Buscar:human

It's hard to imagine El León Pardo, a loyal advocate of some of the most advanced projects in which folklore is the road map and the destination itself, without his kuisi. It's hard to see him with his hands free. Always holding on to that ancestral instrument, that pre-Colombian flute that survived the conquest and has become a symbol of resistance, overcoming the ravages of time, the imposition of ideologies, dogmas and religions. Despite all that, the kuisi continues with its liberating sound, the power of its cry, its invitation to dance, its sound a cure and a blessing. That's why it leads the way in this Viaje Sideral ("Space Voyage"), an astral journey in which the kuisi is the vehicle and the life force of the rhythm. Viaje Sideral feels like floating eternally in the infinite cosmos. This second long player from El León Pardo is inspired by humanity's relationship with the stars, escaping to mythical planes and led into a trance by Caribbean percussions, analog synths, deep bass, electric guitars and the hypnotic vibrations of the kuisis and trumpets that complete the soundtrack of this voyage. Through these nine songs, El León Pardo continues to create a sound of his own, evolving in his intention to pay tribute to the psychedelia of the tropical world of the Caribbean in the 1970s and 80s, but this time also taking as reference artists like Terry Riley, Kraftwerk and Mad Professor, including the roots of ambient and electronic music with the characteristic sound of the kuisi, an encounter of dreamlike and astral sounds, with the music of the bandas pelayeras of the tropics and figures like Pedro Laza and Juan Lara. In this new universe the Cartagena trumpeter dialogs with the past, processing the ideas that have emerged over the years and morphed into his personal search that gives an identity to his ideas, nurtured by figures like producer Diego Gómez (Llorona Records, Discos Pacífico, Cerrero) who awoke his interest in electronic instruments, Edson Velandia and kuisi maestros like Juan Carlos Medrano and Fredy Arrieta. In his sound there is a particular feature, one that contains histories of personal experiences, accompanied by the kuisi, including ancient Zenú flutes dating from between 600 and 800 AD and which helped create the atmosphere of "Invocación." "Viaje Sideral," the song that gives the album its name, was born from a dream in which two stars speed towards the earth and an imminent collision. As the record continues, the stellar connection becomes clear with songs like "Urmah" with Edson Velandia, inspired by an article about extra-terrestrial races and how the Urmah were a race of hominid felines, the greatest geneticists of the universe; and "Cumbia espacial," featuring rapping from N. Hardem, seeking to create that aura of immensity and consciousness of the infinity of the universe.

Who is Beatrice? Who is Melissa? Could they be one and the same?

This is the question at the heart of Secret, the duo’s debut album—or at least, that’s what the music seems to suggest. If sound is an extension of ourselves, it can also become a character we shape. The main character of Secret isn’t visible to the human eye, and yet they give off an androgynous and timeless energy, rooted in multiple languages and spaces. As the album unfolds, we sense the fusion of two distinct energies combined into a single, composite being. This constantly shifting, blurred identity comes to life in the album’s profusion of genres: club music, ambient, chanson, trip-hop, UK garage, and tech house. The tracks stretch and contract, following the trajectory of a dual voice.

Behind Secret lies a mélange of perspectives. Beatrice M., a Franco-British artist at the head of the label Bait, curates an innovative blend of syncopated UK club styles (mostly dubstep) and trancy techno grooves. Melissa Weikart, a French-American songwriter trained in classical piano with a deep passion for jazz, makes intimate avant-pop songs that embody her unique, hybrid approach to music-making. The diverse musical collaborations in Secret reinforce a dynamic that is central to both of their artistic journeys from the start, and these collaborations melt seamlessly into the album’s overall aesthetic. Despite a confluence of influences, the implied development of this obscure, extraterrestrial main character grounds us in a refreshing coherence. Secret is rich in variety and style, but above all, it diffuses a calm and serene atmosphere. Even when the BPM speeds up, we are carried along, suspended in Beatrice Melissa’s uncanny world.

The Austin, TX-based singer-songwriter—whose decades-long career has seen six full-length studio albums, three EPs, countless collaborations, and an illustrious supergroup project in Glorietta—spent a season of rest away from his focus on writing songs. In the wake of the end of a long relationship, he wanted to prioritize processing his grief as a human, not as an artist bleeding on the page. “I love all the records I’ve made in the past. But in making them, there was always the thought in the back of my mind of where and what it could get me. I made both creative and business decisions with a goal in mind... a goal that often never came. This time it was all about just the joy of making it, about having fun with it.”

