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KosmoramaDisco Vol. 2 is the second of a series of compilations that KosmoramaDisco label begun to release in 2018. This is a follow up of what the label it's been trying to show in the last 2 years. For this we have a new bunch of artists which music styles fit again with the philosophy and taste of the label: from Italo to Dark Disco and Slow Mo all wrapped, as usual, in club dancing format.

Names You Can Trust presents the second installment of Rueda de Bullerengue, a collaborative series with NY-based Bullerengue collective, Bulla En El Barrio. Named after the group's ongoing monthly performance and workshop in Brooklyn, Bulla's collaborative spirit and dedication to the tradition of los bailes cantados has made an indelible mark on the bubbling tropical music scene of New York City, and in turn, found their way into the crates and sets of DJs and vinyl aficionados via their first 7-inch release on NYCT in 2017. Since those initial moves, Bulla has continued to grow and add working members while maintaining a philosophy and connection grounded in the traditions of their Colombian origins. They've studied and collaborated with elders and legends like Emilson Pacheco and Darlina Sáenz, and this past year embarked on a recording with Barranquilla-based collective Tonada Baile Cantado — the focus of this edition's recording and release.

Considered one of the premier groups advancing the tradition of Bullerengue within Colombia, this incredibly talented group of young musicians are a rarity for their skill and age. In a region where there are ongoing festivals celebrating the tradition of Bullerengue that still command massive audiences and performers, Tonada is a true representative of what can happen when such an amazing tradition is passed forward to an eager next generation. Produced by Bulla members Camilo Rodriguez and Diana Herrera (aka Carolina Oliveras) in between their time smashing stages across the U.S. for Combo Chimbita, this is a carefully nurtured and powerful bridge to the beloved traditions of Colombia's Caribe region.

Without further ado, here lies Volume 2 of Rueda de Bullerengue, featuring Tonada Baile Cantado, a new generation of traditional Colombian dance music transmitted directly from Barranquilla — Four dance floor crashers in the styles of fandango and chalupa, ready-made for your 45 spins in the inimitable style of Names You Can Trust.

Jimi Tenor delivers another 7" on Philophon. This time he teamed up with the two glorious gospel queens Florence Adooni and Lizzy Amaliyenga from Bolgatanga/Northern Ghana. This release is a first insight into the next album by Jimi on Philophon, which will be released later the year.

Vocalize My Luv is a charmingly presented lure for love. The secret of the song is that drummer Ekow Alabi Savage's upfront high-life beat is triggering a Jimi-operated Korg MS-20 bass synth. Man and machine are melting down into a light and sportive groove, which irresistibly invites you to do some frisky aerobic moves on the 3am dancefloor. Ki'igba is a classic Frafra gospel song by Alogte Oho, completed with some jubilating flute by master Jimi.

G.I. Gurdjieff was an Armenian and Greek philosopher, spiritual teacher, and musician, whose teachings of The Fourth Way influenced thousands worldwide and created communities that still exist to this day. His goal was to teach humans to reach a higher consciousness out of the "waking sleep" he considered most to be living in. Music was an important part of his teachings and these brilliant harmonium improvisations were recorded in 1949 in Paris, just a short time before his death. Droning and ethereal, these beautiful pieces mark a pinnacle in the work of a legend of human spirituality.

