2022 Repress
Beautiful soundscapes and deep techno previously only released on cassette, 'Outlines (Repurposed) 2013-2019' is a compendium of Anthony Linell's sketches and supports from a seven-year period. Capturing an incongruous assignment together, these liminal works frame moments of transport between process and material that are otherwise private and archived.
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Trad Vibe records is happy and proud to present you this project as well execptional as unpublished!
We are in 1994, DJ Clyde left the group Assassin and launched the 1st French Mixtapes but he sees even further and launches into the production for the 1st time since he became a hip-hop activist. His set up seems very simple but unusual and innovative for the time especially in France with a SP1200 and two S950 and a maximum of Soul, Funk, Jazz vinyls that he digs with his crew Hypnotyc Djs (Dj Clyde, Dj Max, Dj Asko). The project is also exceptional because it comes from a cassette archived by Clyde of beats sent for the album Paris Sous Les Bombes of the famous group Suprême NTM (3rd album of the group).
Of course you will not find the beats released with his last but all the unselected gems that reveals the talent and the advance that Dj Clyde had taken in the production at that time! More than an instrumental album or beat tape, this project is a testimony of the history of Hip-Hop and moreover of Beatmaking in France in the 90s which was not supposed to see the day.
The cover is made by the talented grafiti artist Cyril "Kongo" of the famous and historical crew of graffiti artists MAC (founded in 1986 in Montreuil).
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Should we look back and bring something of the past back into the forefront of our mind?
We think yes!!!
Because Kellerkind's “Disco on the Dancefloor” remains to this day a huge milestone in Sirion Records discography and the original track is still 10 years later an absolute earworm.
Dedication, constant focus on music, care and respect for others, are attributes that continue to apply to Kellerkind and have moved us to a remake of this infamous title.
As the title of the main track says, “Disco on the Dancefloor” with its groovy basses, poignant disco stabs is ideal for the dancefloor and still perfectly suited to inspire the masses.
But Kellerkind doesn’t rest on the guaranteed success of the past, he immediately delivers a thriving remake that perfectly reflects his current musical taste. Percussive, hypnotic and an all-around successful job to dress the track in a new garb.
Fittingly, there are two remixes by 8 Bit labelhead Gorge and Bernese producer Youen, among others.
A housy framework paired with percussion, discoid bass line and the hypnotic synth surface in the usual Gorge manner, not only gets the legs bobbing and the head nodding, but animates to conquer the dance floor.
Youen's techhousy remix puts the focus more on kick and clap and therefore comes as a true stomper. Peppered with the discreetly used samples, this makes for a wonderfully danceable mix for peak time.
10 Years of “Disco on the Dancefloor” is therefore more current than ever and an absolute must in the record bag, either on vinyl or digitally.
Order now. Collecting orders for repress.
The debut full length album from Gloved Hands, entitled Empty Terminal, finds the musician straying from the dance floor in search of something amorphous and less tangible. Ambient in nature, the eight tracks that comprise the LP have a deep focus on texture, space, and human feelings rather than a need for constant propulsion and momentum.
The A-side, the more rhythmic and percussive of the two, is awash with vague echos and smudged, slow-moving chords. Subaqueous drums shift in and out of focus. Sound sources are at once distant and intimately close. The curtains part to reveal a glimpse of a crystalline melody or a fraction of a vocal phrase only for the room to fill with fragrant smoke and go dark. It is a place beyond the dance floor. Perhaps it's a place without any floor at all.
The B-side is even more fragile and diaphanous. The foreground and background are obscured, leaving a hazy mesh of delicate, interwoven forms and rhythms; glistening and brushing against one another in the warm, dimly-lit space in between. With a swirling mix of cavernous bass and sweet-but-never-saccharine melody, the details are stretched and abstracted into something new yet familiar. The compositions ripple in midair, appearing and vanishing, close but just out of reach.
b A2 The Hungry Army Arrived As the Beans Ripened Master
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Rolling Blackouts Coastal Fever return in 2022 with Endless Rooms, the Melbourne quintet's third album proper. Described by the band - comprised of Fran Keaney, Joe White, Marcel Tussie and brothers Tom Russo and Joe Russo - as them "Doing what we do best: chasing down songs in a room together", Endless Rooms stands as a testament to the collaborative spirit and live power of RBCF. While initial ideas were traded online during long spells spent separated by lockdowns, the album was truly born during small windows of freedom in which the band would decamp to a mud-brick house in the bush around 2hrs north of Melbourne built by the extended Russo family in the 1970s. There, its 12 tracks took shape, informed to such an extent by the acoustics and ambience of the rambling lakeside house that they decided to record the album there. The house also features on the album cover. For the first time, the band self-produced the record (alongside engineer, collaborator and old friend, Matt Duffy), creating their most naturalistic and expansive document yet. The result is a collection of songs permeated by the spirit of the place; punctuated by field recordings of rain, fire, birds, and wind. "It's almost an anti-concept album," say the band. "The 'endless rooms' of the title reflects our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities."
