes, a meticulous attention to every detail and an innovative blend of styles that pushes the boundaries of sonic exploration, promising a mind-bending auditory experience.

This release will be unveiled on the esteemed 30D Records' sub-label ExoPlanets, in both, vinyl (strictly limited edition) and digital format.

Mission to the Sun synthesizes ambient, post-industrial landscapes with expansive arrangements and haunting vocals. The project consists of Ritual Howls' Christopher Samuels (synths, samples, programming) and Kirill Slavin (vocals). Their sophomore album, Sophia Oscillations, is an immersive journey through the dark corners of post-industrial music. The Detroit based duo continues the sonic exploration started on their debut album Cleansed by Fire, while delving deeper into themes of isolation and lost communication. Christopher Samuels' synths, samples and rhythmic programming is accented by Kirill Slavin's haunting vocal delivery as the listener receives intersperse audio recordings from the outer reaches of inner space.

After the release of "3.3 magnitude" and the remixes of the single "1.3 HDG" unveiled last February, H3 Records continues its musical exploration between rap and electronic music with a new release, "Music 4 Tesla".

This time, rapper Kaba joins forces with producer Hyas and unveils a slender and festive 6-track track, true to the label's identity.

Hyas started producing music in 2017 and released his first projects completely independently. Today, he has more than twenty releases on labels such as 99CTS and Casa Voyager. The Lyon native, resident of Le Sucre and Rinse FM, has a string of dates and festivals in France and abroad and founded his own label Bardouin Music in 2020.

For his part, Kaba has released three singles this year, including two featuring Karmen (formerly Tortoz) and Samy Ceezy, and a 10-track "Long Story Short", a joint project with the young beatmaker Keno.

The connection between the two artists was very natural: the rapper's ambitions and Hyas' influences complemented each other and led to a first draft of tracks, convincing enough to form the basis of a joint project. With influences from UK Garage, Acid House, Ghetto House and 2step, "Music 4 Tesla" is a high-flying, catchy, danceable, warm and sunny project. Throughout the tracks, Kaba borrows incisive old school flows (like on "4daMob") but also "DMV" (overlap flows where the phrases overlap like on "Original G") and enriches the musical universe of the project, which carries in it this fever of H3 Records' sounds.

Between pervasive house influences and bouncy bass, borrowed from funk sounds, "Music 4 Tesla" depicts throughout its 20 minutes a captivating gradation of festive ambiences, and proves again that the marriage of rap and house is definitely made to last.

Voyager Gold Vinyl

On Jupiter, Brooklyn trio Upper Wilds voyage deeper into the cosmos, mapping out the overwhelming enormity of the universe in soaring hooks and blistering noise. The third installment in the trio"s exploration of our solar system looks to its largest planet for a daring exploration of scale and perspective. New York underground mainstay Dan Friel"s melodic gifts and wry lyricism are magnified and propelled ever outwards by the thundering rhythm section of bassist Jason Binnick and drummer Jeff Ottenbacher, all immersed in rippling fuzz. Just like its namesake, Jupiter stands as Upper Wilds most colossal offering in their catalog. The raw power of their music is amplified to titanic proportions, sky-clawing riffs invoking the sheer awe that the heavens inspire. More than any Upper Wilds album before it, Jupiter makes humanity"s endeavors in space exploration an inseparable part of its sonic DNA . Recorded with Travis Harrison at his studio Serious Business in Brooklyn (Guided By Voices, Dope Body, The Men), the trio"s live recordings are inspired by the Voyager Golden Record - a double LP launched with the 1977 Voyager probe spanning field recordings to compositions by J.S. Bach and Laurie Spiegel. While the Voyager Golden Record"s intended audience may have originally been the extra-terrestrial beings that might encounter the probe, Upper Wilds bring cosmos-seeking sounds back to earth with a record made for and about humanity. Jupiter finds comfort in space"s unending expanse. Far from feeling defeated by the smallness of our existence in the face of an uncaring universe and ever-expanding infinite, Upper Wilds capture the power of creativity to extend our lifespans far beyond our limited time on earth

“As I walk between the shadows I can see my full light” is the mantra and story Anna Vs June tells on “Ersi”, her debut on Subject To Restrictions Discs.

It is about personal thoughts and experiences on topics like faith and motherhood. Beginning with “As I Walk” as the clumsy state of any beginning, it continues with “Between The Shadows” where Anna relives her years as a teenager.