Part II The title of the project is: "An Intermediary Plane of Existence", an in-between world, a shadow zone, two universes, the place between the entrance and exit of a portal. Most electronic music producers probably know the feeling where they, after producing and recording a track they are extremely content with, are suddenly overcome with a slight fear: "what if my computer crashes, what if the file of the recording gets lost somehow and the music gets lost, it's gone forever...". That feeling and the fact that all music, ever written and even the music that has yet to be written, is "somewhere" when it's not
being played or made. It's either written down in notes, stored in
someone's mind, cut into a piece of vinyl, recorded on tape, converted into 0's and 1's hiding somewhere on a hard drive, a cloud, a CD or a USB stick. It's been taken form the place it was before it was made and stored in another place, in an intermediary plane of existence, waiting to be played, to come back to life and listened to again. We wanted to do this various artists album not with just any talented artist, but with people we've met the past years who became our friends and people we admire for their music and personalities. Friendship is also something that most of the time resides in an intermediary plane of existence. When a friend is not in the same room, city or even country it doesn't mean the friendship is not still there. If you've never even met
someone in person, it doesn't mean you can't be friends. Even if you haven't spoken to your friend for a long period of time, it doesn't mean the friendship doesn't exist anymore. The same goes for love I believe.
Some people you will never stop loving, alive, or dead. Both owners of P-RT-L lost their fathers within a week from each other last year, but I also know people who haven't seen or spoken to their dads or moms in over a year, yet somehow it feels completely different not seeing someone for a long time if you know a person is still alive, even though it's not sure you will ever see him or her again. Their dads went back to the place they were before they were born and they will never come back the way they knew them. Just like all music that went lost before we as humans had the ability to write it down, store it on a medium or pass it on otherwise. That exact music, just like their dads, is lost forever. I know this will probably sound a bit too philosophical for some of you readers, but it's something that keeps me awake at night, sometimes. This albums is a way for us to celebrate the fact that the music on it, will never be lost because we as humans have found a way to store and contain it in a place where we can easily reach it, for ever. We hope you will enjoy the music! P-RT-L Featuring artists: Alex Bau ,AnD,Anouk De Vos, D-Leria, Daniel Kane, Dasha Rush, Frame Six Micol Danieli

With his third single release, Y-Bayani (pronounced like Why-Bayani) shows clearly that he is the most intriguing roots-reggae sensation coming out of Ghana. He is backed again by the lushly grooving Band of Enlightenment, Reason and Love.

Asembi Ara Amba, sung in Fanti language, is an old Fanti story about having bad luck if you see a vulture up in the sky. As Y-Bayani sees one suddenly and for no reason he gets in trouble with the police. Being hold back in the police station he finally takes his chance to escape into freedom while the police men taking a nap.

On We Are The Band of Enlightenment, Reason And Love the group presents their personal anthem. The song is a cinematic journey starting with a mighty horn theme, followed up by a mantric chant and enters finally into a wall of sound in double time. It's a small symphony for sure.

ST/NE is an alter ego and artist name of Stine Janvin, giving life to a satirical pop experiment combining field recordings, vocal samples and electronic production. ME/WE pulls inspiration from late night bar-chat philosophy, Muhammad Ali's army induction refusal, #metoo-stories and a broken Stockhausen record materialising in 4 tracks of vocal sirenage, fractured techno and mutant trap.

Manipulated and dehumanised as it is, the vocals trace a thread throughout, tying this collection of contrasts together and resulting in a singular, cohesive and compelling EP.

All things come from and return to the same source - such is the theory of Monism; an ancient philosophy, but also accounting for the music of Jeroen Search. Dictated by an ethos of exclusively recording live takes and the only ever editing happening while a tune is being created, each finished track is imbued with that unique magic of the moment. Such too is the nature of Monism, Search's first LP in over two decades of electronic explorations and personal as well as artistic growth. As with any of his music that has been released so far, the tracks on here hold a timeless quality, existing within their own frame of reference than - that is their immediate experience. Across a carefully arranged course, the album naturally unravels its many ideas, ranging from moments of pensive ambient pieces to thick washes of dub echo and layers of modulated synths, all while providing an endless array of hypnotizing bare-bone grooves in the process. A true Figure mainstay, Jeroen Search upholds his artistic relevancy without any reinventing or switching up the formula - rather by simply keeping true to his accomplished craft.