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It might seem tongue-in-cheek on the surface, but the fact that the title of Eldritch Priest's sprawling debut vinyl release, Omphaloskepsis, is the Greek translation for “navel-gazing” unlocks something essential to the Vancouver-based composer and writer's singular outlook.
Perhaps even more telling is the title of Priest's 2013 book Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure (Bloomsbury), whose 300-odd pages read as though you've been dosed with potent hallucinogens. Throughout the text Priest addresses—celebrates, even—the titular elements via various musical examples, including that of his peers. What's so bewildering it is that his descriptions of how boredom, formlessness, and nonsense manifest are laced with the very tactics he's depicting. Passages tie themselves in knots, footnotes engulf the “primary text,” he even deliberately misleads the reader.
The restless stasis of Omphaloskepsis could be regarded as an extension of this book's wayward spirit. Things unfold fairly slowly and consistently but it'd be a stretch to describe it as properly contemplative. Like attempting to meditate with a high fever, any sense of tranquility is constantly derailed as one succumbs to queasy agitation. The piece's foundation is a seemingly endless guitar melody; an organic meander that neither seems to repeat or offer any concessions to narrative directionality. Priest unfurls this rambling cantus firmus in a rich, clean, jazz-like tone, but as it's played, it's repeatedly tangled with snarls of dense digital processing and shadowed by stumbling virtual “band.” These strident interjections blatantly contrast with the guitar, yet they aren't so violent as to offer more than a faint itch of distraction. As such, the distinctive amorphousness that this piece asks us to inhabit for its 54-minute duration leaves a strong impression, but also feels utterly intangible.
In addition to his recorded forays, Priest's disorienting music has also been performed by top-tier interpreters such as the Arditti Quartet, Quatuor Bozzini, Philip Thomas, Anton Lukoszevieze, and Continuum. While living in Toronto he co-founded the collective neither/nor with John Mark Sherlock, which featured a cross section of musician-composers playing each other's work including Eric Chenaux, Doug Tielli, Eric KM Clark, Heather Roche, and Rob Clutton. “Though the name refers specifically to a loosely knit group of composers and performers,” remark's the collective's website “neither/nor is also a sensibility that refuses art’s messianic pretensions and the gaping maw of commercialized society, opting instead for art’s right to be esoteric.” In 2021, when Eric Chenaux and Martin Arnold relaunched their neither/nor-adjacent Rat-drifting imprint, an album by Priest, Many Traceries, was among the first to be released. Perhaps unsurprisingly, Priest was a student at the University of Victoria, a school that's come to be known for fostering such staunch individualists as Arnold, Linda Catlin Smith, Allison Cameron, and Anna Höstman.
As a scholar, Priest writes from a 'pataphysical perspective and deals with topics such as sonic culture, experimental aesthetics and the philosophy of experience. Priest brings these interests to his job as an Associate Professor in the School for the Contemporary Arts at Simon Fraser University, interests that also inform his work as a member the experimental theory group The Occulture. In addition to Omphaloskepsis, his new book, Earworm and Event: Music, Daydreams and Other Imaginary Refrains,
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Another seemingly obvious addition to the chosen Planet Euphorique family is underground icon Angel D'lite, presenting “303 Dalmations” as the label’s 18th release. The 5 tracker screams ruff ‘n’ ready rave with a delicate touch, embodying playfully rude dancefloor attitude politely requesting you to check your ego at the door. The South Londoner Mz D’lite carries the torch for the ambitious wave of Nu skool sounds, inspired throwbacks and masterfully crafted break work that has you stomping the house down.. Boots. Bold, brave & in your face; not for the faint hearted, a true sonic reminder to not take yourself too seriously.