TC.KYLIE x The Hourglass brings dynamic jazz fusion music from her debut album, integrating Hong Kong, Japanese and British cultures. Kylie leads her band dynamically on stage playing keyboard and synth keytar, iconic in Japanese jazz rock & highly memorable to watch.TC.KYLIE, a jazz fusion pianist, performs regularly in both Hong Kong and London. Inspired by the likes of Shaun Martin and Robert Glasper, she also continues to write songs in the areas of Japanese acid jazz, following Fox Capture Plan, Jabberloop, Toconoma, Jizue and Bohemianvoodoo. Prior to becoming a performing artist, Kylie previously worked as a news documentary journalist for radio and TV networks in Hong Kong, She spent much of her time connecting human stories and investigating the connections between people and society which was inspiring and enlightening but also often heavy and difficult within increasingly tricky political landscapes unfolding around her.

Under the changing social environment in her hometown and with the hit of the pandemic, she decided to take an indefinite well-earned break in 2020 to take care of her own well-being & passions. During a stay at a jazz cafe and hostel in Lake Towada in Aomori, Japan, encouraged by the hostel owner as a jazz enthusiast; Kylie sat in front of the piano, contemplated and played scattered notes to express what she had been enduring during her time as a political/social reporter.

Finding herself joyfully picking up music in her life again after years of leaving it behind, she wrote the song "The Last Grief" a tribute to one of her deepest sorrows and in remembrance of her best friend in childhood who battled heavily with depression. This song went on to be an official selection for the International Toronto Music Video Festival as well as the Toronto Asian Independent Film Festival in 2023.

Features members of Pansy Division, Avengers, Camper Van Beethoven, Anohni and the Johnsons, Oranger, Enorchestra and the State Band of Guanajuato. Panorama is an LGBTQIA+ album and it is a bilingual Spanish/English album .Recorded in Leon, Guanajuato with a cross section of notable US underground music stalwarts and emerging Mexican instrumentalists. VIDA VELLA is the manifestation of a dream a lifetime in the making. Apocalyptic yet optimistic balladry. Tijuana native and NYC transplant Luis Gabriel Illades, longtime member of Pansy Division, Avengers and touring drummer for countless acts steps in the singer/songwriter role with VIDA VELLA, a bilingual exploration of universal human emotional themes.

It has been over a decade since Anthony Mills created Wildcookie, his most celebrated project. With tracks like Heroine and Serious Drug, the album Cookie Dough gained worldwide recognition, landing on numerous radio playlists, including Gilles Peterson’s show. Even after all these years, it remains a favorite on streaming platforms. Now, fourteen years later, Mills returns, teaming up with Marek “Latarnik” Pędziwiatr to create Crack Rock—a bold evolution of Wildcookie’s legacy.
While Wildcookie’s signature warm, jazzy Fender Rhodes sound defined its identity, Crack Rock shifts toward 1980s-inspired compositions crafted by Pędziwiatr, known for his work with EABS, Błoto, and Zima Stulecia. The duo explored yacht rock, drawing inspiration from Fleetwood Mac and Michael McDonald, maintaining the genre’s clean vocals and catchy melodies. However, their experimental spirit pushed the sound further, distorting the polished yacht rock aesthetic—leading to Crack Rock, a clever wordplay reflecting both the music and its themes.
Anthony Mills is known for layered wordplay, and the album’s name nods to deeper personal struggles. “I listened to the song Crack on repeat—it brought me to tears. Growing up in the crack era was painful. The PTSD I endured is now a powerful source of inspiration.” This raw emotional backdrop adds an edge to Crack Rock’s themes of love and human relationships—what Mills calls “cold love”: alluring, grand, yet ultimately destructive. Like an addiction, you keep coming back for more.
This idea of addiction shapes the duo’s sonic exploration—beneath the catchy melodies lie deeper, pain-laden themes wrapped in metaphor. “I see this album as therapy, a testament to the magic we create in the studio,” says Pędziwiatr. “Our process is a mix of musical mastery and deep conversations about life. For me, it feels like soul cleansing.