larry Jon Wilson He Can Break Your Heart With A Voice Like A Cannonball.' - Kris Kristofferson. Larry Jon Wilson Came To The Party Late. When He Arrived In Nashville, Country Soul Pioneer Tony Joe White Had Already Made Six Albums. Townes Van Zandt Had Made Seven, Mickey Newbury Eight. Kristofferson, The Accepted High Priest Of The New Nashville, Had Made Five. Larry Jon, By The Time He Arrived, Had Spent Ten Years In Corporate America. He Did Not Start Playing Guitar Until The Age Of 30, But Five Years Later He Released His Debut, New Beginnings (1975) And Followed It Just A Year Later With Let Me Sing My Song To You, Both On Monument Records. A Revelation Among The Hipsters And Critics Of Nashville, The Lps Ensured Larry Jon Was Immediately Embraced As Part Of The Mid-70s outlaw Country Movement' That Eschewed Slick Production In Favour Of A Raw, Gritty Approach. When A Film Crew Came To Document This Burgeoning Sound, They Made Straight For Larry Jon's Door. The Legendary Heartworn Highways (1981) Featured His Mesmerising Performance Of ohoopee River Bottomland', A Boogaloo Funk Monster. He Was A Singer And Writer Of Intensely Private, Painfully Moving Tales Of Southern Life. With His Deep, Papa-bear Voice, Funky Southern Groove, And Richly Evocative Narratives Of Rural Georgia, Larry Jon Was A Unique Stylist But His Gutsy, Greasy Sound Did Not Translate Into Sales.

Der Hip Hop Klassiker Von 1998 Ist Zurück.
2018 Zum 20. Jubiläum Erscheint Das Album Komplett Überarbeitet, Neu Abgemischt Und Remastert Auf Dem Hauseigenen Label 58beats In Neuem Gewand.

Anstatt Nur Das Alte Master Für Ein Einfaches Reissue Zu Verwenden, Haben Sich Die Jungs Von Main Concept Dazu Entschlossen Zum 20ten Jubiläum Des Langspielers Die Files Der Platte Neu Aufzumachen Und Das Album In Ein Zeitgemäßes Licht Zu Setzten.

Glam Aka Glammerlicious, Produzent Von Main Concept, Hat Allen Beats Einen Neuen Anstrich Verliehen, Alle Alten Maschinen Mit Den Original Files Beladen Und Das Album Komplett Überarbeitet Und Neu Abgemischt.
Die Tracks Wurden Editiert, Komplettiert, Erweitert, Teilweise Leicht Verändert, Oder Auch Gekürzt, Ohne Dabei Den Charakter Der Platte Zu Verändern.

Ein Reissue, Dass Diesem Klassiker Angemessen Ist.

Der Sender Puls (bayrischer Rundfunk) Hat Das Album Zum 20 Jährigen Jubiläum Mit In Die Br Ruhmeshalle Aufgenommen.

Flo Kreier (puls) Schreibt Über Main Concept - genesis Exodus :

- Freshe Skillz, Groovige Beats Und Die Heilige Realness: Main Concepts Zweites Album Ist Ende Der Neunziger In Diesen Punkten Nicht Zu Überbieten. Vielleicht Beginnen Deshalb Viele Andere Rap-crews, Gezielt Die Charts Zu Stürmen. -

- Mitte Der Neunziger Ist Hiphop In Deutschland Eine Puristische Angelegenheit. Bekannte Crews Tuckern In Mini-bussen Durchs Land Und Spielen In Kleinen Clubs. Niemand Trägt Goldketten Oder Ohrringe. Stattdessen Sind Baggypants Und Baseballcaps Angesagt. Und Die Meisten Raps Drehen Sich Um Ein Thema: Die Realness. Damit Ist Gemeint, Hiphop Ernst Zu Nehmen Und Nicht Nur Kohle Zu Scheffeln. Außerdem Geht's Darum, Diesen Echten Hiphop Zu Zelebrieren. In Dieser Zeit Bringen Die Münchner Main Concept Ihr Zweites Album "genesis, Exodus, Main Concept" Raus, Das Vielleicht Realste Deutsche Hiphop-album Überhaupt.

- rapper David Pe Ist Der Unterhaltsamste Mc, Den Der Deutsche Hiphop Bis Dahin Gehört Hat. Er Ist Wortgewandt, Witzig Und Schafft Es Auf Charmante Art, Auch Wissenschaft Und Philosophie In Seine Texte Zu Verbasteln. Dabei Klingt Er Aber Nicht Oberlehrermäßig. Eher Als Würde In Seinem End-zwanziger-körper Der Geist Eines 70-jährigen Stecken. Wie Ein Till Eulenspiegel Des Rap Schafft Er Es, Mystik Und Komik Zu Verbinden. Der Gipfel: Er Zelebriert Immer Wieder Eine Mystische Zahl, Die 58. Mit Viel Fantasie Spinnt Er Absurde Geschichten Um Diese Geheimzahl - Die Am Ende Nur Die Nummer Seiner Buslinie Ist.