Setting the tone is the title track, a tongue in cheek laugh in your face. With no messing around a brazen breakbeat assault leads the way for bleeped out bliss and building sub bass; cheekily tricking you into a 4/4 moment. The climactic chaos continues through Just Trippin, offensively tense stabs; building — ferociously, borderline losing control with the UKG hybrid ventures elevated by filtered chops and screws and a late blooming 303 workout. Tempos? High as hell.
Ell Murphy lends her passionate vocal essence to 7am on the A side closer. Feel the rush; transporting you to a moment in the dance which feels nostalgic and yet still to come.
Emo-jungle, cyber centred and spine chilling; Liquid Skies feels like a cold london morning after the rave, introspective yet unable to stay still, “in and out of control”. The record ends on a comparatively weightless low-key progressive builder Relaxcersizer. Holding the same sentimental harmonic bone engrossing sensation that trickles through the EP; with a little more patience, a moment to absorb the kaleidoscope of frantically exciting musical ideas laced throughout. This record is an ode to the dancers..Need I say more? You’ve read enough, now listen.
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Joseph Capriati is to release a selection of remixes of his epic 2020 album Metamorfosi. They arrive on limited edition triple vinyl on April 29th 2022 on his Redimension Music label, and feature the likes of DJ Stingray, Frank Wiedemann & Toto Chiavetta, Steve Rachmad, Dave Clarke, Carl Cox, Francois K, Masters at Work and more.
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On the A side with ‘Joy’, Bruise head in a jubilant direction. Chanting vocal chops ride along deep cut kick grooves and vivid piano riffs; modernising the classic house sound and forming a track that would as likely go off in a club in the UK as it would on the sun-soaked beaches of Ibiza.
In ‘The Theme’, Bruise switches things up and offers up a weighty, bass-driven progressive techno heater; bolstered with rattling break chops and polyrhythmic analogue synth arpeggios. As the track progresses, rip-roaring, squelching acid-lines are introduced at the crescendo; creating a versatile club record; primed and ready for the clubs reopening.
On this single ‘When Pianos Attack’, the vibe is instantly recognisable. Piano chords lead the charge of yet another dancefloor destroyer, with that signature sound of swinging beats, layered pianos, lashings of strings, and hosts of heavenly soulful choirs. Just close your eyes, look up, feel the rush, and dance.
+ Includes the unreleased vinyl exclusive ‘Akiba Choirs’. A new school dance anthem!
Huge support from: Annie Mac, Pete Tong, Laurent Garnier, Severino / Horse Meat Disco, Sasha, A Trak, Andhim, Spiller, Graeme Park, DJ EZ, John Digweed, Fatboy Slim, Sam Devine, Laurence Guy, Gilles Peterson, Fred Everything, Soul Clap, James Lavel, Basement Jaxx, Francois K, Luke Solomun.
'Joy'
- Pete Tong’s Essential New Tune + Tong asked Bruise to record a Joy themed Essential Mix for BBC Radio 1.
- Premiered by leading dance authority Mixmag.
- Featured in Defected / Faith’s behind the counter.
‘When Pianos Attack’
- Played by Blessed Madonna as an artist to watch 2022!
- Played at Warehouse Project by Graeme Park, and then again by Terry Farley.
- Magnetic Magazines Best of Month
Bruise appeared in Faith Magazines taking a full page for interview with a heavy focus on When Pianos Attack.
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Limited Edition - Transparent Blue Vinyl
‘Cranes In The Sky,’ was originally written by Beyonce’s baby sister Solange alongside Raphael Saadiq, for her album back in 2016 that was cited by Rolling Stone as one of the most important 500 records of all time. The words exploring a fearless journey inward, pulling up the root of a problem, and the first glimpse of blue sky after the storm has passed.
Fast forward to 2022 - Ross Allen and Andy Thompson’s Foundation Music Productions enlist the expertise of Baltimore club legend, Dj Oji, together with Tracy Hamlin (Pieces Of A Dream), to take Solange’s breakout delivery to the dancefloor. Soulful vocals will heal you, while the mid-tempo moments will mellow the masses, and UK Funky grooves will keep the shuffle moving along way into the early hours. Three remixes come in the form of the ethereal DJ Pope Funkhut Reprise, a signature Joe Goddard groover and the Star One. KDA. Meltdown Dub.
Press:
Gazza Premiere
House Salad Music Premiere
Madoras Premiere
Music Is 4 Lovers Review
Le Visiteur Review
Hot House Picks
Faith In The Defected Basement - Livestream play
DJ Feedback:
FRANCOIS K
Yes! I played the vocal version the other day again.