The third album by the rising star that is Aran Angmar: 'Ordo Diabolicum'
explores darkness not as a void but as a realm where truth reveals itself,
boundaries shatter, and human freedom emerges
A sonic descent where chaos reveals liberation. A Black Metal ritual.

The third album by the rising star that is Aran Angmar: 'Ordo Diabolicum'
explores darkness not as a void but as a realm where truth reveals itself,
boundaries shatter, and human freedom emerges
A sonic descent where chaos reveals liberation. A Black Metal ritual.

An imperial phase Actress commits a lushly amorphous installation piece made for the Berliner Festspiele to vinyl, rendering a post-industrial symphony full of iridescent shifts in gyring, OOBE-like spatial coordinates landing somewhere between nutopian ambient, kankyō ongaku and sawn-off bass science.

‘Grey Interiors’ was made in collaboration with Actual Objects and is an absorbing animation and navigation of those post-human ideals that have prompted Darren J. Cunningham to his best work across the preceding two decades. In its hypnagogic symphony of the elements, he short-circuits distinctions of classical music’s metric freedoms and the hyperspatial sensuality of concrète/electro-acoustic and ambient musics with an artistic license that has come to distinguish his work in the contemporary field, and arguably identified him as this generation’s most vital electronic abstractionist.

The first half of the album is bewitchingly airless, materialised in a twinkling vacuum. Naturalistic environmental recordings and a half-heard piano swirl around nauseous airlock whooshes and eerie bass drones. It's all pulverised to a powdery, shimmering residue; if Actress's music is defined by its character and texture - that sweet spot between the bedroom and the soundsystem - then this one advances the narrative without losing its backbone. And like a lot of his best work, it comes into its own on the back of zonked eyelids, conjuring a play of shifting geometric patterns within its imaginary physics and nuanced narration of ephemeral melodic phrasing and vaporous textures.

At about the halfway point, that dissociated piano finds its groove, coalescing into a jerky drum machine rhythm popping like bubbles in the stifling atmosphere. We can draw some intersecting lines here thru electronic music lore - traces of vintage AE, Push Button Objects, UR - but Actress always leaves an indelible fingerprint on anything he touches. Even when he's rubbing against the gallery-industrial complex, he manages to fill a stagnant space with electricity and wit; look at the title itself: is it a reference to the "landscape beyond man" as the installation's press release might have us believe, or the institutions themselves?

o d1. Sealed Human (’m Remix)

Brand new double LP on orange vinyl limited to 300 copies worldwide from Tyla (The Dogs D’amour) featuring the latest single ‘Cadillac Man’ - 'It’s becoming a bit of a cliche these days to say 'I dreamt this idea, song, story film book etc' But that's exactly what I did with the song 'Cadillac Man' the lyrics and the video idea and the melody as it was just after noon I jumped out of bed and scribbled the lyrics an picked up my trusty black Gibson J200 the guitar I've written nearly every song on since the day I bought it brand new in 1991. It was then I realised id dreamt the chords too!' I was 62 years old when I began writing and recording this album in the Autum of 2023 and I'm lookin' at 64 this July. I sent some of the songs to Simon (Hanson) who slapped on the drums then I sent them to Jamie Turnbull ('In Vino Veritas' / Tyla’s Dogs D'amour producer) knowing he was a great guitarist, but I didn't know just how good! This is the first album I have ever done that you can and even I do, play air guitar too! The songs flowed and i seemed to have captured most if not every human emotion in a Genie's lamp which I am now putting in your trusty hands and ears and eyes and soul. I beg you pop the cork, and I can guarantee that some if not all of your wishes will come true.' 'Gilding the Lily' Is the album I've been trying to write wanting to write, all my life.'

Known for his indie-folk-inspired singer-songwriter music that envelops emotions and
moods in intimate, breathtakingly beautiful soundscapes, Cunningham has built a
massive following over the years, amassing more than half a billion streams.
With 'In Light', he wanted to push boundaries. Inspired - and unsettled - by the rapid
development of artificial intelligence, he sought to capture the essence of raw human
creativity. The result is a collection of ten tracks, recorded over five weeks in
Tottenham, North London. These songs-- captured as single takes with minimal
editing-- immerse the listener in a profound stream of consciousness. Cunningham
explores personal truths and reflects on the world's complexities, from the unsettling
grip of big data to the hope that genuine human connection still offers. As he sings in
'This I Know', "The best is yet to be / I believe." The album's title, 'In Light', reflects
Cunningham's optimism, shining through even in darker moments. "We're here right
now / Let's be here again tomorrow," he urges in New Symmetry, concluding with the
poignant affirmation, "I am leaving a light on".

