Buscar:martin m

DJ Support: Martin Garrix, Don Diablo, Nic Fanciulli, Chris Lake, Claptone, Mark Knight, David Penn, Tini Gessler, Marco Lys

Renowned Curacao-born electronic music duo Shermanology drop a 4 track EP on their own cutting-edge label, D'EAUPE, inc My World, Boys In Da Club, U Got Me and Hijos De La Noche.

Known for their dynamic sound and ability to seamlessly fuse various genres, Shermanology has consistently been at the forefront of the electronic music scene.

Infectious beats and soulful vocals showcase Shermanology's mastery in creating music that transcends genres and brings people together on the dance floor. This release marks a significant milestone for Shermanology as they continue to make waves in the industry with their forward-thinking approach.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche


Kicking things off on our next 4-track vinyl sampler series is Toolroom's very own Martin Ikin who returns to the label with ‘Make U Sweat’! He was the Best-selling Tech House artist on Beatport in 2020 and 2021 and has over 1m monthly listeners across streaming platforms. Recent studio collabs have included Noizu and Joshwa and tours have seen him travel far and wide to the US, Brazil, Bali, Ibiza, Italy, Croatia and of course, his hometown of London. This new record is the follow up to 'Oscill8' that dropped in March 2023 and sits in a similar lane, in that it's pure, unadulterated club weaponry! Next up is Italian house legend Flashmob with the frenetic, high-energy club vibe of new cut ‘My Body’. Flashmob's sound, production and go-for-broke DJ sets have changed with the game, embracing the vitality of new house music rather than hankering after sentimental sunsets. His ethic and aesthetic move relentlessly forward, using the old and new to craft unique sonic alchemy from big festivals like Tomorrowland to the intimacy of small clubs on the international circuit. ‘My Body’ is typical of Flashmob's current sound, combining solid drums and some insane synths and fx, alongside an earworm vocal sample that results in yet another memorable club cut from an established master. Canadian Tech House maestro Nathan Barato debuts on Toolroom kicking off the B-side to the vinyl alongside studio partner, Matheo Velez with 'Weapon'. A record that has already caught the attention of the underground elite with Michael Bibi premiering the track at his first appearance back at DC-10 in Ibiza last Summer. Both artists are enjoying great success across key labels such as Viva, Circus, Snatch and RAWthentic. This is an addictive, bumpy club track

that packs a huge punch on the dance floor and actually features Nathan's very own 'Move me… Rock me' vocals! Rounding things off is UK DJ/producer duo, Jenn Getz & Alfie who are residents at Dubai's #1 nightlife destination, Soho Garden, where they warm up for legends such as Sonny Fodera, MK, Claptone, Solardo & Fisher on a weekly basis. In their relatively short 3 year career they have already released on Solotoko, Abode and Toolroom Trax and now debut on Toolroom with 'Vibration'. Both girls are incredibly passionate about house music and are also big advocates for a life centered around well-being and meditation, and the idea of this record was to combine their 2 passions in life, so they proceeded to co-write these original lyrics to accompany the track, which in itself is very inspiring! This is a super cool club record that will excite fans and DJ's alike, welcome to the Toolroom Family, Jenn Getz & Alfie!

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

The core membership of free jazz act The Trio ensured its output was captivating, comprised as it was of double-bassist Barre Phillips, who had played with Archie Shepp, Chris McGregor, and Gong; saxophonist John Surman, who had played with John McLaughlin, Lester Bowie, and Alexis Korner; and drummer Stu Martin, who had played with Count Basie, Donald Byrd and Herbie Hancock. On the gripping sophomore set Conflagration, guest players include Chick Corea and trumpeter Harry Beckett, ensuring their take on abstract jazz contains melody as well as jarring exchanges. Another great Trio free jazz set!

Dando Shaft’s self-titled sophomore set continued to build on the reputation established by their excellent debut, and now the arrival of female singer Polly Bolton added another textural dimension, as heard most clearly on the soaring ‘Riverboat,’ the absence of drums throughout allowing us to fully appreciate the players’ excellent musicianship, with Martin Jenkins’ masterful mandolin, flute and fiddle drawing the sound to higher realms. As it was issued on RCA’s prog sub-label Neon, which folded soon after its release, the LP is as rare as it is excellent—another must-have for fans of progressive folk and psychedelic folk rock.