KAI ALCE
Dope re-interpretation from Baltimore stalwarts OJI, POPE & Tracy!
GREG WILSON
What's not to like? Love the orig Solange jam!
DANNY KRIVIT
Nice, I like a lot of DJ Oji.
SOUL CLAP/ ELI GOLDSTEIN
Fire right here
DAZ I KUE/ BUGZ IN THE ATTIC
Yea I love this one…cool vibes.
THATMANMONKZ
Oh yeah, love the Solange original, and I’m a big Oji fan! That reprise version might come in very useful for the right set!
TERRY FARLEY/ FAITH
Got to be contender for single of the month with that story x
HOT TODDY
Simply beautiful.
CRAIG SMITH/ 6TH BOROUGH PROJECT
Loved the original of this from Solange a few years back, this is a real nice interpretation of it. Liking the reprise and Dub, handy tools
CHARLES WEBSTER
Nice soulful groover. Like this.
FISH GOO DEEP/ GREG DOWLING
Lovely re imagining of one of my favourite tracks of all time
FRANK BOOKER
Love this package. Reprise mix is the one for me. Very cool!
NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)
JIMPSTER/ FREERANGE
Killer groove on this and really nice to hear a housed up version of Cranes which is such a stunning song in it’s OG form. Def something I’d like to play out.
FELIX JOY/ SWU.FM
Yes ! I flippin love a good reprise mix and this one is doing it for me. Love the original version by Solange and this is a really great rework!
STEVE PARRY / FOR SASHA
Really Smoove love it.
GROOVE ARMADA/ TOM FINDLAY
THIS IS LOVELY!!
RALPH SESSION/ HALF ASSED RECORDS
Wow the dubstrumental really gives it new life.
QUENTIN HARRIS
I love this package.
GRAME PARK/ THE HACIENDA
This is tremendous
HECTOR ROMERO/ DEF MIX
Good to see this one got picked up. I’ve played this a few times since 2018 but will get it back in rotation. Glad to see this song is getting some traction. I look forward to the unreleased versions.
ANDY BUCHAN
What a sun-dappled slice of beauty! Full support on this, what a gorgeous EP. And those drums are ace, really propulsive.
DANIELLE MOORE/ CRAZY P
Yeah I really like this. I mean I love the original but theres something quite interesting about this. Nice yeah x
MARC MEISNERE/ SOL POWER SOUND
Yes please! Can’t wait to play this one!
STEFANO TUCCI/ HELL YEAH
This is one of the best best vocal of recent times, I love It, the crescendo towards half of the track is nothing but gorgeous!
TREVOR FING/ GRAFITTI KINGS
Love these remixes.
MAX P/ HELL YEAH
Yeah, full pack is what I needed !
HORSE MEAT DISCO/ SEVERINO
Really into this!
SEAN JOHNSTON/ ALFOS
I wouldn't play it, but it's a beautiful piece of work
GRAEME PARK/ THE HACIENDA
I’m gonna enjoy playing this its lovely.
NICK V/ LA MONA
Thanks a lot I actually prefer the dub version :)
TREVOR FUNG/ GRAFITTI KINGS
Love this !!
QUENTIN HARRIS
Being a fan of the Original I love everything about this.
ALAN DIXON/ MIDNIGHT MAGIC
Killer!!!!
DAVE JARVIS/ FAITH
This is amazing! Absolutely love xx
NICK V/ LA MONA
This is a fantastic track!
MAX P/ HELL YEAH
Oh yeaahhhh
RICK GILL/ OUTLAWS YACHT CLUB
Beautiful soulful house. Quality production and top draw vocals.
MICKEY JUKES/ 1BTN
Ooof! Such a strong record to step to but i love this. Classy production, vocals are killer. All round winner!
TOMMY TURBO JAZZ/ JAXX MEDICINE
I was a fan of the OG but I really needed this cut!!
RUSSELL FORMAN/ PIKES/ HARRYS KEBABS
This is great .... I'm writing an article on the Coney Island Boardwalk house parties atm.
JIM LISTER/ 1BTN
Loving the reprise and the dub!I'm a big fan of the Solange original, so it's nice to hear a new angle on it
CHRIS DE BEURRE/ THE EAGLE
Gorgeous vocal! And such a deep production - really like this! Infectious x
DAIRMONT/ ROOM WITH A VIEW
Amazing track. Loving it!