- groovige Beats Statt Poppige Hooks
Glammerlicious, Der Musikalische Chef Der Truppe, Schafft Einen Seltenen Spagat: Einerseits Grooven Main Concepts Tracks Wie Hölle - Zu Jedem Beat Beginnt Man Sofort Mit Dem Kopf Zu Nicken. Dazu Kommen Fette Samples, Die Eine Perfekte Stimmung Aufbauen, Aber Nie Poppig Werden: Abwechslungsreich, Verspielt Und Irgendwie Augenzwinkernd.
"genesis, Exodus, Main Concept" Spielt Nicht Umsonst Auf Die Bibel An. Vielleicht, Weil Sich Die Jungs Vom Münchner Goetheplatz Damit Über Die Hiphop-dogmatiker Amüsieren, Die Sich Selbst Zu Ernst Nehmen. Vielleicht Aber Auch, Weil Die Platte, Wie Eine Offenbarung, Alles Auf Den Punkt Bringt, Was Der Deutsche Hiphop Dieser Zeit So Heilig Ist: Die Realness. -

Photonz is the alias of Marco Rodrigues a DJ, producer and driving force of Lisbon's underground scene. For little over a decade now, he's been crafting his own deeply personal style of Portuguese house and techno for labels such as Créme Organization, 20:20 Vision, Don't Be Afraid, Skylax, Unknown To The Unknown and his own One Eyed Jacks. As a DJ, Photonz grew a reputation for deep crates and intensely euphoric sets and in 2017, together with Violet (co-founder at his Radio Quantica) and Lisbon's own Rabbit Hole collective, he started the now infamous Mina parties - a monthly, sex-positive, queer and intersectional-feminist techno party aimed at using the dissociative potential of intense raving to create a temporary space of suspension away from patriarchal expectations.

Etheric Body Music is Photonz's debut 6-track EP for Dark Entries and a simultaneous reference to hermeticism and EBM (Electronic Body Music). Marco loves that 'aesthetic when 80s industrial and EBM bands split up and start to make trance in the early 90s and all the ritual magick pushes them to zen stuff and they do ecstasy.' There's this concept in theosophy and hermetic philosophy of the Etheric Body, which is an energy body superimposed and connected to the physical body, similar to the acupuncture idea of an energetic body. That idea manifests itself as six primal club cuts, which also channel early techno, Drexciyan rhythms, balearic & old school jack. Raw arpeggiated synth lines and bass blast jut against metallic stabs and highly percussive shakedowns to create mournful atmospheric warped house. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a psychedelic jacket with snakey green and purple velvet in an electric acid spewing weird biological alien energy form designed by Eloise Leigh.

Quest, transit, chaos, mutation, transfiguration, ascension and illumination. These are some of the steps followed in the journey of life that are embodied on each track of the album Adonai. The solo debut of the multi-instrumentalist composer Marco Paul condenses a career of more than ten years, in which, the search for the truth of oneself and authentic sound has traveled and nurtured from different genres and cultures. Adonai is an odyssey that combines sounds and images of the earthly and oneiric worlds: an audiovisual work that opens several windows to the different perceptions of the facts that make up the life of the human being.

After 9 years of constant international touring, 6 albums and more than 400 live performances with the bands Sour Soul, Ratbot and Funk My Jesus, as well as the conception and musicalization of the award-winning short films "Undermine" and "24K All You Need Is Gold", Marco Paul decided to retire to an island in the Caribbean, where he found and refined his sound. Thus, between 2014 and 2016 he created the music for Adonai, a work produced by Aitor Etxebarria under the label of Forbidden Colours.

