Buscar:koma

Limited edition white vinyl (800 copies) The self-styled ritualistic electro-mechanical ensemble OSMIUM is a veritable supergroup. Made up of Oscar-winning composer and instrumentalist Hildur Gudnadóttir, veteran engineer and producer James Ginzburg, Senyawa's idiosyncratic vocalist Rully Shabara and Grammy-winning sound designer / producer Sam Slater, while each member brings along a laundry list of accolades, the project is far greater than the sum of its parts. Alloying burnished electroacoustic soundscapes with dense, metallic drones, barbed rhythms and buckled, bio-mechanical vocalizations, OSMIUM's eagerly awaited debut album doesn't try to cast a rigid future. Rather, it tempers a viscous flow of unorthodox speculations that smolders through the distant past, blazing a trail all the way to the frontier of fate. Absorbed by questions about the relationship between humans and technology, tradition and progression, the individual and the group, OSMIUM channel their experience and expertise into a set of forward-thinking sonic interrogations that skewer established cultural preconceptions. And although genre is acknowledged - the album draws from folk, doom metal, 20th century minimalism, industrial music and extreme noise - there's never a sense that it's riveted firmly in place. Widely known for her soundtrack work (including `Joker' and `Chernobyl') Gudnadóttir plays the halldorophone, a unique cello-like electroacoustic instrument designed by Halldór Ulfarsson that allows the performer to harness unstable feedback loops. Taking his cues from this process, Slater (who has worked alongside Jóhann Jóhannsson, Ben Frost and others) generates rhythms using a self-oscillating drum he designed with KOMA Elektronik and Subtext boss and Emptyset member Ginzburg responds in kind, producing booming tambura-like sonorities from a device he developed himself based on the monocord, an ancient single- stringed resonator. OSMIUM synchronize the three unique instruments using a custom system of robotics to generate basic rhythms that underpin their improvisations and experiments, and Shabara's alien tones supply the band with their conceptual fulcrum. The vocalist is one of South Asia's most recognizable underground artists, and the sounds he's able to create using exhaustively rehearsed extended techniques are so distinctive that he's been studied by scientists back home in Indonesia. Never weighed down by needless sound design or modish ornamentation, it's music that feels authentically experimental; OSMIUM have figured out an awkward symmetry between their discrete approaches, concentrating their gaze on the outcome rather than the process. The result is a work of science fiction that's driven by interaction, conversation and sensation.

Helsinki tenor saxophonist Jussi Kannaste's debut album as a band leader has been a long time coming. A top musician in the local scene revered by his contemporaries and sought after as a band member, Kannaste now presents his new work Out Of Self and Into Others on We Jazz Records. His quartet, Kannaste4, brings together Finnish musicians Tomi Nikku (of Bowman Trio) and Joonas Riippa, plus Berlin-based Swedish bassist Petter Eldh (of Koma Saxo / Post Koma and Y-OTIS), and features an all original program penned by Kannaste. His music is highly personal contemporary jazz leaning into modes of avantgarde expression. At times quiet as a whisper, at times fiery and swinging, Out Of Self and Into Others is a product of a deep marinade, a debut album that feels like much more than "just" that.

Jussi Kannaste (born 1976) is a saxophonist and educator based in Helsinki. Prior to launching Kannaste4, he has been a key part of the scene for 20+ years, performing in highly acclaimed bands such as Antti Lötjönen Quintet East, 3TM, Jaska Lukkarinen Trio, Ricky-Tick Big Band, and many more. As the head of the department of Jazz at Sibelius Academy, Kannaste is also a key figure in internationally admired Finnish jazz education system.

Green vinyl, limited to 350 copies. Komatsu's 5th album is no fluffy pancake! 8 heavy, filling and delicious tracks will blow your mind and boost your immune system. Now as a three-piece band, their sound has opened up to show new layers of fuzz, rhythm and groove. Lyrics range from deep topics like the universe, rebirth and dystopia to fatcamps and female parts. Komatsu is proud to add some extra grease, grit and crunch to your morning oatmeal so you can face anything the world throws at you!

Komatsu's 5th album is no fluffy pancake! 8 heavy, filling and delicious tracks will blow your mind and boost your immune system. Now as a three-piece band, their sound has opened up to show new layers of fuzz, rhythm and groove. Lyrics range from deep topics like the universe, rebirth and dystopia to fatcamps and female parts. Komatsu is proud to add some extra grease, grit and crunch to your morning oatmeal so you can face anything the world throws at you!

Mr Bongo is proud to present 'The Original Sound of Mali', compiled by Vik Sohonie & David Buttle.
Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a
selection of songs from across the country.
Compiled by Vik Sohonie & Dave 'Mr Bongo' Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He
already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world, legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire
Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge, Florent Mazzoleni. Florent has written the definitive book about Malian music - 'Musiques modernes et traditionnelles du Mali'. He
proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.
On this album you will find well-known artists sitting next to rarer
discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focussing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L'Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.
This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.
Dedicated to Malick Sidibé.

Unionen is a new quartet of four star-level Norwegian and Swedish jazz musicians. The group brings together Stale Storlokken (Supersilent), Per "Texas" Johansson, Petter Eldh (Koma Saxo) and Gard Nilssen (Supersonic Orchestra). It"s not hip to say "supergroup" but this sure is one super of a group, with each member contributing to the band sound that is unique in all the best possible.

