Cerca:nicolas

Dominic Miller wurde von Peter Ruedi in der Weltwoche als ”großer, gelassener Erzähler” bezeichnet, und Vagabond, die dritte Aufnahme des Gitarristen für ECM, könnte sich als sein bisher poetischstes Werk erweisen. Auf dem Album erzeugt er gemeinsam mit Ziv Ravitz am Schlagzeug, seinem langjährigen Begleiter Nicolas Fiszman am Bass und Pianist Jacob Karlzon Texturen besonderer Intensität. Das Quartett – jeder Musiker für sich ein versierter Bandleader – versteht es, tiefe Grooves mit subtilem Zusammenspiel zu untermauern und nuancierte melodische Linien mit zarten Harmonien zu verweben, und zeichnet dabei einen gestalterisch bedachten Weg durch das Programm. Als langjähriger kreativer Begleiter von Sting, versteht Dominic es, den Song als oberste Priorität zu behandeln: ”Es war nie meine Absicht, ein Gitarrenalbum zu machen.
Dank der großartigen Sängerinnen und Sänger, mit denen ich im Laufe der Jahre zusammengearbeitet habe, sehe ich mich eher als instrumentalen Songwriter. Und so wie sie sehe ich es als meine Aufgabe an, mich mit den besten Musikern zu umgeben, die das Narrativ in den ’Songs’ verstehen. Ich bin froh, mit Vagabond die perfekte Besetzung dafür gefunden zu haben.” Das Album wurde
in Südfrankreich aufgenommen und von Manfred Eicher produziert.

Drumcode’s beloved A-Sides compilation makes a welcome return after a two-year absence, with a mammoth 25-track feast covering every shade of the techno spectrum split across seven, 12 inch parts. The project was devised in 2012 as a way of showcasing the wealth of strong material Adam Beyer receives each year, which due to Drumcode’s busy release schedule, might not otherwise find a home on the label. Since then, it’s grown to become an essential fixture on the techno release schedule and a marker for where the genre stands in any given year.

For part four, Nicolas Taboada cranks the dial on ‘Circles’ melding breakbeats with modulated vocal samples and underlying techno power, as BEC hits with ‘Vibration’ a ferocious, siren signalling rocket.

On the flip, Avision’s ‘Find Myself’ leads listeners into a state of hypnosis with warped vocal refrains, storming kicks and rising synths. Closing out the EP Cosmic Boys unleash a robot wielding, trance flavoured whirlwind.

The MYTHOS rocks! Neptune Kings are presenting a magnificent follow-up to their 2019 debut album "TRITON" in long-play format on vinyl.

"The Neptune Kings play intelligent fusion, which clearly has its roots in 70's music, as performed by bands and musicians such as Return To Forever, Spyro Gyra, The Crusaders, Lee Ritenour and celebrated by many others.", jazzandrock March 26th, 2019)

After their debut, which was equally celebrated by electrified fans and the euphoric press, the four guys from Germany are even upping the ante with their second album. Its title "MYTHOS" can be taken literally. Sophisticated compositions, spherical sounds and energetic songwriting take the listener into a fabulous world of sound, in which the imagination is tickled for 37 minutes and everyone can experience their very own MYTHOS!

Catchy melodies, which come alternately from Nicolas Kozuschek's keys, Daniel Hinte's guitar or Calvin Lennig's bass, run as a central theme through the 7 tracks. Collaborating their dynamic arrangements, in which Dennis Schendzielorz creates a great arc of suspense encompassing his usual energetic drumming, it never gets boring.

As a bonus, every vinyl comes with the CD of the album free of charge.

Landmark albums deserve to be released on Glorious Vinyl, and that's why Lovemonk is presenting the first ever vinyl edition of Martín Buscaglia's 2006 corker, El Evangelio Según Mi Jardinero.

"Brain, brain, thanks for being in my head and not in my knee, if not, I wouldn't be able to kneel down to pray or keep that promise I cannot reveal". Those are the first words (translated from Spanish) of 'Cerebro, Orgasmo, Envidia y Sofía', the song that kicks off El Evangelio Según Mi Jardinero, the fourth album by Uruguayan pop genius Martín Buscaglia and his second on Lovemonk.