The recording includes guest musicians from different countries such as Aitor Etxebarria (synthesizer, electronic magic) and Hibai Etxebarria (double bass) from the Basque Country; Michael Alan Hams (drums and percussion) and Joe D'Etienne (trumpet) from the United States; and Fatima Gozlan from Hungary (Ney and Derbake).

The consummation of the work is a mid length film created in 2018. It consists of 5 chapters directed by 5 different directors.

The audiovisual journey begins with the conception of the philosophical "Filius", an alchemical symbol that represents the inner child, which transforms the experiences of life into the soul's gold. Later, in "Sylvian" (title that refers to the brain fissure that contains the auditory cortex), by listening to the subtle message that surrounds us, our consciousness and perception expand. Then, in "Tiamat", the pristine chaos that gave birth to the gods, embodies chaos, the confusion generated by the multiple voices: on one hand the moral and imposed precepts, on the other hand, the inner voice that seeks the liberation of the infinite possibilities. In "Hawa", through the recognition of the power of solitude and introspection self-reflective awareness is reached. Finally "Adonai" is the ascension to enlightenment: the further connection with the absolute. As an encore (only available in vinyl) "Teurári" is a gift: a tiny flower where all the points of the universe merge.

tim jones, also known as Preacherman and recorded under midi man, ironing Board Band and t.j. hustler. he made one very rare lp, and two even rarer cD's. these tracks are from the cD's. he was a salesman for iBm in Las Vegas, where he sold selectric t ypewriters and then word processors during the day and at night he would perform in the Las Vegas lounges. he was somewhat of an engineer and adapted a hammond B3 organ to play a moog synth with some of the organ keys, (some still played the organ),
and he adapted the organ's foot controlled bass levers to play two moog synth bass pedals (a failed item moog made for a few years.) thinking he wasn't much of a live performer he had a wooden puppet made that he named t.j hustler, and together with the puppet, he would engage in long philosophical soliloquies, (some of which are featured on this album).if you meet tim, he is not someone who stops talking. in fact he even created a little book called universal Philosophy. he has a lot to say about everything. currently he lives with his 103 year old mother in
Oakland. there he infrequently plays shows on his casio where he fashions himself a live Karaoke performer, who comes complete with 5 wireless mics and P.a. and a list of about a 100 songs he can play. his invented organ contraption and puppet are in storage in Las Vegas, and he seems intensely
uninterested in getting them out, as 'the kids these days want to hear the sounds the casio makes.'

Wir Freuen Uns Mit "uhuru" Das Debütalbum Der Summers Sons & C.tappin Zu Veröffentlichen. Das Trio Besteht Aus Turt (rap), Slim (beats) Und C.tappin (gesang + Keys) Und Lebt In London Und Bristol. Turt Und Slim Heißen Mit Nachnamen Summers Und Sind Brüder. Mit Tappin Sind Sie Seit Frühen Jugendtagen Befreundet. Die Musik Der Summers Sons Lässt Sich Als Rap Mit Viel Jazz Beschreiben. Wir Nennen Es Cool Bap. Fans Von Loyle Carner, Mos Def Und Alfa Mist Kommen Hier Genauso Auf Ihre Kosten Wie Beatheads, Die Gerne Flofilz Oder Twit One Hören (mit Letzteren Haben Die Sons Bereits Zusammengearbeitet). "uhuru" Heißt Auf Swahili "freiheit". "uhuru Peak" Ist Gleichzeitig Der Name Des Höchsten Gipfels Des Kilimandscharo-massivs, Den Die Band Während Eines Längeren Aufenthalts In Tansania Vor Drei Jahren Gemeinsam Bestiegen Hat. Der Trip Legte Den Grundstein Für Die Arbeit Am Gleichnamigen Album. Dass Die Sons & Tappin Ihre Ersten Musikalischen Gehversuche Mit Grime (turt), Uk Garage (slim) Und Indie Rock (tappin) Gemacht Haben, Hört Man "uhuru" Nicht An. So Entspannt Und Ausgejazzt Und Mit Viel Soul In Den Hooks Kommt Das Album Daher. Dazu Raps, Die Neben Cleveren Rhyme-patterns Durch Kluge, Persönliche Und Philosophische Texten Überzeugen. So Gesehen Sind Die Frühzwanziger Das, Was Man Auf Englisch "old Souls" Nennt. Dabei Fangen Sie Gerade Erst An ...