Continuing the narrative with “I Can See”, we listen to what it was like to grow up, finally ending with the yearning acceptance of the unknown on “My Full Light”. Anna Vs June’s musical language is based on her exploration of traditional Greek music, which she learns and whose characteristics she reinterprets in her own production. This album was produced in Anna’s studio in Athens during the months of lockdown.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

OUTER HEAVEN return with their crushing new album, Infinite Psychic Depths! The album, an exploration into the darkest depths of extreme music, showcases OUTER HEAVEN's muscle, as the band churns out some of 2023's most visceral and frenetic slabs of twisted Death Metal. Taking advantage of guitarists Jonathan Kunz’s and Zak Carter’s penchant for technical prowess and rhythmic galloping with melodic catchiness, OUTER HEAVEN bridges the worlds of dark n’ dank despair and upbeat hookiness. Austin Haines' vocal delivery is as unchained as ever, barking and growling through interwoven stories of societal collapse, hallucinogens, mutations, and more, connecting Infinite Psychic Depths to their acclaimed debut, Realms of Eternal Decay. Methodological riffing swirls around muscular half-time clobbering in both “Soul Remnants” and “Unspeakable Aura". “Pillars of Dust” and “Liquified Mind” take the listener on a journey from the furthest reaches of the Earth’s exosphere to the sweat and spilled beer of a dive bar moshpit. “Fragmented Suspension” gives a backhand to the genre tunnel vision with a tendinitis-inducing palm muted shuffle that’s part Norwegian black metal iciness and part classic ‘80s L.A. hardcore skate punk. Recorded by Ryan Reed and mixed and mastered by Greg Wilkinson at Earhammer Studios, Infinite Psychic Depths throws a few tricks and guest appearances into the mix with bass playing by Derrick Vella from Tomb Mold, as well as vocal contributions from Pig Destroyer’s JR Hayes, Morbid Angel’s Steve Tucker and Alex Jones from Undeath. The new album also features a special appearance by Dave Suzuki (Churchburn, ex-Vital Remains) doing a trade-off solo on “Rotting Stone/D.M.T.”

In line with his recent body of work, Uwe Zahn bundled minimal compositions telling narratives situating in the melodic realm of ambient music. On first sight, it seems common that one can enter or construct such stories through the melodies these compositions offer. However, melodies never stand on their own – maybe only theoretically – but in fact truly reveal their magic through the sonical context they’re embedded in. To Zahn, a crucial part of his practice is all about this latter notion. Finding the sweet – and sometimes hidden – spots in sound-design that allow him to express the narratives he wants to share. ‘Seismograf’ could be seen as an ode to this exploration and devoted to the practice of listening - to hear sounds that are otherwise inaudible.

“i am like a seismometer for sound structures that are hidden deep under the surface. an ear on the ground, on the earth. the other ear listens to the sky, the birds, the clouds, the wind.” Arovane

Arovane is the moniker of German based composer and sound-designer Uwe Zahn who’s working in the field of minimal electronica and experimental music. In the late 1990’s his work reached a wider audience through releases on pivotal IDM labels DIN and City Centre Offices. In recent years, he released music on 12k and Puremagnetik and collaborated with Taylor Deupree, Porya Hatami and Synkro among others.

In a pumpin 2.0, spirit, with a mental story telling and defenitly a Vinyl cool in the mix style...
And some exploration with this downtempo B tune :)

First Word Records is very proud to welcome the return of the inimitable Kaidi Tatham, with his 5th album for us, entitled 'The Only Way'. Kaidi Tatham is a legendary multi-instrumentalist born in the Midlands and based in Belfast. Established as one of the original creators of the Broken Beat sound, he is a virtuoso on the keys and a true innovator in sound production. A deeply prolific artist, this is Kaidi's 5th solo album under his own name, following on from 'Don't Rush The Process' (2022), 'An Insight To All Minds' (2021), 'It's A World Before You' (2018), and 'In Search Of Hope' (re-pressed in 2020), all released on First Word, along with several EPs from 2017 onwards. 'The Only Way' is the latest chapter in Kaidi's entirely unique explorations into sound. 11 tracks touching on bruk, funk, jazz, mid-tempo hip hop and hyper-energetic Brazilian flavours, all thrown into a melting pot that's difficult to define, but all containing Kaidi's unmistakable sonic signature. The ...