Der offizielle Soundtrack zur Kult-Dokumentation "B-Movie Lust & Sound in West-Berlin" erscheint erneut in einer beson- deren farbigen Vinyl-Versionɏ eine LP in leuchtendem Pink und die andere in strahlendem Gelb. Diese Edition verbindet den unverän- derten musikalischen Kern mit einem frischen auffälligen Design das die bunte und kreative Vielfalt der Berliner Subkultur widerspiegelt:

Der Soundtrack von B-Movie erzählt von der letzten Dekade der geteilten Stadt. West-Berlin eingemauert und isoliert wurde zum magnetischen Anziehungspunkt für Künstler Musiker und Visionäre. Der Soundtrack fängt diese wilde Zeit ein von den düsteren Klängen von Joy Division und Malaria! bis hin zu den treibenden Beats von Westbam und den provokanten Rhythmen von Abwärts. Jeder Track erzählt eine eigene Geschichte und verwebt sich zu einem musikalischen Kaleidoskop das die Sub- und Pop- kultur jener Zeit lebendig werden lässt.

UEVPD - Usage/Efficiency/Variance/Platform/Domain - is the solo project of Dominic Goodman, a former member of Mosquitoes and currently one half of Komare.

The self-titled UEVPD debut LP, released on 22nd November via World of Echo, consists of eight sequentially numbered electro-acoustic tracks made over approximately five years, living recordings that have morphed in shape over time, each systematically stripped back to their elemental form before being deemed complete. From the outset, Goodman purposefully deployed a relatively limited array of equipment and adopted a determinedly minimalist approach to composition, a practice in restraint that privileges detail and nuance. Field recordings, made using a combination of dynamic, condenser, contact and electret microphones, geophones and hydrophones, were allied to a basic modular/analogue synth setup, allowing for little in the way of excess or indulgence.

The results are markedly defiant, displaying an expert exercise in control and restraint that lets in little light but plays a great service to space and time. This is patient, claustrophobic sound design that bears out the value in attentive listening, a meditation on the acceptance of passing time, change, growth, death and regeneration. As such, listeners might connect associative lines with the likes of Pan Sonic and Mika Vianio’s solo work, Emptyset and Civilistjavel (who’s Tomas Bodén shows up on mastering duties here), though this remains distinctively Goodman’s vision, a continuation of his interests shown in Mosquitoes and Komare that further pushes out into the murky unknown.

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

Wie zwei Zeitlinien, die zusammenlaufen, kommen ELEPHANT TREE und LOWRIDER zusammen, um ihr gemeinsames Album ,The Long Forever" zu präsentieren, eine der am sehnlichsten erwarteten Split-Veröffentlichungen in der Geschichte des Heavy Rock.Nach zwei bahnbrechenden Veröffentlichungen im Jahr 2020 haben Elephant Tree und Lowrider die Gelegenheit ergriffen, neu zu definieren, wer sie sind und zu erklären, wohin ihre musikalische Reise mit dem gemeinsamen Album ,The Long Forever" als nächstes gehen wird. Mit The Long Forever befinden sich beide Bands an einem kritischen Punkt: Beide haben einen weitreichenden und wachsenden Einfluss, beide werden auf der Bühne und abseits davon verehrt, und beide bringen ihre erste richtige neue Veröffentlichung seit vier Jahren heraus, die mit großer Spannung erwartet wird.Diese Bands auf eine gemeinsame Platte zu bringen, wäre unabhängig von den Begleitumständen ein Ereignis, aber die Bedeutung dieses Albums ist noch größer. Der Titel des Albums stammt von dem Spitznamen für das mehrwöchige Koma, in dem sich Elephant Tree-Sänger/Gitarrist Jack Townley aus medizinischen Gründen nach einem beinahe tödlichen Fahrradunfall Anfang 2023 befand. Er träumte, ohne aufzuwachen, und verlor jegliches Zeitgefühl, während sein Geist versuchte, mit der Tortur fertig zu werden - diese lyrische Beschreibung deutet das Ausmaß von Jacks Erfahrung nur an.In dem darauf folgenden Jahr manifestierte sich eine musikalische Freiheit in den jeweiligen Ansätzen beider Bands: Elephant Tree wählten während Jacks allmählicher Rückkehr zum Spielen einen rohen, aufbauenden Ansatz, während Lowrider komplexer und ausdrucksstärker wurden, um Songs für das 2020 erschienene Album ,Refractions" zu entwickeln, das von allen Seiten bewundert wurde.,The Long Forever" ist das Vehikel, durch das sich die Bands begegnen, das die Erwartungen an sie untergräbt und übertrifft, mit einem traumatischen Nexus als Gravitationssingularität, um die die gesamte LP kreist und jede Note, die nach außen dringt, verbiegt und formt.Beharrlichkeit, Heilung und hartnäckige Leidenschaft haben The Long Forever zu einer Realität gemacht, und Fans von Elephant Tree und Lowrider werden sich über das überragende Ergebnis freuen! Like two timelines converging, ELEPHANT TREE and LOWRIDER come together to present the collaborative album "The Long Forever," easily one of the most eagerly awaited split releases in the history of heavy rock. In the wake of two landmark 2020 releases, Elephant Tree and Lowrider have seized the opportunity to redefine who they are and declare where their musical voyages will go next with the collaborative album The Long Forever. The Long Forever finds both bands at critical junctures: each has a broad and expanding influence, each is revered onstage and off, and each is delivering its first proper new release in four years to tremendous anticipation. Bringing these bands onto a shared collaborative platter would be an event regardless of the surrounding circumstances, but the significance of this album is even greater. The album's title comes from the nickname for the multi-week coma that Elephant Tree singer/guitarist Jack Townley was in for medical reasons after a near-fatal biking accident in early 2023. Dreaming without waking and losing all sense of time as his mind attempted to cope with the ordeal, that lyrical description only hints at the enormity of Jack's experience. The year or so that followed manifested a musical freedom in both bands' respective approaches, Elephant Tree choosing a raw, set-up-the-mics-and-go approach during Jack's gradual return to playing, while Lowrider grew more complex and expressive in building songs to follow up their massively adored 2020 album "Refractions." "The Long Forever" is the vehicle through which the bands meet, subverting and superseding the expectations on them, with a traumatic nexus as the gravitational singularity around which the entire LP orbits, bending and shaping every note that escapes forth. Perseverance, healing and stubbornness of passion made The Long Forever a reality, and fans of both Elephant Tree and Lowrider are certain to rejoice at the towering result!

