Suche:sound

Untouchable Hardcore Jungle Techno Darkside Monsters originally released in 1993

Celebrating ten years, Daniel Avery’s iconic debut album is repressed onto white double vinyl. Originally released in 2013, Drone Logic has since entered the pantheon of classic British electronic albums, a cohesive twelve-track trip through shades of dance floor psychedelia, rich in emotion and texture.

Ukrainian jazz singer Mona returns with a fiery outernational funk 45. Following up on last year's' "Moya Vode" (Sweet Water) - a song that quickly became a favourite among the breaking community from Kyiv to California - "Vogon" (Fire) continues to spread a message of hope and healing through the universal power of funk. Linking ancient folk rituals and modern day cypher culture in a poetic way, "Vogon" is a call for unity and togetherness. Driving jazzy breakbeats, epic horns and relentless clavinet and guitar ostinati build a perfect platform for Mona's voice to shine while loose piano and sax adding a jam flavour. The vinyl version contains an exclusive instrumental version with a Moog taking over the lead.

The exceptionally named Panty Soaker Sound System bursts onto the scene here with a powerful debut EP on their own self-titled label. 'Hormones' marks the inaugural outing and is a track that ignites the floor while exploring self-empowerment and inner desires. It has picked up early praise from Honey Dijon and is a full-throttle and steamy, erotic house sound that is sure to become a bit of a winter anthem. The EP includes three acid-infused original mixes, followed by the Prosumer HorMoans Remix which is a dark stomper with prickly 303 lines and a heavy groove. For those craving a harder vibe, the LUXE Dark Room Remix delivers a broken-beat reimagining with high-energy that takes you to new heights.

Sound Dome on 12! Featuring three solid original cuts, this release explores the boundaries between house and tech, all with a distinctive progressive touch.
Paolo Mosca takes it further in his rework, adding more emotional depth.
Enjoy!

Strong atmospheric techno from Sound Synthesis on his newly launched Submersive Underground label. Limited hand stamped copies..

For Persona 5: Dancing in Starlight, developer Atlus reimagined Persona 5’s instantly classic soundtrack with a series of remixes and all-new original music from the Atlus Sound Team. Developed in tandem with Persona 3: Dancing in Moonlight following the success of Persona 4: Dancing All Night, Dancing in Starlight saw the Phantom Thieves returning to the Velvet Room for an all-new, rhythm-based musical adventure.

On "Not Around But Through", Portland-based experimental musician and tape wizard Amulets
 navigates the process of acceptance and the tumultuous journey of looking within. Over the course of 8 tracks he explores the emotional path of moving through rather than circumventing, in the process soundtracking a purposeful desire to face trauma and vulnerability.

Infusing his trademark ambient soundscapes with ambitious blends of post-hardcore, emo, and metal, "Not Around But Through" connects the dots between personal and social dislocation, leaving us with a taste of the fragmented and fallen future we are all steeling ourselves for. Traversing a landscape that varies from gentle and meandering to explosive and cathartic, Amulets uses cinematic tension and relentless attention to detail to construct his sonic apparitions. On "Lifelike" he collaborates with Midwife, incorporating Madeline Johnston's voice into a song that pulsates with post-shoegaze transcendent energy.

Amulets is the solo project of Portland-based audio + visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music.

Celebrating 50 years of Kahil El'Zabar's Ethnic Heritage Ensemble's legacy and unwavering contribution to Great Black Music. 'Open Me, A Higher Consciousness of Sound and Spirit' is a new Ethnic Heritage Ensemble sound, constantly shifting gears and tempos in a jazz-blues continuum, in perpetual spontaneity, combining their meaningful music history with an innovative approach to arrangements, performance and improvisation. This is Ancient / Future Music for the Now and Beyond.