Hot on the heels of Rapid Eye Movement's journey of discovery and growth comes the EP 'Split: Remixes' featuring reworks of the quartet of cuts originally signed by label founders Memorial Home and VII Circle.

Invited to apply their own reflections onto the material are rising producers Nur Jaber and Wrong Assessment as well as renowned artists on the underground experimental scene Edit Select and Reggy Van Oers.

First up is Nur Jaber's take on VII Circle's 'Metaphysical Functions' showing how the young Berlin-based Lebanese artist is as much inspired on remix duties than in crafting her already much acclaimed productions. The perfect mixture of dark and intense driving techno beat with haunting ambient-driven melodic motifs and dramatic breakdowns encompasses much of what her sophisticated sense of sonic exploration is about.

Up next on a heavier kicking note is 'Dogma' refashioned by Milanese fellow Wrong Assessment who transmits his vision of both minimal and hard pounding techno by merging a strait rugged beat with undulating synth lines and bouncy cymbals that will drive the audience to an insane rave-spirited dance floor venture.

Following the path, Tony Scott a.k.a Edit Select's interpretation of Memorial Home's 'Second Floor' is a clear example of the unique and forward-thinking sound that the Scottish techno scene 'veteran' has developed throughout the years. Deftly combining a tension-building drum and bassline work with layers of hypnotic synth textures that makes the track both suggestive and trippy-hitting in equal measure.

Concluding the journey is Reggy Van Oers (RVO)'s rework of Memorial Home's 'Ampere' which evinces this quest for organic and mental techno soundscapes inspired by classical and cinematic music, characterising the both complex and powerful crafting signature of Dutch Telemorph label's owner.

Between dark shadows and brightness, REM confirms with this new release that quality and free-minded artistry are the key pillars of the platform's curation philosophy.

Italian sound artist GIULIO ALDINUCCI drops his 2nd album on Karl: "Disappearing In A Mirror" is again a truly masterfully composed and sound-designed ambient masterpiece and a more than worthy follow-up to the critically acclaimed "Borders And Ruins" which made it onto several year's best lists for 2017.

Over the course of four solo albums on labels like DRONARIVM plus EPs and collaborative albums (a.o. with IAN HAWGOOD), GIULIO ALDINUCCI successively has been refining his skills as composer and sound designer. His elegant style which blends ambient and field recordings came to full impact on his 2017 album "Borders And Ruins" which gained the Italian sound artist a lot of critical praise and made it onto several year's best lists, a.o. ALDINUCCI's latest effort is again not only a musical masterpiece ofsublime beauty and sacral majesty, it also deals with philosophical concerns. Where "Borders ..." was areflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turnsinto a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory, "Disappearing In A Mirror" raises the very personal question of identity. In the words of ALDINUCCI himself:

" 'Disappearing In A Mirror' focuses on the fluidity of the identity concept, highlighting the harmonious coexistence of contradictory elements and the transitional features that characterize every transformation. It is a reflection on the current situation of change and disruption and at the same time it is a gaze into the human timeless soul and its inner soundscapes."

3 tracks reflecting past, present and future and the spectrum of my DO!!YOU!!! NTS radio show.
Dog & Fox - Who Gets The Cows....Futuristic philosophy banger
Bryce Hackford - You Get High In NYC....Disco banger
Seiji Ono - Celebrate Your Life...Live jam

On Respective Edges Of America — Oregon And Maine — Keith Kenniff Records Quiet Music At Night. 'when Things Are Calmer,' He Says. 'my Mind Is Less Distracted When I Know That Everything Is Dark Outside.' For Over A Decade, Such Has Been The Mode — Nocturnal, Unrushed, Using The Same Mini-cassette Recorder, "a Lovely Little Imperfect Way To Treat Sounds" — For One Of The Country's Most Understated Composers. Kenniff Has Housed Dozens Of Ambient Releases Under The Name Helios Since 2004, Alongside Post-classical Output As Goldmund, Shoegaze Pop With His Wife Hollie As Mint Julep, And Commissions For lm And Television. It Is A Reliably Transportive Body Of Work That's Earned Kenniff A Cult Following, And A Genuine Modesty That's Kept Him On The Fringes, Right Where He Prefers, In The Dark.