2023 Repress

Les Disques de culte are back with a new exploration of the original soundtracks of the golden age of French X-rated films, the cult movie La Femme-objet, which has never been released before (neither on LP or any other format). A tribute to pleasure, composed by Jean-Claude Nachon, who at the dawn of the eighties was using without any restrains all the arsenal of the pioneers of the "electro-porn" to enhance the prodigious performance of Marilyn Jess. Languorous and effective beats, between psychedelic reggae, synth-pop and electro-orgasmics take-offs, gathered in this intimate selection to listen alone or accompanied…
Fully restored the audio tracks from original material. Inside, in a gatefold, you'll find a copy of a rare vintage italian X-rated comics (translated in english) starring Marilyn Jess and la Cicciolina, so that you can get busy with your hands while listening to your LP.

Voitax continue their forward thinking, explorative musical and visual output with the latest release on the label from the dynamic and multi-talented DJ and producer Giordano. Italian-born and Berlin-based, Giordano has established himself as a genre-defying selector whose vibrant, charismatic sets deliver unsurpassable energy via old-school rave, retooled UK bass wobblers, acid-dripped electronica and clever club experimentalism. On this six-tracker his sophisticated production skills and vast musical knowledge burst to the forefront, forging an irresistible path to all four corners of the dancefloor and beyond. Following previous releases on the likes of Soma and Savy Records, here Giordano reaches a new production zenith with "Transmute", crafting a metamorphosing set of breaks-infused bangers and carefully-sculpted rhythmic grooves.

Exit North are: Japan co-founder, solo artist Steve Jansen, Swedish singer songwriter Thomas Feiner, pianist Ulf Jansson, and renowned Swedish producer/multi-instrumentalist Charlie Storm. Their 2nd studio album 'Anyway, Still' continues the quartet's appetite for exploring provocative song structures. Weaving classic elements such as piano and strings into the layered threads of the bands material. Where intimacy and atmospherics give way to powerful dynamics, animated rhythms and grooves, driving distortions and crescendos in cinematic scale. Like excavators with uncompromising autonomy, Exit North relish the exploration of every nuance and detail of the recorded performance. Artwork contains full lyrics. " Exit North is truly about generating an aural gravity that pulls the best out of its participants. Those who admire Jansen's instrumental, experimental solo output, as well as his song-based work with Japan and Rain Tree Crow, will find much to enjoy on Book of Romance and Dust. Similarly, the audience Feiner has cultivated with his group Anywhen and its acclaimed recording The Opiates, will encounter a related, spacious aesthetic. LP limited to 500 copies on 180gm black vinyl with a gatefold sleeve (release date is later in July).

Bonded over the struggles of the pandemic and a mutual love for Motown, Soul and Afrobeat, Denmark"s renowned outlet for jazz, April Records proudly presents "Moko Jumbie", the debut by it"s latest outfit "A Plane To Catch". The vibrant Danish jazz scene came to a crashing halt along with the rest of the world in early 2020, and a tight-knit community of up-and-coming musicians were thrust into a void, robbed of the largest part of their livelihood and joy, live performance. Gathering in a graffiti-smudged artist"s space in an old industrial facility in Copenhagen"s outskirts, they created a space for themselves to improvise in a funky, groove-based setting. What came out was an expression of longing for all that was lost during the pandemic - a musical antidote to the loss of fun, joy, community, movement, travel and youthful abandon that the pandemic had temporarily put a halt to. Exploring the rich exchange between West African musical traditions and Western funk and soul, this is music meant for dancing, transporting the listener to dance floors both real and imagined. Featuring warm, raw production the record creates a real sense of energy and intimacy, as if the listener is in a dark club with an electric jam band. Through the eight compositions the quintet joyfully navigates familiar harmonic clichés from 70"s soul tunes, a variety of infectious toe-tapping grooves, playful improvisations and melodic duo horn arranging. Explorations of darker tonalites popularied be Ethio-Jazz legend Mulatu Astatke provide a welcome departure through harmonic contrast and propulsive polyrhythmic groove. The title "Moko Jumbie" derives from a mythical character in Afro-Caribbean folklore. During carnival season masked Moko Jumbies can be seen dancing on stilts in colorful garments, towering over the crowds. Part gods, part healers, part ghosts, and most importantly: moving expressions of freedom and the perfect mascot for this celebratory album.