Experimental prog act East Of Eden’s daring debut album Mercator Projected was released by Deram in 1969. Former Graham Bond Organisation bassist Steve York and drummer Dave Dufort supply the tough rhythmic backbone on which frontman Geoff Nicholson weaves his edgy guitar, with Dave Arbus’s electric violin supplanting what would normally be played on rhythm guitar, Adrian Martins’ sax and flute completing the picture with central European melodies. Hard rocking, melodically meandering, and including a one-off take of ‘Eight Miles High,’ this is prog with a bold difference. A killer set from start to finish!

Inspired by Muddy Waters and other blues greats, the South London blues-rock band Killing Floor was formed in 1968 with lead singer and harmonica player Bill Thorndycraft, guitarist Mike Clarke, bassist Stuart McDonald, pianist Lou Martin and percussionist Bas Smith. This self-titled debut set, issued by the independent Spark label (and licensed to Sire for US pressings), was produced with care by former DJ John Edward, based on Chicago blues material, as heard on the cover of Willie Dixon’s ‘You Need Love.’ This is the band at their rawest beginnings, a grittier traditional blues set that contrasts with later work for Larry Page.

Jaqee – is rhythm and life ”Places becoming journeys in themselves… Different places where I have lived and learned, places that have made my heart beat, the emotional realms that I have experienced. This is where it all starts, every time. Where I am is where it happens, because I am, there. Here.” She sings. She laughs! And she cries, too. Jaqee cannot tell when music and singing became her life, it has ”just always been there, in my head” she says. Now with the fourth album she has taken a closer look at herself, from every possible angle. No hiding. Different phases, different sides of her personality and musical creativity are all there. All as one. ”I am a diaspora kid, I fell in love with all kinds of music, I let myself embrace it all, because good music, is good music. All the way from Uganda at age 13 to the new home and culture in Sweden, then leaving Sweden as an adult for Berlin – has made me the Jaqee that I am”, says the Ugandan /Swedish artist who also received a Swedish Grammy nomination for her past work. Being on the move is without a doubt an important part of her life. “For me travelling is about being exposed to different perceptions, situations, cultures and extreme emotions, it has always made me grow. How many times have I not thought that: I wouldn’t have experienced this or that, if hadn’t been here. I love that feeling!” Jaqee’s music reflects this constant movement and progress. The album is inspired by places like Berlin, South Africa and Jamaica. The trip to Jamaica resulted in the only collaboration track on “Yes I am” recorded in Kingston with reggae artist Anthony B. Teka, the “Kokoo Girl” and “Yes I am” Producer says: ”This time around, like on the last album, we have worked with our colleagues in different countries. Musicians we love and musicians that are inspiring like Martin Hederos (The Soundtrack of our lives) who arranged the strings on the album. We also had New York drummer Daru Jones of Rusic Records play on some tracks. All these talents enhance the idea and expression that we wanted for “Yes I am”. With the album done, it is again time to hit the road and tour for Jaqee. “Getting out there and meeting the crowd is a high. We laugh, we dance and we get loud together. This is the best part of working with music – having a good time together. Music is a universal language.” On composing music, she admits that this time, more than ever, the words matter. Newly found motherhood has made this album in particular a significant legacy. Every song has a life punctuation of its own she has not limited herself by thinking in genres. Making the tone very straightforward. “The melodies and lyrics are closely intertwined, how I sing a word makes all the difference. Even though I love word play, it has to be very clear. Since I am not educated in reading music, I instead visualize and hear it, it seems to be the way my system works. It is all about rhythm and life, it is “YES I AM“.