Peter Evans makes his We Jazz Records debut with Extra, a new album out 25th October. The band formation includes Evans on trumpet, Petter Eldh (Koma Saxo / Post Koma) on bass and Jim Black on drums. Peter Evans, an acclaimed trumpet player, improvisor, and composer based in New York City presents a gutsy new band that gets right to work with his eight new compositions.

Tensal is the name of Hector Sandoval's solo project (also in Exium, Komatssu, Seleccion Natural...) He started this solo project almost 10 years ago out of a need to express a more cyclical sound based on repetition and hypnosis. His DJ sets explore all facets of techno by alternating different textures and intensities that draw mainly from his own materials, this project has led him to perform in more than 50 countries around the world.
Tempio Omega 01 is a 4-track EP exploring this unique deep and hypnotizing travel in the style of Tensal, built through different sound textures on a 100% techno attitude.

Das Berliner Projekt Sprung Aus Den Wolken gehörte Anfang der 1980er Jahre zusammen mit den Einstrüzenden Neubauten und Mechanik Destrktiw Komandh zur Bewegung der "Genialen Dilletanten". Die Band veröffentlichte 1981 zunächst eine EP auf ZickZack, gefolgt von 1982 und 1983 folgten weitere Veröffentlichungen auf dem bandeigenen Label Faux Pas, dann auf dem französischen Vertrieb Les Disques Du Soleil Et De L"Acier bis 1991. Der Titel "Pas Attendre" war Teil des Soundtracks von Wim Wenders Film "Der Himmel über Berlin" und wurde so zu einem Underground-Hit. Bureau B freut sich, die Debüt-EP unter dem Titel "1981 West Berlin" mit weiteren Songs aus den Anfangstagen der Band wieder zu veröffentlichen, die sorgfältig von den Original-Kassetten remastert wurden.

Brausepöter (Martin Lück: Gesang, Gitarre, Synthi und Bernd Hanhardt: Bass, Kemper: Drums, bestehen bis heute in dieser Besetzung!) gründeten sich 1978 in Ostwestfalen und hießen ursprünglich Nordwestdeutsches Eiterlager, kurz NWE. Genialer Name, aber Brausepöter ist auch nicht schlecht! Sie sind somit eine der ersten deutschen Punkbands und zwar Punk im eigentlichen Sinne oder wie es im US-Amerikanischen Fanzine Maximum Rocknroll hieß: "It"s indie punk in the purest John Peel sense" bzw. wie es Martin Lück ausdrückte "Wir wollten immer den ganzen Rock aus unserer Musik rausnehmen". 2019 veröffentlichten Brausepöter ihr letztes reguläres Album "Nerven geschädigt". Das Punk- Zine FAZ überschrieb ihre Rezension mit "Die neue Brausepöter-Platte zeigt, was Punk heute heißt". Für sie ist Brausepöter "eine deutsche Band, die leider zu gut war, um so berühmt zu werden wie Trio oder Die Toten Hosen. Auch Spiegel Online fand "Nerven geschädigt" gut: "In ihrem radikalen Desinteresse an allem, was gerade so geht und erfolgversprechend wäre, wirkt die Musik von Brausepöter heute sogar um einiges konsequenter als damals." Nun erscheint das verlorene 1979er Album "Keiner kann uns ab" Ursprünglich sollte die Platte, "79 mit einem Kassettenrecorder aufgenommen, bei ZickZack erscheinen, aber daraus wurde nichts. Ging das Tape auf dem Postweg verloren? Waren die Aufnahmen zu gut? Oder selbst für ZickZack zu radikal? Wir wissen es nicht. Wäre "Keiner kann uns ab" damals tatsächlich erschienen, wer weiß, vielleicht würde man das Album heute in einem Atemzug mit "Monarchie und Alltag", "Amok Koma" oder dem Debüt von Slime nennen. Vielleicht aber auch nicht, denn der Brausepöter-Sound ist zu eigen, zu baufällig, zu DIY - näher an den TVPs, näher an The Fall oder näher an den frühen Mekons als an den ganzen Punk Rock-Bands. Brausepöter sind eben "indie punk in the purest John Peel sense".

Malian and French pair Siraba unveil their much-anticipated self-titled debut LP on Damian Lazarus’ Secret Teachings label, a 10-track odyssey fusing Mali’s rich musical traditions with cutting-edge electronic music.