Open Me is a joyous honoring of portent new directions of the Ethnic Heritage Ensemble; it's a visionary journey into deep roots and future routes, channeling traditions old and new. It mixes El'Zabar's original compositions with timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. Thus, the Ethnic Heritage Ensemble continues affirming their indelible, half-century presence within the continuum of Great Black Music.

For Open Me, El'Zabar has chosen to push the sound of the EHE in a new direction by adding string instruments --the addition of strings opens new textural resonances and timbral dimensions in the Ensemble's sound, linking the work to the tradition of improvising violin and cello from Ray Nance to Billy Bang, Leroy Jenkins, and Abdul Wadud.

Open Me contains a mixture of originals, including some El'Zabar evergreens such as "Barundi," "Hang Tuff," "Ornette," and "Great Black Music" (often attributed to the Art Ensemble of Chicago but is, in fact, an El'Zabar composition).

As a milestone anniversary celebration and a statement of future intent, Open Me effortlessly carries El'Zabar's healing vision of Higher Consciousness of Sound and Spirit.

Repress!

Back for a limited edition 12” single from The Future Sound of London comes the iconic original ‘12TOT17R’ collection of “Papua New Guinea” mixes. Mixes alongside the classic 12” Original include the full length Andrew Weatherall Mix, reissued here for the first time since 1992. Andrew Weatherall (1963-2020) was one of the key DJs on the acid house dance scene and this mix is one of his most highly regarded works next to Happy Mondays, New Order and Bjork. This edition is a limited edition to only 2000 copies only.

Artikal Sound System is a reggae band based out of South Florida. Founded by Chris Montague (guitar) and Fabian Acuna (bass) in 2012, the band honed their chops backing a series of Caribbean singers. Along the way the boys picked up the insane and absurd keys player Christopher Cope and the heavy footed drummer Adam Kampf before finally trying something a little sonically different with their neighbor, female vocalist Logan Rex. After nearly a decade of playing together the boys sound tight and powerful, creating the perfect foundation for their jazz-influenced singer to dance around on lyrically and literally. What you hear is the sound of friendship, hard work, imagination and the hope to spread their message of love and the importance of having a good time

The Velveteers bring a visceral energy to their explosive sophomore album, A Million Knives. The album is a blistering rock anthem infused with melodic indie songwriting. With GRAMMY Award-winning producer Dan Auerbach at the helm, the Boulder, CO trio encapsulates the raw, forceful, and profoundly heavy energy of their live performances and laser-focuses a spotlight on tightly crafted songs as they carve out their own distinctive niche. Driving The Velveteers is the commanding presence of frontwoman Demi Demitro, a no-bullshit, five-foot-something spitfire with thunderous guitar riffs and soaring vocals, backed by the incendiary duo of Baby Pottersmith and Johnny Fig on drums. The band's signature dual drum setup creates a thunderous foundation that propels their gritty, dynamic garage rock sound. On A Million Knives, this setup melds seamlessly with a more modern indie rock influence-the attitude of Wolf Alice, the colossal sound of Queens of the Stone Age, and the singular lyrical voice of Hole. The Velveteers have built a dedicated following through relentless touring and electrifying performances, sharing stages with renowned acts such as Smashing Pumpkins, The Black Keys, Greta Van Fleet, Guns N' Roses, and Des Rocs. With A Million Knives, The Velveteers offer a compelling testament to their rising stardom, a rock 'n' roll album as beautiful as it is terrifying.

On February 7, 2025, Signature Sounds will re-issue Crooked Still's acclaimed album, Shaken By A Low Sound on remastered, deluxe colored vinyl. Two tracks, “Little Sadie” and “Ecstasy” were prominently featured on the Playstation video game, The Last of Us which became the Emmy-nominated show (2023) on HBO. Originally released digitally and on CD in 2006, Shaken By A Low Sound cemented Crooked Still's reputation as one of the premiere alternative bluegrass groups of the mid-aughts, shattering preconceptions of how traditional music was played. Shaken By a Low Sound received rave reviews from publications like Interview Magazine, No Depression, and USA Today proclaiming, “Aoife O’Donovan. Remember that name, because with a sultry voice that makes her sound like a bluesier Alison Krauss, she’s about to become the newest darling of the Americana set... Shaken is stirring.”