1982, Brussels: The former au pair for Rick Wakeman of Yes and two of her teenage friends are at the doorstep of Les Disques Du Crepuscule, ready to cut an album with Gilles Martin. Living on busking wages and next door to Tuxedomoon, their work results in a contemporary bossanova record that would provide a missing link between Antonio Carlos Jobim and Kraftwerk. Camino Del Sol was issued and promptly forgotten, with Isabelle Antena moving toward jazz in Asia and the others returning to France. Twenty years later, it was findable only as a VG+ LP with a sticker price of $4.99. Intrigued by the striking cover's sunlit patio furniture emptiness basking in the south of France, we scooped up Camino Del Sol and grouped the extant Antena recordings from that exceptional period by session. Numero Group's definitive 2LP reissue of the original five-song mini-LP adds the group's first 12" (a cover of Jobim's "Girl From Ipanema," naturally), the Seaside Weekend 12", compilation tracks, and two previously unissued cuts, recasting this short-lived combo's forward-thinking milemarker as a modern-day masterstroke. 2x150g LP in a 2-pocket gatefold tip-on jacket with 2 printed inner sleeves.

Die dreifach Grammy-nominierte Band, Hiatus Kaiyote, veröffentlicht ihr kommendes Album, „Love Heart Cheat Code“ am 28. Juni 2024 auf Brainfeeder.

„Love Heart Cheat Code“ ist eine Momentaufnahme von vier Musiker:innen, die gemeinsam am Rande des Abgrunds tanzen, mit elf verspielten, überschwänglichen Tracks, die Licht ausstrahlen. Doch für eine Band, die sich mit ihrer Komplexität einen Namen gemacht hat und für ihren Maximalismus von der Kritik gelobt und mehrfach für den Grammy nominiert wurde, ist eines der auffälligsten Dinge an „Love Heart Cheat Code“ seine Einfachheit. Die Richtung, in die sich die Band auf dem kommenden Album bewegt, wird nicht immer auf direktem Wege erreicht, sondern eher durch Nachdenken und Abdriften: in Jam-Sessions, die bis spät in die Nacht und früh am Morgen dauern, bei gemeinsamen Mahlzeiten, beim Herumspielen mit dem Equipment und miteinander. Auf dem Album sind auch andere Musiker:innen aus Melbourne zu hören, wie Taylor „Chip“ Crawford, der ein von ihm selbst erfundenes Instrument namens Frello spielt, der Gitarrist Tom Martin und der Flötist Nikodemos, sowie ein weiterer, noch nie dagewesener kreativer Kopf: Mario Caldato, dessen Arbeit mit den Beastie Boys und Seu Jorge Stoff für Legenden ist.

Die dreifach Grammy-nominierte Band, Hiatus Kaiyote, veröffentlicht ihr kommendes Album, „Love Heart Cheat Code“ am 28. Juni 2024 auf Brainfeeder.

„Love Heart Cheat Code“ ist eine Momentaufnahme von vier Musiker:innen, die gemeinsam am Rande des Abgrunds tanzen, mit elf verspielten, überschwänglichen Tracks, die Licht ausstrahlen. Doch für eine Band, die sich mit ihrer Komplexität einen Namen gemacht hat und für ihren Maximalismus von der Kritik gelobt und mehrfach für den Grammy nominiert wurde, ist eines der auffälligsten Dinge an „Love Heart Cheat Code“ seine Einfachheit. Die Richtung, in die sich die Band auf dem kommenden Album bewegt, wird nicht immer auf direktem Wege erreicht, sondern eher durch Nachdenken und Abdriften: in Jam-Sessions, die bis spät in die Nacht und früh am Morgen dauern, bei gemeinsamen Mahlzeiten, beim Herumspielen mit dem Equipment und miteinander. Auf dem Album sind auch andere Musiker:innen aus Melbourne zu hören, wie Taylor „Chip“ Crawford, der ein von ihm selbst erfundenes Instrument namens Frello spielt, der Gitarrist Tom Martin und der Flötist Nikodemos, sowie ein weiterer, noch nie dagewesener kreativer Kopf: Mario Caldato, dessen Arbeit mit den Beastie Boys und Seu Jorge Stoff für Legenden ist.

Die dreifach Grammy-nominierte Band, Hiatus Kaiyote, veröffentlicht ihr kommendes Album, „Love Heart Cheat Code“ am 28. Juni 2024 auf Brainfeeder.