Malian hunter Boubacar Samake and Damien Vandesande, one half of the French electronic band dOP, have won plenty of plaudits for the early singles taken from their debut album as duo Siraba. Those singles, spanning across the summer months, have found the pair bring the traditional sound of the Wassoulou - a river valley of West Africa - to the electronic world after 20 years of friendship. The music comes with an important underlying message of love and respect and results in spellbinding tracks that move heart, body and soul, finding a perfect home on Secret Teachings - a left-of-centre alternative label to Lazarus’ celebrated and often more club- focused Crosstown Rebels. With the arrival of the full album, the pair exhibit and showcase the emotional breadth and depth of their music, with detailed explorations of organic textures and native sounds merged with future-focused ideas and concepts.

The title track opens with an atmospheric mix of spoken words and spine-tingling chords that bring rich Afro flavours, while ‘Dounoiia’ is a languid groove made from hand drums and pixelated synth leads that cast a fine spell. The slow-blooming ‘Bani’ brings rich Malian blues and melancholic horns, while ‘Komafly’ is a rich mix of acoustic strings and broken beats that transports you to a hot and dusty landscape. A vital component of the sounds of the Wassoulou, the indigenous stringed instrument the Ngoni features again on the rousing ‘Nanse’ as spiritual vocals sung in Bambara rouse the soul.

‘Djandjo’ is another rich infusion of Malian culture with simmering electronics to make for something both ancient sounding yet futuristic, and the hypnotic ‘Ngana Fôlly’ with its rich bass is a song ‘dedicated to those who fight for the well-being of their families, for unity... a song for the people who also fight a great disease, between life and death’. The sublime ‘Toro’ is a wavy groove perfect for sundown - a deep and inviting sound rich in soulful vocals and dreamy melodies, while ‘Tolonawoulile’ is driven by the intense strumming of the Ngoni with busy hand claps and hurried drums and last of all ‘Fo Te Mokobana’ sinks into a heart-warming slow groove with sweeping strings and Malian percussion all overlaid with impassioned vocals.

A rich listening experience, Siraba’s debut album is an immersive journey and absorbing dive into the minds of two artists breaking new grounds while spotlighting native traditions and musical techniques spanning hundreds of years.

Broc Recordz is proud to announce the album "Puzzled" by the legendary JJ Whitefield, you'll immerse yourself in the enigmatic universe of this master of funk and psychedelism.

Across 13 tracks, you will discover all facets of this musician hailing from Munich, ranging from raw funk to krautrock. JJ Whitefield is an iconic figure in the music scene, having played an essential role in diverse projects such as the mastermind behind Poets Of Rhythm, Karl Hector, The Whitefield Brothers and his essential role in the recent careers of Ebo Taylor, embryo and witch“. "Puzzled" is the perfect opportunity to delve into his unique musical world.

blue + red marbled vinyl

"He spoke to the sand. It explained to him that the wind could take him and carry him across the desert and then he could become a stream again. He asked if he would then remain the same as before? The sand answered him that this was not possible, because his essence would be carried away and would again form a stream. He would be called what he is even today, because he did not know which part in him was the essential one."
- Lazarus

With this release TAL delves deep into the very beginnings of Düsseldorf's post punk scene of the early 1980s. STUMM was the duo of Detlef Funder and Bernd Sevens who both would become pivotal figures in the tape underground movement of West-Germany, when they launched the SDV label in 1986. Individually they went on to produce boundary defying works as Konrad Kraft and Seventh Day respectively.

The material on this album was recorded by Funder and Sevens quite casually in 1980 in a rehearsal studio in the centre of Düsseldorf. Right from the beginning the two young musicians incorporated the atmosphere of the space in order to document the process of their sound experiments on a 4-track tape machine. For those recording sessions, which are now released for the first time ever on vinyl and download, Funder and Sevens managed to get their hands on a very rudimentary set of equipment consisting of merely a Korg MS 20 synth, a Roland CR 78 drum machine, a few electronic effects and a drum kit. The urgent and rough sound of the recordings imbues their production with a characteristic and era-specific edge that's hard to imitate today. Spontaneity and understatement were key elements in the brief creative period of STUMM. The recordings still have a uniquely dizzying quality and are somewhat of a basic blueprint for a lot of industrial/techno and post punk which was about to loom in all corners of the world. These tracks are also a testament to the vivid spark of a period in time that would soon be radically changed through the rise of digital technology.

Bernd Sevens: “Around 1980 there was a great musical awakening. Punk, New Wave, Industrial and of course Dub Reggae -- the electronic music blew us away. Everything we heard influenced us. Back then, cassette tapes were cheap and easily available. We could record our ideas on the spot and then copy and distribute the tapes. That's how it started. Giving it a go, experimenting, trial and error. The music you hear on the record was spontaneous and had no concept. Our collaboration was also not intended to be a permanent project. You could say we were dilettantes setting out on our journey, making it up as we went along. It felt like a beginning.”