El Evangelio is a wonderful collection of deliciously cheeky and brutally honest songs composed by a man who was lucky enough to grow up in a home where several of his home country's cultural greats (Eduardo Mateo, Urbano Moraes, Rubén Rada, all three of legendary candombe innovators El Kinto, and Hugo Fattoruso, of Opa) would drop by to chat, write and hang out. They, and other heroes like Marvin Gaye, Tom Waits, Stevie Wonder, and Jorge Ben, have had a lasting influence on Martín's music, and it's no different on El Evangelio. Martín wrote most of the songs and plays all kinds of instruments, conventional and not so conventional (the ravanahatha - an ancient bowed, stringed instrument used in South Asia, different toys such as the Simon device and a carousel), and there are cameos by the likes of Arnaldo Antunes, Nicolás Ibarburu and Juana Molina.

El Evangelio Según Mi Jardinero is a dazzling piece of work that will make you dance your ass of and take you to place you haven't visited since childhood. Even 12 years on, the at times complex songs actually sound deceptively simple and stunningly fresh.

Tears are in the eyes of Xabiib Sharaabi, nicknamed the Somali King of Pop when he entered the stage of Berlin’s HKW. It is a mix of nostalghia, pain and joy. Like many Somalis he had been deprived overnight of both glamour and friends, the war in his homeland had sent him into exile. The glamorous discos and beachfront stages Mogadishu had once been famous for, had disappeared as the city was bombed to the ground. The King of Somali pop found himself stranded in Sweden, others like the members of Dur-Dur Band Int. ended up in London which until today has the largest Somali diaspora in Europe.

In the last decade many early recordings of Somalia’s funk, soul and disco era have been reissued. This record is not a reissue. The Berlin Session – is the first studio album of its kind since the golden days of Mogadishu came to a halt three decades ago. It is the living proof that Somali music is hot, funky and (!) well alive.

The record captures a historic reunion which took place in 2019 in Germany’s capital Berlin. London-based Dur-Dur Band Int. an eight-piece powerhouse of Somali live- music unites with three legendary Somali singers: Xabiib Sharaabi, Faduumina Hilowle and Cabdinur Allaale for a concert at Berlin’s HKW. Fueled with a restored sense of pride, the freshly reunited musicians decided to get together in a Neukölln studio for two amazing days of recording.

Female vocalist Faduumina Hilowle opens the album with an invitation to kickass: “Let’s shake off the dust, boys!” (Inta ka hurguf). Grooving with such a strong accent on the off-beat, any non-Somali listener may think of Reggae. But when you ask the musicians, they tell you: “They took it from us! It’s Dhaanto! It’s our rhythm”. Originating from the Ogaden region (now in neighbouring Ethiopia’s borders), Dhaanto dates back to the era of “clap & chant”. Some say it is an imitation of the camel’s bounce. Xabiib Sharaabi was once nick-named Somalia’s King of Pop for the body language and magnetising voice with which he incorporated the latest global musical trends - even recording two disco albums entirely in English. On the album Xabiib chooses to sing his Somali adaptation of “Lady” originally by Afrobeat pioneer Fela Kuti. Not unlike the Motown Sound of Detroit and Kingston’s Studio One: a small scene of musicians were fueling that new Somali Disco scene in Mogadishu. Cabdinur Allaale, the third vocalist on the album comes from neighbouring Djibouti. In the heydays the leader of then famous Sharaf Band was a frequent visitor, flying back and forth between Mogadishu, Hargeisa, Kismayo & Djibouti entertaining his fans on the Horn of Africa.

Dur-Dur Band Int. ‚The Berlin Session‘ brings the spirit, joy and hope of this era back: In the last decades Somalis stars have lived among us, spread all over the world, it is time to see them step into the limelight again.

Nicolas Sheikholeslami:
In 2015 Berlin-based Nicolas Sheikholeslami became fascinated by Somali music and ended up compiling a mixtape to share his passion. He did not know that his tape Au Revoir, Mogadishu Vol. 1 - Songs From Before The War would spark a massive international interest for Somali music. Soon later Nicolas co-compiled Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa for Ostinato records which got a Grammy-nomination in 2017. Berlin’s venue HKW took notice and asked him to set up a show with a selection of Somali artists from the golden era. This lead to this remarkable reunion. A studio was booked and within 2 days this album was recorded. The Berlin Session captures this emotional moment. In 2021/22 Nicolas Sheikholeslami finally sat down and mixed the recorded material. This record is the living proof that Somali music is hot, funky and well alive.