Kenniff Mostly Lets His Music Breathe Free Of Explanation, Open To Interpretation. As Listeners, We Follow Subtle Suggestions — The ery Sky On The Cover Of 2012's Moiety, The Countryside Daydream Of 2015's Yume — Extracting Meanings From Imagery And Inscriptions. Veriditas, The Sixth Helios Full-length, Shares Its Name With Twelfth-century Philosopher Hildegard Von Bingen's Notion Of "the Greening Power Of The Divine," The Term Derived From The Union Of Two Latin Words: Green And Truth. Bingen Saw The Abundance Of The Earth As Vitality To Be Cultivated, Interconnected With The Body And Spirit. Take The Concept In Concert With Veriditas' Vistas Of Sound, Gazing Beyond The Tree-lined Wonder On Its Artwork, And We Undoubtedly Recognize The Album's Rooting. Kenniff Elaborates, "while I'm Not A Very Spiritual Person As It Relates To A Religious Belief, I Do Feel An Overwhelming Connection Between The Aesthetics I nd Pleasing In My Experience Of Nature And My Experience Of Writing Music."

In search of the sublime, contemporary electronic musician Steve Hauschildt has designed grids and panoramas of sound across multiple releases through the rise and dissolution of his former band, Emeralds, an American touchstone of 2000s home-recorded psychedelic noise music. Consistent with his solo work is Hauschildt's ability to coil his craft in precise, varied, and distinctly physical forms. Gently spinning arpeggios converse with post-industrial decay. Sonic bers sway like pendulums from static melancholy to motorik bliss. Dissolvi, the artist's rst full-length with Ghostly International, engages sublimation from an ontological perspective: by dissociating the self. Hauschildt steps out from the singular path, for the rst time in a traditional studio, to compose and arrange contributions from friends. As a result, his most collaborative work to date extends a vast, vibrating framework in which to consider the state of being.

The album's title — a reference to cupio dissolvi, the Latin phrase meaning "I wish to be dissolved" — needn't be taken one-dimensionally or as purely solipsistic. It does, however, serve an apt reference. Physiological phenomena are of interest to Hauschildt. These back-of-mind ruminations nd their way out. Songs are cerebral in orientation, but beyond explanation, the music is truly visceral.

Involuntary eye movement inspires the serene, sanguine-nearing-suspicious "Saccade." Hauschildt feathers soft percussion beneath the echoed refrains of Los Angeles musician Julianna Barwick, together shaping a svelte suggestion of the anxieties brought about by modern-day surveillance; if everyone is being watched constantly, there is no individual, no self, only a broadly monitored and clumsily cataloged populous. The work of Chicago poet Carl Sandburg comes to mind: 'I am the people—the mob—the crowd—the mass.' The individual dissolves into the taxonomic crowd.

Minimalist techno impulses provide a stylistic through-line for Dissolvi. Understated synth phrases and drum grooves take hold in selective moments, like synchronistic structures onto which nebulous mists, like the rapturous voice of Gabrielle Herbst aka GABI on "Syncope," cling to and cloud, producing a dazzling rift in consciousness. The 7-minute centerpiece "Alienself" reiterates this creative logic, burbling like an amorphous body of water on a low-gravity planet, on the verge of dissolving, but never fully dematerializing.

The album was constructed in Chicago (where Hauschildt now resides) and partially in New York. "Much of it was recorded in a windowless studio which removed elemental or seasonal references to time in the music," says Hauschildt. "The focus this time was on mixing the album and incorporating a broader set of instrumentation. I describe my compositional approach as being quasi-generative." Embracing new methods and philosophical curiosities, and in turn, expanding the range of his repertoire, Hauschildt proposes a fascinating and profoundly rich experience in listening, being, and deliquescing.