Red Vinyl

The Cinematic Orchestra haben anlässlich des 20-jährigen Jubiläums die erste Reissue ihres Klassikers, „Every Day“, angekündigt. Auf 3 LPs auf transparentem rotem Vinyl finden sich die Bonustracks „Oregon“ und „Horizon“ (feat. Niara Scarlett) sowie die beiden bisher unveröffentlichten Tracks „Semblance“ und „Flite“ (Original Version). Die Veröffentlichung enthält ein neues Artwork vom Designer des ursprünglichen Artworks von „Every Day“, Openmind, und eine Klapphülle mit Gilles Petersons Original-Linernotes. Außerdem wird eine Auswahl von bisher unveröffentlichten Fotos auf einer 12“-Karte präsentiert, darunter die Band im Rivoli Ballroom in London (fotografiert von Carl Fox) und J. Swinscoe mit Fontella Bass in der Nähe des Genfer Sees in der Schweiz (von Peter Williams).
In den zwei Jahrzehnten seit der bahnbrechenden Veröffentlichung des Albums ist der Einfluss der Band unüberhörbar geworden; Jazz ist überall um uns herum, mit gefeierten Künstler:innen, von Kamasi Washington über Tau5 und Koma Saxo bis hin zu Sons of Kemet und unzähligen mehr, London, Berlin und L.A. haben in letzter Zeit eine Szene hervorgebracht, die produktiver ist, als irgendjemand erwartet hätte. BADBADNOTGOOD haben Jazz-Soundtracks zu großen Modeschauen geliefert, und Kendrick Lamar hat - über den Rap-Umweg - das Genre an die Spitze der Charts gebracht. Die Art und Weise, wie sich The Cinematic Orchestra über ihre anfänglichen Jazz-Einflüsse hinaus zu einer Art transzendentaler Orchestrierung entwickelt hat, kombiniert mit der zeitgenössischen eleganten Elektronik, die heute von Künstler:innen wie Ólafur Arnalds und Floating Points verwendet wird - Künstler:innen, denen sie geholfen haben, den Weg zu ebnen - begann mit der Veröffentlichung von „Every Day“ wirklich Früchte zu tragen. Auf den sieben makellosen, schwebenden Tracks nimmt die Gruppe (angeführt von Gründungsmitglied J. Swinscoe und seinem langjährigen musikalischen Mitarbeiter Dominic Smith) die Hörer mit auf eine Reise durch klassischen Soul, Jazz, Chorsätze, versinkenden Horn-Riffs, pochenden Harfen-Linien, Minimalismus und vieles mehr - mit einer Seele, die tiefer als der Ozean ist. Und mit Gästen vom Kaliber eines Fontella Bass (Autor und Interpret des 60er-Jahre-Soul-Meisterwerks, „Rescue Me“ und Mitglied der Free-Jazz-Abtrünnigen, Art Ensemble of Chicago) und der britischen Rap-Legende Roots Manuva (dessen hochfliegender, philosophischer Beitrag zu „All Things To All Men“ ein absoluter Fan-Favorit ist) weiß man, dass man sich auf etwas Besonderes freuen darf. Pitchfork stimmte dem seinerzeit zu und bewertete das Album bei Veröffentlichung mit 8,6 von möglichen 10 Punkten.

Format: Limitierte rot-transparente Vinyl im Gatefold Sleeve mit vier Bonus Tracks von welchen einige bisher nicht auf Vinyl erhältlich waren inklusive 12” Fotokarte und Downloadcode

Everything began with a chat between Systematic label head Marc Romboy and his long time friend Paolo aka Dusty Kid. During the pandemic times they reminisced about the most exciting period of techno music, the beginning of the 90s and exchanged tracks which have blown them away. They listened to tracks on labels like R&S, Plus 8, Industrial Strength and all over sudden they came to the idea to create a concept where Dusty Kid would put his hands on four of his most favorite tracks from 1992 and 1993. The result is this Various Artists track album including new interpretations of four classic tracks which changed their lifes and were, have been and still are iconic. Check every single track and jump into a time machine which transfers you to the early 90s and the future at the same time

Originally released on cassette in the winter of 1984, together with the 7th issue of Komakino fanzine - included here in its original format. 8 groups and 14 tracks revealing the whole meaning of the Afterglow operation. Bands who already had record deals and enjoyed some popularity, others that will do so shortly, others that will fade in the mists of that decade. “Afterglow” is a document from an era when small gestures and uncomfortable choices were true stances.

Originally released on cassette in the spring of 1985, together with the 8th issue of Komakino fanzine - included here in its original format. Relatively well- known names coexist with bands that lasted only a season. “Still Life” was and remains a half hour of pure abstraction. An intense and precious post-punk overdose!

Auf Platte #6 "Asozialdarwinismus" suchen Chefdenker Antworten auf Fragen wie: Wer hat nach Bon Scott und Brian Johnson eigentlich die drittdicksten Eier? Ist eine künstliche Intelligenz intelligenter als Werbeagenturhipster? Es geht um Brokeback Mountain in einer Jagdhütte am Wolfgangsee, der Kommissar ermittelt, ein russischer Anwalt plädiert auf Bewährungsstrafe, Jeff Lynne erweist die letzte Ehre, der beste Papa der Welt schießt besoffen Polyvinylchlorid-Einhörner. Woke Beratungsstellen verbreiten die neueste (?) Erkenntnis: Alkohol enthemmt - Bier muß nochmal auf den Prüfstand. Die wichtigste Erkenntnis jedoch: Pferdestärken und Deckhengst - Multitaskinggenie David Coverdale konnte früher beides gleichzeitig. Heute: elektrische / erektile Dysfunktion, Bienen und Blümchen - wenn morgen der Rock'n'Roll untergeht - Samenspender David spendiert nochmal großzügig einen Apfelbaum. Chefdenker unterlegen das Ganze mit dem Komapatienten Rock'n'Roll. Sollen doch andere Sterbehilfe leisten!