In late 1996, after two years of persistent touring, Chisel was eager to document its quickly evolving sound. Decamping from their native D.C. to Brooklyn's Rare Book Room, the power trio of Ted Leo, Chris Norborg, and John Dugan teamed with engineer Nicolas Vernhes and came away with Set You Free, a remarkable, but largely overlooked, classic of the era. Originally issued on the venerable Gern Blandsten imprint in April 1997, Set You Free presaged the turn of the century 60s rock revival, providing a counterpoint to second-wave emo. This deluxe 25th anniversary edition has remastered and expanded the original's 17-song track list with five period alternates and rarities, plus a booklet of lyrics, photos, and an essay by Jes Skolnik. Get ready for the invasion.

In late 1996, after two years of persistent touring, Chisel was eager to document its quickly evolving sound. Decamping from their native D.C. to Brooklyn's Rare Book Room, the power trio of Ted Leo, Chris Norborg, and John Dugan teamed with engineer Nicolas Vernhes and came away with Set You Free, a remarkable, but largely overlooked, classic of the era. Originally issued on the venerable Gern Blandsten imprint in April 1997, Set You Free presaged the turn of the century 60s rock revival, providing a counterpoint to second-wave emo. This deluxe 25th anniversary edition has remastered and expanded the original's 17-song track list with five period alternates and rarities, plus a booklet of lyrics, photos, and an essay by Jes Skolnik. Get ready for the invasion.

In late 1996, after two years of persistent touring,
Chisel were eager to document their quickly
evolving sound. Decamping from their native DC to
Brooklyn’s Rare Book Room, the power trio of Ted
Leo, Chris Norborg, and John Dugan teamed with
engineer Nicolas Vernhes and came away with
‘Set You Free’, a remarkable, but largely
overlooked, classic of the era.

Originally issued on the venerable Gern Blandsten
imprint in April 1997, ‘Set You Free’ presaged the
turn of the century 1960s rock revival, providing a
counterpoint to second wave emo.

This deluxe 25th Anniversary edition, available on
River High Brown coloured vinyl or black vinyl, has
remastered and expanded the original’s 17-song
tracklist with five period alternates and rarities, and
both formats include a booklet of lyrics, photos,
and an essay by Jes Skolnik

In late 1996, after two years of persistent touring,
Chisel were eager to document their quickly
evolving sound. Decamping from their native DC to
Brooklyn’s Rare Book Room, the power trio of Ted
Leo, Chris Norborg, and John Dugan teamed with
engineer Nicolas Vernhes and came away with
‘Set You Free’, a remarkable, but largely
overlooked, classic of the era.

Originally issued on the venerable Gern Blandsten
imprint in April 1997, ‘Set You Free’ presaged the
turn of the century 1960s rock revival, providing a
counterpoint to second wave emo.

This deluxe 25th Anniversary edition, available on
River High Brown coloured vinyl or black vinyl, has
remastered and expanded the original’s 17-song
tracklist with five period alternates and rarities, and
both formats include a booklet of lyrics, photos,
and an essay by Jes Skolnik

It is recognized today that these tutelary pieces for four pianos are among the most powerful in contemporary music,their impact is almost unparalleled. After the historical version recorded forty years ago, this one, featuring four of the greatest European performers, is now regaining its full power. High level recordings too.

There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic - undoubtedly also one of the most powerful, and it is this power that is revealed through these recordings. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny : suffering from various addictions, declared missing, actually homeless. During Winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.

The Performers Nicolas Horvath, pianist and electroacoustic composer Nicolas Horvath is known for his boundariesless musical explorations - he has collaborated with leading contemporary composers from around the world, including Alvin Lucier, Alvin Curran and Valentyn Silvestrov - the recordings of his complete works for piano by Phil Glass made a lasting impression. He has collaborated recently with Lustmord on the Deconstruction of November by Dennis Johnson (Sub Rosa SR502: The Fall).

Melaine Dalibert, a French composer and pianist, fascinated by natural phenomena which are both expected and unpredictable, Dalibert has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series.