Aufbauend auf der Dynamik seiner "Stolid State" EP, die eine kraftvolle Kollabo mit à;GRUMH…-Sänger J3 sEUQCAJ und Remixe der britischen Industrial-Pioniere Test Dept und der französischen Innovatoren Maman Küsters enthielt, verspricht das neue Album des Stockholmer Underground-Elektro-Pioniers Majestoluxe Grenzen weiter zu verschieben. "Wretched Conditions" bietet 13 unerschrockene Industrial-Pop-Tracks, die die raue Essenz des 80er EBM/Industrial beschwören. Mit dabei sind einige der besten Alternative-Talente Stockholms wie Bodypop-Queen EMMON, Horror-Gothic-Sirene Aux Animaux, Post Kontrôl (von den Minimal Wave-Helden Hidden Lines) und der himmlische LIVMØDR. Das Album wurde von Jimmy Monell aka Mr Monell gemischt und gemastert.

Valuable vinyl reissue for this historic four-handed work by Gigi Masin and Giuseppe Caprioli. The concept of multitude combined with the figure/symbol of the labyrinth suggests orders of thought relating to the multiple states of being that inhabit the dark labyrinths of the soul, the hidden regions of the human psyche. All in Multitude In Labyrinth leads us to look for keys to understanding the ultimate meaning of a test as enigmatic as it is powerful. A congeries of paramusical phenomena in continuous evolution, expression of an internal feeling strongly concentrated on itself, disguised in the plastic flow of sound events that evolve on the gravitational maps of low-frequency drones, of the changing waveforms and of the elliptical-circular loops warped with scientific skill in the electronic workshop used for this purpose. A cinematic symphony in nine movements that direct the listening towards the frontiers of unexplored parallel worlds, ready to recreate the infinite maze of aural multitudes that materialize, dissolve and regenerate impulse after impulse for the duration of the work. Music whose remote echo makes us think of the harmony of the spheres that governs the mechanics of the cosmos and of being.

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

Die aus Koblenz stammenden CURSE OF KHATRU sind weder Kumpel-Death-Metal noch vermummter Okkultismus oder was auch immer für eine "metallische" Modeerscheinung... Sie stehen für authentische Musik in der Tradition von Bands wie Death, Morbid Angel, Pungent Stench und Grave. "Unser Debütalbum klingt nach der Art von Death Metal, die wir mögen: entfesselt, aggressiv und songorientiert." 11 mega-eingängige Songs + Intro, technisch auf höchstem Niveau, werden den Hörer akustisch umhauen. Versprochen. Das selbstbetitelte Album wurde zwischen Oktober 2023 und Februar 2024 von Jörg Uken in den Soundlodge Studios Rhauderfehn (Keitzer, Maat etc.) aufgenommen. Das Cover-Artwork stammt von Noah Zark.

"Invisible Threads" is a sonic assault that penetrates the darkest depths of existence. This album explores themes of human degradation, unspoken fears, and wars that ravage not only bodies but also minds. A fierce manifestation of death metal, "Invisible Threads" overwhelms the listener with a crescendo of sonic brutality and raw emotions_an unrelenting frontal impact from the first to the last track, destined to leave a lasting mark.

"Invisible Threads" is a sonic assault that penetrates the darkest depths of existence. This album explores themes of human degradation, unspoken fears, and wars that ravage not only bodies but also minds. A fierce manifestation of death metal, "Invisible Threads" overwhelms the listener with a crescendo of sonic brutality and raw emotions_an unrelenting frontal impact from the first to the last track, destined to leave a lasting mark.

"Gudatall" Music Cassette Edition. Limited to 100 pcs on white cassette.

“Gudatall” by Murg offers a stark reflection on humanity’s cyclical failures and the looming retribution of nature. This compelling creation, rooted in the bleak landscapes of rural Sweden, channels the essence of black metal’s golden era while forging a path of its own. With “Gudatall”, Murg explores themes of isolation, ecological despair, and the inevitable return to our primal state, all through a meticulously crafted sound that resonates with the cold, harsh beauty of the wilderness.