Auf Platte #6 "Asozialdarwinismus" suchen Chefdenker Antworten auf Fragen wie: Wer hat nach Bon Scott und Brian Johnson eigentlich die drittdicksten Eier? Ist eine künstliche Intelligenz intelligenter als Werbeagenturhipster? Es geht um Brokeback Mountain in einer Jagdhütte am Wolfgangsee, der Kommissar ermittelt, ein russischer Anwalt plädiert auf Bewährungsstrafe, Jeff Lynne erweist die letzte Ehre, der beste Papa der Welt schießt besoffen Polyvinylchlorid-Einhörner. Woke Beratungsstellen verbreiten die neueste (?) Erkenntnis: Alkohol enthemmt - Bier muß nochmal auf den Prüfstand. Die wichtigste Erkenntnis jedoch: Pferdestärken und Deckhengst - Multitaskinggenie David Coverdale konnte früher beides gleichzeitig. Heute: elektrische / erektile Dysfunktion, Bienen und Blümchen - wenn morgen der Rock'n'Roll untergeht - Samenspender David spendiert nochmal großzügig einen Apfelbaum. Chefdenker unterlegen das Ganze mit dem Komapatienten Rock'n'Roll. Sollen doch andere Sterbehilfe leisten!

“Let me fly you home. We can talk on the way”

Thorn Valley is a 20 song assemblage of various transmissions from the ever diffuse and widening DIY underground, released to mark the four year anniversary of World of Echo. The river ever bends, the valley ever deepens.

Available as a gatefold double LP pressed in an edition of 500. Artwork by Matthew Walkerdine

Der Soundtrack zur erfolgreichen BBC-Fernsehserie ‚Around The World In 80 Days‘, komponiert vom legendären Filmkomponisten Hans Zimmer, dem Komponisten von ‚Bleeding Fingers‘, Christian Lundberg, und dem Produzenten Russell Emanuel. David Tennant spielt den unwahrscheinlichen Weltenbummler Phileas Fogg, der sich auf den Weg macht, in 80 Tagen um die Welt und wieder zurück zu reisen. Zusammen mit seinen Begleitern Abigail Fix (gespielt von Leonie Benesch) und Passepartout (gespielt von Ibrahim
Koma) versuchen sie das fast unmögliche Unterfangen, den Globus in 80 Tagen zu umrunden.

2x LTD CLEAR VINYL
Limitiertes, durchsichtiges Doppelvinyl inklusive Downloadcode!

Grammygewinner RAC veröffentlicht sein lang erwartetes neues Album auf Counter Records!

Aufgenommen in Anjos' Heimstudio in Portland und bei Sessions in L.A., finden sich auf RAC's neuem Album Kollaborationen mit u.a. Rivers Cuomo von Weezer, Vampire Weekends Rostam, MNDR, ST. Lucia, KNA und Joywave. - EGO ist Anjos ambitioniertestes, geschlossenstes und persönlichstes Werk und zeigt deutlich seine organische Weiterentwicklung als Künstler auf. Geboren und aufgewachsen in Portugal, lernte Anjos in seiner Jugend Klavier und Gitarre und spielte in lokalen Bands. Später zog er in die USA, um Musikbusiness am Greenville College in Illinois zu studieren, bevor er sich in Portland, Oregon, niederließ. Anjos gründete RAC im Schlafzimmer seines Studentenwohnheims und gewann fortan ein stetig wachsendes Publikum für sich, wodurch offizielle Remix-Aufträge für u.a. Lana del Rey, Yeah Yeah Yeahs, Ellie Goulding, Foster The People, Phoenix, Imagine Dragons, Two Door Cinema Club und The Shins enstanden. Seine erste Grammy-Nominierung erhielt Anjos schon 2016 für seinen Remix von ODESZAs - Say My Name und bei den diesjährigen Verleihungen gewann er mit seinem Remix für Bob Moses' - Tearing Me Up .

Mit seinem ersten Song, - Hollywood , begann RAC 2012 eigenes Material zu veröffentlichen und unterstrich mit seinem Debütalbum - Strangers von 2014 seinen Qualitäten als Songwriter. Darauf enthalten waren die Singles - Let Go mit Kele von Bloc Party und MNDR sowie - Cheap Sunglasses mit Matthew Koma. Außerdem absolvierte er bereits gefeierte Auftritte auf den weltbekannten Festivals Coachella, Electric Zoo und Lollapalooza.

180g vinyl pressing.

During the late 2010s, music lovers around the world began obsessively listening to increasingly esoteric albums on Youtube. More often than not, they’d leave the browser on autoplay. This was how Facundo Arena, the composer and producer behind The Kyoto Connection, discovered the technonaturalistic pleasures of Kankyō Ongaku (environmental music), a distinctly Japanese interpretation of European, British and American minimalist composition and ambient music. “It was a kind of algorithmic magic,” he says.

Upload by upload, the utopian music of Hiroshi Yoshimura and his 80s Japanese contemporaries transported Facundo back to his childhood. When he was five, his father placed him in karate lessons and began watching martial arts movies with him. From those early experiences, Facundo became fascinated Japanese history, tradition, and culture, particularly that of Kyoto - the cultural capital of Japan. Kankyō Ongaku reminded him of hearing the sounds of Japanese folkloric instruments as a young boy, and suddenly, the way the influence of Japan had manifested in his music made sense. “I had the sensation that for many years, I’d been doing something similar to the style,” he explains.

Inspired, Facundo used an iPad and an old Akai cassette deck to record Postcards, his homage to Japanese minimalism and Kankyō Ongaku. By this stage, he was twelve years deep with The Kyoto Connection, the musical project he launched in 2005 in his hometown of Buenos Aires, Argentina. Over that late 2000s and 2010s, Facundo, later on joined by collaborators Rodrigo Trado (drums), Jesica Rubino (violin) and Marian Benitez (vocals, now his wife), released numerous D.I.Y albums. Project by project, they followed the threads between 80s synth-pop, ambient, new age, house, techno and acoustic composition.