„Love Heart Cheat Code“ ist eine Momentaufnahme von vier Musiker:innen, die gemeinsam am Rande des Abgrunds tanzen, mit elf verspielten, überschwänglichen Tracks, die Licht ausstrahlen. Doch für eine Band, die sich mit ihrer Komplexität einen Namen gemacht hat und für ihren Maximalismus von der Kritik gelobt und mehrfach für den Grammy nominiert wurde, ist eines der auffälligsten Dinge an „Love Heart Cheat Code“ seine Einfachheit. Die Richtung, in die sich die Band auf dem kommenden Album bewegt, wird nicht immer auf direktem Wege erreicht, sondern eher durch Nachdenken und Abdriften: in Jam-Sessions, die bis spät in die Nacht und früh am Morgen dauern, bei gemeinsamen Mahlzeiten, beim Herumspielen mit dem Equipment und miteinander. Auf dem Album sind auch andere Musiker:innen aus Melbourne zu hören, wie Taylor „Chip“ Crawford, der ein von ihm selbst erfundenes Instrument namens Frello spielt, der Gitarrist Tom Martin und der Flötist Nikodemos, sowie ein weiterer, noch nie dagewesener kreativer Kopf: Mario Caldato, dessen Arbeit mit den Beastie Boys und Seu Jorge Stoff für Legenden ist.

Ende 2022 unterzeichneten ALTAR OF OBLIVION einen Deal mit From the Vaults und veröffentlichten im letzten Jahr die "Burning Memories"-EP, die als Appetizer für ihr kommendes viertes Album diente. Aber NICHTS konnte vorhersehen, was kommen würde. "In The Cesspit Of Divine Decay", das neue Album der dänischen Epic-Doomer, ist ein Konzeptwerk, das auf dem Tagebuch von Gitarrist Martin Meyer Sparvaths Urgroßvater mütterlicherseits, Jesper Wilhem Meyer, basiert, der während des Ersten Weltkriegs (1914-1918) widerwillig für das Deutsche Reich kämpfte.

Die Vorbereitungen für dieses akustische Unterfangen begannen 2005, als die Band eine Demoversion dessen aufnahm, was sich Jahre später in das jetzt fertiggestellte Album verwandeln sollte, das ursprünglich das Debütalbum der frühen Duo-Inkarnation der Band sein sollte. Dieses Album enthält einige der ersten Kreationen der Band, und in vielerlei Hinsicht kann es als eine Art Altar Of Oblivion-Prototyp betrachtet werden, der ihr düsterstes und traditionellstes episches Doom-Werk hervorbringt und ausspuckt. Während und seit der Pandemie waren Altar Of Oblivion im Aufnahmemodus
und haben sowohl neues als auch altes Material fertiggestellt, darunter zwei Alben, zwei EPs und ein Akustikalbum, was der Band eine wohlverdiente Studiopause ermöglicht, um sich von nun an auf Live-Shows zu konzentrieren. Für 2024 sind bereits einige Auftritte bestätigt, und das Kollektiv freut sich nun darauf, wieder auf die Bühne zu gehen, schwerer, älter und stärker als je zuvor. Die Zeit wird zeigen, ob Live-Auftritte die richtige Kur für einen schweren Fall von verfärbter Studio-Bräune sind.

Bassist, bandleader and composer Orlando le Fleming continues to make music that crosses genres as readily as he crosses the Atlantic - after 20 years in New York City, he"s back in his native UK, forging new pathways and renewing old partnerships. His love for the acoustic tradition continues unabated alongside his deep affection for the robust, muscular electric fusion that emerged in the 1980s. Old London friends Tom Cawley (piano/keys) and James Maddren (drums) completed the rhythm section: new acquaintance Nathaniel Facey was picked from the ranks of the UK"s brightest young saxophone players: NYC stalwart Philip Dizack flew in from the US to play trumpet. Orlando"s old schoolfriend Chris Martin contributes a starkly sincere vocal performance, singing words from a poem by Persian poet Rumi, in unison with Orlando"s daughter Nadia.

" Brand new vinyl reissue to celebrate the 40the anniversary of zouk pioneers Kassav’ .

Who hasn’t retained at least one memory of the group Kassav’ from their youth? For whether in concert, or onthe radio or TV, the image of Kassav’ remains vivid inthe minds of listeners and spectators.