Stephane Ginsburgh, a tireless surveyor of the repertoire but also explorer of new music, collaborated with composers such as Philippe Boesmans, Jean-Luc Fafchamps, Stefan Prins, Frederic Rzewski and Matthew Shlomowitz of whom he premiered works, as well as with choreographers such as Anne Teresa De Keersmaeker (Rosas) and recorded Feldman, Duchamp and Satie for Sub Rosa and the complete set of Prokofiev piano sonatas for Cypres. Wilhem Latchoumia, he embraces both new music and the classical repertoire with success and charisma. His two last recordings for La Dolce Volta (Prokofiev and de Falla) have been highly acclaimed by critics with a FFFF in Télérama. Winner of the Hewlett-Packard Foundation and the Montsalvatge International Piano Competition, he brilliantly won the First Prize in the 2006 Orléans International Piano Competition.

incl. 3 Tracks for download

Better known as one half of the Stavroz quartet, Pieter De Meester and Maxim Helincks turn up on A Tribe Called Kotori with their self-titled third studio effort as Shady, following up to "Your Skin" EP on Beat & Path last year. Grinding a wide set of influences through oddball, genre-bending compositions, the pair has been carving out its own wonky, cross-curricular sound grammar away from normative restrictions and creative-hindering behaviourism - like the weird brainchild to Soulwax, Nicolas Jaar and Connan Mockasin.

"Can I Be Yours" gets the ball rolling on a spectral pop tip, blending together the vaporous spook of ultra-processed riffs with mischievous drum play and hypnotically smooth-tongued vocals dissolving in rippling delays. A further nocturnal affair, "Cruisin" goes a more sensuous, electro-friendly route, beaconed with hints of washed-out folk and cosmo-ambient spaciousness. The Cali vibes meet spoken Brit post-punk motif'd (think Baxter Dury out for a quick surf session with the Beach Boys) "Sun" rounds off the ride on a catchy Mod-like note, merging to perfection the swinging London's debonair charm with that of the west coast's typical carefreeness of being. That's ocean-spray bottled in a tune.

Download

1. Shady - Cruisin
2. Shady - CIBY
3. Shady - Sun

In 2021, nyMusikk's annual festival of sound, "Only Connect", commissioned an interpretation from I LIKE TO SLEEP of the first movement of Olivier Messiaen’s Turangalila symphony. A project which initially led to a 15-minute piece performed at the festival, with the trio re-writing the music of Messiaen, but also rewriting the music of their own. Messiaen as a reference and compositional tool may be heard in the album for those really listening for references. With “Sleeping Beauty” the trio also explore even heavier riffs than before, seasick grooves and tempi, and deeper ambient soundscapes. Through extensive improvisation, the effects and processing of the sounds are way more extreme than before, almost awakening the sleeping beauty. During the pandemic, the band also had to find new ways to write music without the presence of every member, introducing the vibe-samples from the old Mellotron sound gallery to the band. Quarantillity, one of the themes which appears several times throughout the album - almost used in a similar way as the flower theme in the Turangalila symphony - is a direct result of sitting alone in quarantine, playing the Mellotron while listening to vibraphone extraordinaire Bobby Hutcherson. This theme could also be seen as a continuation of the previous album tracks named Pause I & Pause II from “Bedmonster” (2017) and “Daymare” (2020). Like “Daymare”, “Sleeping Beauty” was recorded in Duper Studio in Bergen, co-produced with the band’s all-time favourite sound wizard Jørgen Træen. It is also mixed and mastered by Træen, making the music sound as brutal, intense and intimate as experiencing I LIKE TO SLEEP in a live setting. “Infernal, scrotum-shrivelling energy sorely missing in today's music” said Jazzwise about their previous album, mentioning King Crimson, Magma, Tony Williams Lifetime, electric Miles and 60s free energy jazz as possible references. But that’s only one side of the story, there are plenty of quieter moments at work here, and the dynamic range is wide. Nicolas and Øyvind first met in high school in Trondheim before they joined up with Amund in a youth big band. It soon became apparent that they shared the same musical background centered around 70s progressive rock, classical music, jazz and improvisation. Taking their name from a Thelonious Monk quote, I LIKE TO SLEEP was formed, first for fun, but soon with higher ambitions, winning the prestigious "Young Jazz Musicians of the Year" award in 2018. Still only in their early 20s and still studying jazz at NTNU in Trondheim, they are also active as composers, freelancers and in other projects and are among the most promising on Norwegian scene. Amund Storløkken Åse – vibraphone and Mellotron Nicolas Leirtrø - baritone guitar, bass-VI and Mellotron Øyvind Leite – drums Tracks

After his previously successful outings with Vol. 1 & 2, Nicolas Laugier aka The Reflex is back with the third instalment of his Revisions series of Salsoul catalogue classics. Adding his familiar touch to update the labels renowned disco hits, there’s four tracks to choose from - all with that unique The Reflex flavour. Gaz’s “Sing Sing” and Edwin Birdsong’s “Win Tonight” get the Revision treatment while Rafael Cameron makes a double appearance, with a fresh version of “All That’s Good To Me” and a Cosmic Dub Revision of “Boogie’s Gonna Get Ya”.