Postcards introduced The Kyoto Connection to listeners around the world and brought Facundo into our orbit. During Argentina’s covid lockdown, Facundo received a set of soundscapes recorded in Kyoto by the Japanese musician and sound designer Masafumi Komatsu. Over several insular months, he decorated them with synthesisers, samples and subtle rhythms, creating The Kyoto Connection’s next album, The Flower, The Bird and the Mountain to be released via Isle Of Jura offshoot Temples Of Jura.

Ostensibly made up of twelve distinct tracks, listening to The Flower, The Bird and the Mountain feels more akin to spending calm, meditative time in twelve specific environments. Although the foundations they rest on are recordings made in geographic locations around Kyoto, Facundo has yet to visit Japan. As a result, the landscapes he paints sit somewhere between fiction and fact, richly pictorial sonic imagination juxtaposed with echoes of reality. Regardless, as his bubbling melodies and glistening synthesisers glide against Masafumi Komatsu's recordings, Facundo guides us into a blissful zone of tranquillity well worth spending time within.

full colour sleeve / clear light-green vinyl
Number 3 of the Tensal limited series is here, and it is signed by Komatssu, who delivers an album with a special artistic design for this occasion.

An exercise in sound eclecticism between spatial techno and the most melodic environments, rugged breaks and beautiful atmospheres in this new and surprising work.

A fantastic compilation of the great Salum Abdallah and Cuban Marimba Band. 12 perfect songs from the stars of the early 60s "muziki wa dansi" (dance music) scene in Tanzania, mixing local music styles with Cuban son, cha cha, and twist. One of the greatest music scenes anywhere, ever, which has been criminally underrepresented in this era of apparently inexhaustable reissues - finally a stellar compilation dedicated to it! Shimmering guitars and driving rumba basslines, horns weaving counterpoint harmonies through the air, irresistible percussion locking it all in, and the heartwarming voice of Salum Abdallah. Music that just feels GOOD. The LP comes in an old style tip-on jacket, with a printed inner sleeve featuring lyrics in Swahili and English.

Emboss Star is the new album by Kochi-born, Kyoto-based artist Kazumichi Komatsu, the first to be released under his own name following a prolific run of material as Madegg.
Informed by a range of earlier work including EPs, installation works, video works, as well as live appearances at fashion shows, parties & raves, the material collected on 'Emboss Star' has been prepared and refined over the past four years, its final collation described as like arranging the pieces on a chess board; every piece strategically placed.
In its entirety Emboss Star is intended to emphasize the fundamental aspects of sound, and its relation to the material processes of playback; the grain of a rough recording, the jump and skip of a needle, the backwards gargle of a rewind. Individual parts shift suddenly, mirroring the abrupt transitions of everyday life. In this Komatsu attempts to reconfigure our response to sound, and the associations it often evokes; to reconsider the exchange of information and image, to alter perceptions.
Inviting a state of subconscious reverie – a mood often linked with ambient music but rarely matched as it is here – Komatsu adds an element of resistance to Emboss Star, as if depicting the tranquility of a dream, as well as its inevitable disturbance.
With creativity now compressed into a form of contemporary communication often ruled by vanity, redundant hashtags and tiresome jargon, Komatsu navigates the noise, recognizing technological ennui yet finding beauty, folklore & imaginative possibility.

Emboss Star is a collection of folk songs for lost connections. A vivid form of refuge.
3 vinyl only bonus track included. Mastered by Sean McCann.
The artwork for Emboss Star depicts an object created by Kazumichi Komatsu using 3D printing.












l 12: Umi Ga Kikoeru (Extremely Raw Version) [feat. Dove & Le Makeup]

Bygone, a 5 track exhilaration scripted by Chontane, immerses dancefloor devoted tracks in a rhythm driven yet melodic display. While intertwining wide-angle atmospherics and razor-sharp percussion, Chontane is able to make a reflection on today’s multifaceted, ever-evolving techno sound.

Episode 4 of the Baroque Sunburst saga features Belgrade Ambassador Zarko Komar - aka Feloneezy - whose personal and intimate Uptempo production-style has previously found a home on Hyperdub.

"Axis to Axis" is a four-tracker that goes hard on resampling, blending Jungle and Juke with field recordings. The EP captures us in a hypnotic psychedelia, lubricated by moments of Dub and Jazz, with the unexpected fragments of vocals interrupting to drag the listener back to Earth.

Traditional village music transformed into fiery and frenetic underground Hip Hop. Emerging from the digital cultural renaissance of the early 2000s, where DIY studios sprung up throughout West Africa, "Patriote" is a shining example of localized global music. Hypnotic and driving rhythms built from sampled percussion and chopped-up instruments combine with syncopated staccato "ragga" inspired flow into infectious hammering tracks that sound like nothing before. Mamaki Boys was formed in 2002 by Aziz Tony, Bachou Issouf, and Salif André, when a local Hip Hop movement was exploding in the capital of Niger. "Patriote" was recorded to address a trend in the scene they perceived as too derivative. Produced at Studio BAT, one of the first studios in Niamey, Mamaki Boys sought to merge modern Hip Hop with traditional music. They invited elder musicians into the studio to play Nigerien instruments like duma and kalango, which were sampled and looped over their compositions. "We wanted to put tradition in the rap, ancestral dances, the things that our grandparents did in the village," Aziz explains. "Our mission was to re-value the culture, put it into Hip Hop, and to show all the colors of our country." Self-describing their music as "tradi-moderne", a Nigerien movement of folk revitalization, their cultural manifesto presents through every aspect of their work. Each track relies heavily on traditional instruments, and each rhythm is based on a dance from Niger. Their mission extends to the urgency of their lyrics: Takai challenges the population to preserve their culture, Kagani Kagani is a demand to take back mineral, oil, and uranium rights from their colonizers, while Komando uses war cries to inspire artists to keep speaking out. A strong entry in 21st-century global music, Mamaki Boys "Patriote" takes back the tools of globalization, repurposing them in the fight for cultural identity. Originally self-released in 2009 on limited edition CDR in Niger.