The group,founded in 1979 by Jacob Desvarieux, Georges andPierre-Edouard Décimus, has become legendary, putting Guadeloupe and Martinique on the musicalmap of the world. Touring the world with zouk, amusical movement introduced and popularized by Kassav’, their albums have repeatedly been rewarded with both gold and platinum discs .A victim of Covid in 2021, the loss of Jacob Desvarieux leaves a huge void. The mix of Jacob Des varieux and George Decimus with Jocelyne Béroard, Jean-Philippe Marthély, Patrick Saint-Éloi and Jean-Claude Naimro has played soldout concerts in 82 countries. With texts recounting reallife in the Caribbean world their lively music draws on the rhythms of Guadeloupe’s gwo-ka and Martinique’sti-bwa. Transcending the well-defined codes of Caribbean music, they have turned the 1980s and all the succeeding decades into a fabulous ballroom.

They have been welcomed in Japan and the USSR, where they became the first group of black musicians to tour. Forty years after the group’s creation, their timeless hits continue to resonate. "

As the years go by, the ranks of Degiheugi's fans continue to swell: each time a new solid-gold disc is added to their already impressive discography, the result is a unique and impressive work in the French beatmaking landscape.

Endless smile, the sixth instalment, once again proves to be a great vintage, immediately limpid, but above all long in the mouth, charged with intense melodic persistence and loops that take the ear hostage.

And what a variety of aromas in the art of sampling: languorous strings, oriental flutes, bouncy brass, exotic percussion, intimate piano, samples of antediluvian blues or forgotten French chanson. This Grand Ouest varietal finds its perfect balance in a classic, timeless hip-hop spirit that runs like a red thread throughout the album.

When other beatmakers give in too quickly to the sirens of the dancefloor, Degiheugi always transports us back to his first hip-hop loves, for the pure pleasure of the “beautiful loop”. And he knows how to surround himself with the right people: his guests, whether faithful compatriots (Ghostown, Andrre, Astrid Van Peetersen) or newcomers (Ceschi, Josh Martinez), join in the party with high-flying featurings. The album title sounds like a prophecy: smile eternally as you listen to Degiheugi.

*Jamaican artist Peter ‘Roots’ Lewis recorded various tracks with his brother Paul Lewis, for Lee Perry in the mid 1970’s at Black Ark studio JA, most notable track: ‘Ethiopian Land’. Here he features on an observational Roots Vocal track. The tracks date from the late 90’s and have previously been released on vinyl, now deleted. Alternate versions of the tracks can be found on the ISR Rootspective CD album, (IRONCD 05). Also available: 7” Peter Roots Lewis-It’s A Roadblock / Alien Dread–Dub Vs ((IRON 010-07).

The tracks have been re-mixed by Alien Dread and the B side features a different Dub Version. Rhythm is by the Hi-Tech Roots Dynamics, courtesy of Martin Campbell (Channel One Uk).

Four years after releasing their debut record, Indus are back in 2024 with Negra, their second album. This record explores the essence of the night through dance, seduction and mystery, while paying homage to Colombian amphibious cultures and the land as that place that has seen us moving and that we always return to. With these ten songs Barranquilla producer Oscar Alford, along with Andres Mercado and a select group of collaborators, builds a bridge between the sounds and histories of the Pacific and the Caribbean, bringing together territories like a river running through them and connecting them. Oscar says that on this record "there's this confluence of various cultural universes, on the one hand there's the traditional music of the coast and river areas, there are various maestros who collaborated on the record and they brought that, also there's electronica which is a universal language, and even hip hop and more urban genres like dembow." The record kicks off with "Deja," a ritual of initiation, a galactic, synthetic entrance into a place of plenty, a journey to the ethereal and the night. It's followed, like light and guide, by the song "Alfa Indi," with Gamero singer Nelda Piña, a release of electronic sounds evoking creation in all its senses. The night is an excuse for and a generator of desire, seduction and flirting in "Candela tu Trá," in collaboration with Tomás Llerena, grandson of the legendary Petrona Martínez. The earth is evident in tracks like "Canción del muerto," homage to the marimba maestro Gualajo, with his brother Pacho Torres and Bogotá rapper N. Hardem, a song that could be a farewell ritual and tribute to the land as the place to which we always return, one that holds the history of those who walked that land and left their mark on it. We hear this in "Corre Cimarrón" with Ka Oddun, portraying the journeys of fleeing enslaved ancestors as they tried to survive until they reached the palenque, a place of freedom. Negra explores the mysticism of the night and the cosmos within the Colombian musical tradition. A dialog between root rhythms, voices and synths with bases oscillating between techno-champeta, afro-tech and future-dembow. With this record Indus comes across as one of the most versatile acts on the Latin American scene, especially in the way they reinterpret ancestral music and resignify its sound.