With three volumes under his belt, if there’s one person who can be trusted with the legendary Salsoul vault it’s The Reflex.

'Gulliver', the latest Condor Gruppe album, is a nod to yet another spiritual journey in the band's ever-evolving saga. Released 23rd September via the groove-obsessed Sdban Ultra, the Antwerp-based nine-piece ensemble take you on a hypnotic trip, paying tribute to obscure Italian 70s film soundtracks, krautrock and psychedelic grooves. Fuse the melancholy of Pink Floyd, the heroism of Ennio Morricone and the world grooves of GOAT and you get an idea of what Condor Gruppe is.

Always looking to push musical boundaries, Condor Gruppe rely on the adventurous use of their instruments and their intriguing musical patter. Melancholic, exotic, surreal, the band's sound is enriched by instruments including the handpan, Jew's harp, darbouka and tanpura. Diverse sounds, rhythms and melodies build, exciting the listener whilst always remaining familiar. From the thunderous, spacious prog rock sounds of 'What Could Have Been', to the loose, laidback grooves of the mystical 'Farid' and groovy 'Rhymes On Our Mind', 'Gulliver' is a soundtrack for visits to far-flung places and a mesmerizing trip through the band's own record shelves.

Condor Gruppe released their debut album 'Latituds del Cavall' in 2014 with nine exotica fuelled songs that echo the sound of an intoxicated ride through the desert. This was followed up in 2016 with 'FROG BOG - A Tribute to Moondog' - an adaptation of the work of the legendary composer and outsider. Containing six Moondog interpertations, trumpet player Dirk Timmermans, saxophonist Matti Willems and baritone saxophonist Hanne De Backer joined the five original members of Condor Gruppe, with the results a spectacular mix between Moondog's jazzy compositions and Condor Gruppe's dreamy instrumental sound.

Second album proper 'Interplanetary Travels' (2018) - a nostalgic, melancholic soundtrack - saw the introduction of the Anoushka Shankar-trained Nicolas Mortelmans on sitar. The title hinting at Sun Ra is no coincidence. Condor Gruppe recorded 8 songs that give you the creepy feel of a horror scene, the heroism of the best film scores and the hypnotizing grooves of jungle tribes.

At this year's Ghent Film Festival, Condor Gruppe performed a live version of the score for the dark, hypnotic, surreal, erotic vampire film 'Daughters of Darkness' (1971), directed by Belgian cult director Harry Kümel. The score was originally recorded by François de Roubaix, a self-taught musician and jazz enthusiast, and he composed almost a hundred soundtracks, mostly for French films. In 1976, he won a César for best soundtrack with his work on 'Le Vieux Fusil' - awarded posthumously as de Roubaix had passed away just the year before. De Roubaix has always been a great source of inspiration for Condor Gruppe, so they were only too happy to sink their teeth into his scintillating score.

It's been 5 years since Nicolas Cubillos started his musical odyssey with his band Lachinos. In 2020 they released their first EP America Lachina with the label Goutte d'Or Records. Through these four songs full of lysergic magic, they offer an ode to Latin American music that was danced at home.
In the fall of 2022, Lachinos will release his second EP entitled Costa Brava, still on Goutte d'Or Records. This record, which mixes surf rock, merengue, cha cha cha and cumbia with Japanese tints, is a sincere exploration through their colorful and festive universe.
With the added bonus of two brilliant remixes by Voilaaa and Matias Aguayo Currently, the group is composed of important actors of the avant-garde music scene in Peru and Colombia: Ernesto Velarde
(Moldes, Juan Wauters) on drums, Santiago Jimenez (Mamíferos, Las Migrañas) on keyboards and vocals, John Socha (Romperayo, Nkumba System, the Caribbean Makina) on bass.