STEVE PARRY/ FOR SASHA
Beautiful super smooth.
LES CROASDAILE/ FREIGHT ISLAND
Tune this, reminds of Southport weekender!
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Like every record Superchunk has made over the last thirty-some years, Wild Loneliness is unskippably excellent and infectious. It’s a blend of stripped-down and lush, electric and acoustic, highs and lows, and I love it all. On Wild Loneliness I hear echoes of Come Pick Me Up, Here’s to Shutting Up, and Majesty Shredding. After the (ahem, completely justifiable) anger of What a Time to Be Alive, this new record is less about what we’ve lost in these harrowing times and more about what we have to be thankful for. (I know something about gratitude.
I’ve been a huge Superchunk fan since the 1990s, around the same time I first found my way to poetry, so the fact that I’m writing these words feels like a minor miracle.) On Wild Loneliness, it feels like the band is refocusing on possibility, and possibility is built into the songs themselves, in the sweet surprises tucked inside them. I say all the time that what makes a good poem the “secret ingredient” is surprise. Perhaps the same is
true of songs. Like when the sax comes in on the title track, played by Wye Oak’s Andy Stack, adding a completely new texture to the song. Or when Owen Pallett’s strings come in on “This Night.” But my favorite surprise on Wild Loneliness is when the harmonies of Norman Blake and Raymond McGinley of Teenage Fanclub kick in on “Endless Summer.”
It’s as perfect a pop song as you’ll ever hear sweet, bright, flat-out gorgeous and yet it grapples with the depressing reality of climate change: “Is this the year the leaves don’t lose their color / and hummingbirds, they don’t come back to hover / I don’t mean to be a giant bummer but / I’m not ready / for an endless summer, no / I’m not ready for an endless summer.” I love how the music acts as a kind of counterweight to the lyrics.
Because of COVID, Mac, Laura, Jim, and Jon each recorded separately, but a silver lining is that this method made other long-distance contributions possible, from R.E.M.’s Mike Mills, Sharon Van Etten, Franklin Bruno, and Tracyanne Campbell of Camera Obscura, among others. Some of the songs for the record were written before the pandemic hit, but others, like “Wild Loneliness,” were written from and about isolation.
I’ve been thinking of songs as memory machines. Every time we play a record, we remember when we heard it before, and where we were, and who we were. Music crystallizes memories so well: listening to “Detroit Has a Skyline,” suddenly I’m shout1singing along with it at a show in Detroit twenty years ago; listening to Overflows,” I’m transported back to whisper-singing a slowed-down version of it to my young son, that year it was his most-requested lullaby.
Wild Loneliness is becoming part of my life, part of my memories, too. And it will be part of yours. I can picture people in 20, 50, or 100 years listening to this record and marveling at what these artists created together beauty, possibility, surprise during this alarming (and alarmingly isolated) time. But why wait? Let’s marvel now. - Maggie Smith
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Von der erfolgreichen Vinyl-Compilation-Serie. “Golden Chart Hits Of The 80s & 90s” gibt es jetzt bereits die dritte Ausgabe. 12 ausgewählte Hits für alle Fans der 80er und 90er Jahre, u.a. mit einem der legendärsten Titel überhaupt : „Relax“ von Frankie Goes To Hollywood“.
Desweiteren mit dabei: Camouflage „The Great Commandment“ , Gigi D’Agostino „Bla Bla Bla“, Black “Wonderful Life” , Rednex “Old Pop In An Oak”
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DBLP – Black Vinyl Double vinyl version of Rhys Fulber’s latest album. Pressed on black vinyl with an extraordinarily designed sleeve. Photography by R. Fulber, graphics by Janina Schütz. Ships out from Berlin, Germany, using DHL. The package is tracked and insured. Includes unlimited streaming of Brutal Nature via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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In contrast to their previous EP’s, ‘Xenolith’ ups the intensity focusing on rugged breakbeats and destructive low end pressure. Across four tracks the duo experiment at different tempos, unearthing a myriad of themes inspired by forensic analysis and autonomous technological forces. Like alloys mysteriously grown from ore, fragmented artifacts of familiar origin take on new meaning. ‘Xenolith’ is bound together by complex and dystopian atmospheres, forging perhaps Tracing Xircles most intriguing record so far. A1 Xenolith A2 Surface Level B1 Blindspot B2 Closed Circuit All tracks written & produced by Simon Pilkington & Luke Standing Mastered by Helmut Erler | Cut @ Dubplates & Mastering Berlin Artwork by Hayden Martin / Haxan Studio
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Baby Buddha is David Javelosa and musical partner Charles Hornaday playing instruments and providing their own whacked-out vocals. Baby Buddha really was less of a band than a project; a side project in fact, for some members of another group, Los Microwaves. Baby Buddha would eventually record and release an album, 1981's provocatively-titled Music for Teenage Sex on Robbie Fields' L.A.-based Posh Boy label.