Mehr als drei Jahre mussten Avril-Lavigne-Fans auf ein neues Album des kanadischen Superstars warten - im März 2011 ist es schließlich soweit: mit "Goodbye Lullaby" veröffentlicht die 26-jährige Musikerin, Songwriterin und Produzentin ihr viertes Album. Bei jedem der Songs des Albums war sie diesmal alleine oder als Co-Autorin für das Songwriting verantwortlich, zwei der Stücke schrieb und produzierte sie sogar komplett im Alleingang. Als erste Single wählte Lavigne, die in den vergangenen acht Jahren mehr als dreißig Millionen Alben und zwanzig Millionen Songs/Tracks weltweit verkaufte, eine trademarkhafte Uptempo-Punkpop-Nummer mit dem Titel "What The Hell", die in Zusammenarbeit mit Pop-Genie Max Martin (P!NK, Kelly Clarkson etc.) entstanden war.

Black Truffle is thrilled to present the first vinyl reissue of David Rosenboom’s unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period.

Future Travel emerged from the confluence of two important streams in Rosenboom’s work at this time. First, his exploration of ‘propositional music’, defined as ‘complete cognitive models of music’ that start from the radical question, ‘What is music?’ In this case, the music belongs to the universe of Rosenboom’s In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom’s long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla’s hybrid analogue-digital keyboard synthesiser, the Touché, the instrument heard most prominently here.

In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming ‘intelligent instruments’ that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply ‘playing the system’, recording live at Francis Ford Coppola’s Zoetrope studio in San Francisco. Working from loose sketches, Rosenboom added acoustic instruments to the electronic sounds and, on some pieces, the processed voice of Jacqueline Humbert. Like Rosenboom’s collaboration with Humbert on the abstracted synth-chanson of Daytime Viewing, this music set out deliberately to challenge the ‘stratified and illusorily coagulated identities in the musical culture of the time,’ refusing distinctions between ‘serious’ and popular music. But where Daytime Viewing achieves this in part through genre references, Future Travel is bracingly sui generis, existing in a unique universe where radical formalisation à la Xenakis spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies.

The crystalline quality of many of the Touché sounds gives Future Travel a sparkling, immediately enticing surface, its layers of shifting ostinato patterns pulsating outside conventional meter, rippling like waves on the surface of water. On opener ‘Station Oaxaca’, ping-ponging synth arpeggios and hand percussion accompany a sentimental violin melody, abruptly overtaken by layered keyboard runs, before the entry of tinkling marimba-like sounds reframe the scene as sci-fi Martin Denny exotica. ‘Time Arroyo’ begins as an austere study in staccato synth sounds in multiple overlapping tempi, reminiscent of Ligeti’s famous ‘clock’ rhythmic effects. Before long, it opens up into a melodic passage with the gentle heroism of classic Roedelius, which proves to be only a brief interlude before the layers of rhythmically distinct synthesiser patterns begin to build and accelerate into an increasingly dense cacophony. The wildest twists and turns are saved for the epic closer ‘Nova Wind’, where the arrangement focuses on Rosenboom’s virtuoso piano playing, perfectly embodying the project’s radical disregard of stylistic orthodoxies as he moves from hyperactive pointillistic flurries to a kind of space-age gospel.

At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between The Double (an embodiment of humanity’s timeless desire to replicate itself in spiritual and technological copies) and two Spirit Characters. Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert’s delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. Adorned with a striking retro-futurist cover (and here accompanied by extensive new liner notes and archival images), Future Travel is a time capsule of radical imaginings at the birth of our digital age, reminding us of utopian possibilities of which our own present seems so often to fall short.