On August 26th Gwilym Gold releases his third album, Blue Garden, on SA Recordings. Alongside the record we are pitching the beautiful Blue Garden. Gwilym began playing improvised music as a pianist and may be fondly remembered as the singer and keyboardist in psychedelic pop trio Golden Silvers but has since worked widely as a soloist. 2012 saw the release of his high-concept solo piece Tender Metal which was composed and released using Bronze; a new music technology which Gold created with producer Lexxx alongside Mick Grierson. Using Bronze, a song is enabled to rebuild itself on each playback from the musical seeds and ground sown by the writer. Music composed with Bronze is not restricted to just one playback possibility, it is a dynamic, ever-transforming representation of itself where the artist builds a new model as part of each song’s writing process. Gwilym has since collaborated with artists such as Arca, Jai Paul, Philippe Parreno and Nicolas Becker, introducing them to this new technology. One of the hopes for Bronze is that it brings some of the characteristics of performance back into previously inert musical documents, and alongside his work with Bronze, Gwilym has maintained a wide performance practice. Performing recently alongside musicians such as Dave Okumu, Tom Skinner and Lucinda Chua and collaborating with artists Eddie Peake and Holly Blakey. His two recent collections of songs, A Paradise and Sky Blue Room, stem from this, the second being recorded almost entirely live in three days alongside Okumu and drummer Dan See. Blue Garden is Gwilym’s first collection written and recorded entirely in solitude and he hoped to unburden the process of anything beyond the most primary elements. Setting up a sort of hybrid harp in a small isolated room, the aim was to let the songs flow out unadorned and record them as they were. The only addition to the album is the accompanying sound of rivers and birdsong by sound recordist and founding member of Cabaret Voltaire, Chris Watson. Gwilym started to play the new album alongside Watson’s recording ‘The Drinking Boy’ which led him to reach out to Watson. Gwilym explains “I played it to a friend once I had recorded it with Chris’ field recordings, they said it almost sounded like the quarantine birds, there was a feeling of it being a little sanctuary”. The songs on Blue Garden were written during a bittersweet time, where Gold was experiencing moments of love, loss and rebirth. The album is a loose and abstract exploration of love in all its forms, how familial, platonic and romantic love are all intertwined.

Out of the Fog is a masterpiece of divine beauty and charm from the Norwegian composer / performer Daniel Herskedal featuring fellow Norwegian singer-songwriter Emilie Nicolas (4 Times Norwegian Grammy Winner - 2014: Pop soloist of the year and new artist of the year. 2018: Album of the year and pop artist of the year). Crafted with a warmth and awe-inspiring finesse, it’s the blend of Daniel’s unequivocally trademark sound of multi-layered brass, empowering harmonies and soaring melodic lines, with warmth and emotive power of Song and the collaboration with Emilie Nicolas that gives this album its uniquely defining quality. Having emerged in recent years as one of the most prolific and exciting Norwegian composers, Daniel is adeptly capable of straddling Jazz, Classical, soundtracks and now High-Art Pop as well as being a performer who has pushed his instrument beyond its limits. As a consequence it has earned him numerous awards and accolades including a Norwegian Grammy for Best composer and seen him write music for a global Coca Cola ad, the film (The Last Black Man of San Francisco), and the soundtrack for the 9/12 podcast (nominated for Best Score And Music Supervision at Ambie Awards) as well as his own acclaimed albums. Featuring legendary guitarist Eivind Aarset and percussionist Andreas Helge Norbakken, Out of the Fog is an astonishing album from Norwegian Jazz and Pop royalty, with music that is long-lasting and that leaves you wanting more and more. It’s breathtaking and powerfully moving.

A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now_and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentintian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America_and its intersection with various strains of electronic music_but Uji taps into traditions_both musical and spiritual_that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. FOR FANS OF: Floating Points, Four Tet, Oneohtrix Point Never, Actress, Nicola Cruz, Dengue Dengue Dengue, Nicolas Jaar, Mount Kimbie, Mucho Indio.

The first full length album from renowned electronic dance artists Benoit & Sergio.

The next album announced from FourFour Records, the new label from Jonathan Galkin, co-founder of DFA Records.

Mixed by Beatriz Artola (Fleet Foxes, Adele, A$AP Rocky) and Mastered by Heba Kadry (Bjork, Ryuichi Sakamoto, Nicolas Jaar).

Benoit & Sergio have previously released music on DFA, Ghostly, Hot Creations & Soul Clap Records.

Between electronic music and traditional Indian music, dive into the heart of this subtle mix thanks to the leading artists of the genre!