Happily, the project's guiding creative light, David Javelosa has recently seen to a vinyl reissue of the now-40-year-old record, mystifyingly retitled Music for Teenage Sects. Definitely among the stranger releases of the new wave era, Music for Teenage Sex/Sects could perhaps only have been created when and where it was made. But on the occasion of its 40th anniversary, the music sounds as weirdly wonderful as ever. "We Are Not" sounds like Human League stuck in a car with The Residents. And their cover of "All Shook Up" sounds like a musical kin to those inscrutable eyeball guys too; it wouldn't be out of place on Meet the Residents. "Little Things" is a house-of-mirrors, scary track, with spoken-word vocals by Los Microwaves' Meg Brazill and label head Fields.
The album cover is slightly different as well: it displays a bedroom scene like the original LP, but with the young female model absent. The new release (on Javelosa's own Hyperspace Communications label) is pressed on beautiful translucent blue vinyl and comes in a gatefold sleeve with a lively collage of photos, buttons, gig posters. Limited to 500 copies.This playfully titled release features David Javelosa (on synth and vocals) along with Meg Brazill (on bass and vocals) plus drummer Todd "Rosa" Rosencrans. Side One features five studio tracks, none of which were included on the band's 1981 Posh Boy LP, Life After Breakfast. Three of these tracks were recorded in '82; there's no information regarding the provenance of the other two songs. The records' second side collects five live recordings, capturing Los Microwaves onstage in New York City (The Peppermint Lounge) and Boston as well as at San Francisco's own I-Beam, a venue that often played host to the band. Those tracks date form roughly the same ear, 1980-83. Sonically the songs variously recall Blondie, Flying Lizards, Gang of Four and a far less dour Human League. Importantly, the band rocks, even when it's employing a spare drum kit, solid but elemental bass, and monophonic analog synthesizers. The stripped down aesthetics of the group – necessitated by its minimalist instrumental approach – are nonetheless thrilling. Even if you weren't there in 1980, this'll take you back.
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The third release of , which will be released on vinyl with the theme of ancient and modern east and west ~ Nihon no Uta ~, is blindness caused by an illness that he had when he was a child, he met Tsugaru shamisen in a poor and difficult life.
Chikuzan Takahashi, a master of the Tsugaru shamisen, has raised Japanese folk songs to the level of art that has been praised around the world. The recorded song is "Iwaki Impromptu".
Several versions are also recorded in the album work, and there are different arrangements only for improvisational songs, but this time Held from 1973 to 2011 at "Maruyama Park Concert Hall" in Kyoto City to coincide with the Gion Festival in Kyoto
It is a sound source when he appeared in "Yoiyoyama Concert". A thick string that tells the beginning, like slamming Overwhelming power that tightens the chest even though it is not a drumstick, like an orchestra that does not seem to be a single performance
Spread of sound, free development of sound. A shamisen player named Chikuzan Takahashi who completely deviated from the frame of so-called standard folk songs It seems that the expression of is involved in the audience at the scene without even seeing it.
Mr. Takeyama describes this song as "a song where you don't know where it started, where it started, and where it ended." It's just an impromptu song, something that you listen to with subtle changes in sound and complex rhythms while making various changes. It is a masterpiece full of dynamism that you can grab until the end.
Bill Laswell, who is active as a world-class bassist, reconstructed the original sound source this time. He has a deep knowledge of ethnic sound sources, and his arrangement is "Mix-translation" instead of "Remix". Is used. While making the best use of Mr. Takeyama's sound source, as the difference in the words shows, it is unique Arrangement with swelling deep bass bass makes you feel as if you are standing on the same live stage and having a session. It is a finish that you can understand his idea of chewing the original and then translating it.
The jacket picture is by Mr. Akira Kasai, a photographer who has taken Mr. Takeyama's picture for a long time. We asked Mr. Takuji Matsubayashi, the author of "Takeyama Takahashi, the sound of the soul," to introduce the work.
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