This is the very first original soundtrack of our new Japanese Anime Collection!

MEGALOBOX is the tribute animation to the legendary Ashita no Joe, produced by TMS Entertainment and broadcasted worldwide since 2018 with a dazzling success.

MEGALOBOX Original Soundtrack is produced by mabanua (Manabu Yamaguchi) and features several renowned artists such as DJ TAKU, KOMA-CHI or Michael Kaneko. It was acclaimed by the critics for its unforgettable rhythm and melodies, inspired by a broad variety of genres such as hip hop, black music and rap.

This soundtrack is now entirely remastered for the sumptuous vinyl format!

The Megalobox Vinyl Edition features:

- The illustrated gatefold with Joe and Yuri

- 2xLP black color, housed in two illustrated sleeves

- A 12-page booklet with comments from the composer and the team (Yo Moriyama, Keiichirô Miyoshi) and the English translated lyrics from the songs

Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a selection of songs from across the country.

Compiled by Vik Sohonie & Dave 'Mr Bongo’ Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world; legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge; Florent Mazzoleni. Florent has written the definitive book about Malian music – 'Musiques modernes et traditionnelles du Mali’. He proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.

On this album you will find well-known artists sitting next to rarer discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focusing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L’Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.

This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.

The second 7" box set from We Jazz Records, including five 7" releases from 2019-2020 (WJ0706-WJ0710) and including a sheet with release info plus a We Jazz sticker. Features Timo Lassy & Teppo Mäkynen, The Stance Brothers, Koma Saxo and Oaagaada.

Welcome to the curious world of Peter Graf York: a world full of city centre safaris and epic train journeys, Soviet cosmonauts and Oakland rappers, filtered synths and plucked mbiras. It's a wild ride inspired as much by Jamaican dub sorcery as by playful minimalism outta the Pacific Northwest.

Many of these tracks were composed on the hoof - literally en route across sections of the ever-reliable Deutsche Bahn network. As such, there’s a certain travellin-without-moving dynamic across this collection, capturing that cinematic feel of window frames flickering past graffiti'd signal exchanges, morphing into rolling hills and green forests. Expedition Bahn is the sound of ideas being set in motion, each track heralding the arrival of an uncanny destination. Blazed beats give way to acid-fuelled electro, and dub rhythms step aside for 4th world meditations as readily as sleepers on a train track.

We can leave the last word to heroic USSR cosmonaut Vladimir Komarov, who spent the final moments of his fateful re-entry giving the administration an earful of righteous proportions (regarding the technical failures of the spacecraft). Taking his place as the first martyr of space travel, Komarov accepted the Soyuz mission despite safety concerns, in order to protect the other cosmonauts. It's an attitude that echoes throughout PGY’s sonic universe - make the most of the trip you're on... ‘cause you never know just which way it will go.

Gear used: Tascam MIDISTUDIO 644, MPC1000, Roland JX-3P, MODE MACHINES DT200, Electro-Harmonix MEMORY BOY analog delay, Nord Drum 3P, MacBook Pro, Logic Pro 9

Berlin-based Swedish saxophonist Otis Sandsjö returns with the eagerly-awaited sequel to "Y-OTIS". On "Y-OTIS 2", released by Helsinki's We Jazz Records on July 24, Sandsjö and his close associate, bassist/producer Petter Eldh (of Koma Saxo), deepen their vision of genre-bending, forward-looking "liquid jazz" of tomorrow. The core group also includes Dan Nicholls on keys and Tilo Weber on drums, and also featured on the album are Swedish jazz greats Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, cellist Lucy Railton and trumpeter Ruhi-Deniz Erdogan.

Diving deeper into "Y-OTIS 2", you'll find details and ideas galore. The album is an inviting and inspiring audio mosaic, which links back into the previous Sandsjö/Eldh collaborations, namely "Y-OTIS" and "Koma Saxo". The result is a balanced album which quenches your thirst while making you more thirsty in the process. In other words, the many micro moods and sonic levels herein invite repeated listening, while the underlying rhythmic approach is informed as much by hip hop and electronica as by jazz, making the music approachable in a very natural way.

It seems unnecessary to pull the album apart by name-checking individual tracks but just for the sake of easy introduction, the single cuts "tremendoce", "ity bity" and "abysmal" offer one idea of signposts along which to navigate. "tremendoce" brings in Swedish jazz great Jonas Kullhammar (of Koma Saxo) and Per "Texas" Johansson, introducing an infectious flute loop integrating into the Y-OTIS sound, making it organic to the bone. "ity bity" could be built on a new wave synth sample (but it's not) and "abysmal" brings more serene, even ambient-sounding sonic pathways onto the map. It all belongs together, and makes for a sound that is instantly recognisable and constantly fresh. This is "Mauerpark liquid jazz" for the new decade.