Lost In Sound Recordings is back with the release of its second record, featuring a captivating EP from the talented DJ and producer Atree. His "Confused in Space" EP takes listeners on a journey through a dynamic blend of powerful house tracks and intricate melodies. The release seamlessly fuses punchy kicks, tight basslines, and organic sounds, creating an energetic and immersive experience for the dancefloor. Get ready for the arrival of LISR002, a release that promises to make a lasting impression.

Tempat Angker (haunted place) is a Halloween mixtape compiled by music researcher and artist Luigi Monteanni, aka Neurotica Exotica.

To celebrate a second year of fieldwork research in West Java and to bring together the longing for All Hallows’ Eve partying with the archipelago’s richness in local and historical horror folklore tropes, figures, characters and stories, Artetetra’s co-founder cuts up 120 minutes of soundtracks, sound effects and dialogues from the glorious and extensive Indonesian horror movies tradition counting more than 700 titles.

Hear it from speculative horror and sci-fi filmmaker Riar Rizaldi (whole essay in the tape’s leaflet):

“The popularity of cinematic media during the New Order era led to the unprecedented development of more rapid and large-scale production methods. ⁤⁤Genre films, particularly horror and fantasy, emerged as some of the most prolific outputs, with hundreds being produced annually. ⁤⁤The filmmaking process was accelerated, and post-production ᅳ especially sound design ᅳ was completed as swiftly as possible. ⁤⁤Notably, veteran composer and musician Gatot Sudarto, who had worked extensively on drama films in the 1970s, became a regular contributor to studios producing horror and fantasy films in the following decade ᅳ although composer Embie C. Noer was also active during this period, his focus was more on action “sword and sandals” films. ⁤⁤Gatot’s influence in the music departments of these films was significant, helping to create an authentic soundscape. ⁤He adapted many of the compositional techniques used in European horror films (mostly the usage of harpsichord) at the time, blending them with the bass synths characteristic of American horror, while incorporating local and regional instruments to tailor the sound to Indonesian audiences.”

By sampling excerpts from 43 movies spanning the ages from the early seventies to the two thousand and tens, mostly trying to portrait the sound influence of the vintage horror era made popular by the “queen of horror”, actress Suzzanna, Tempat Angker throws you into decades of experimentation in conjuring the sound of Indonesian terror. Unearthly screams, bombastic fights, bamboo music, eighties synthy extravaganza, ominous sound effects, sexy dangdut, evilish pitched vocals, gamelan, eerie laughters from beyond and even calls to prayer fill the air in the spooky month!

1/4" / 15 IPS / Dolby A Analogue Copy to DSD 256 to analogue console to lathe

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.

Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight.

The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy.

Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn.

On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza.

Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate.

Time to Kill Records, red vinyl, gatefold, re-issue 2025

MURDERWORKS is the third full album of Rotten Sound and is also considered as the stepping stone for the band, which also got us finally touring internationally. We had been doing more crusty stuff at first on Under Pressure and earlier releases. Then we added elements of death metal on Drain and finally started blasting more than ever on Murderworks.
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Murderworks was created mostly during 2001, when Keijo already lived in Tampere while others still were based in Vaasa. Keijo had moved already in 1997, but on 2001 he was rehearsing more than before with others, who were also spending a lot of time together at the rehearsal place. That extensive rehearsing made the release and entire band tighter than before, which probably has a lot to do with how the album ended up being.

180g Vinyl

It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career — a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.

Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl — and on a definitive-sounding pressing at that.

Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.

This collectible reissue presents the improvisational magic that unfolded onstage — the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals —with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.

The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend — and penchant for bold, unorthodox moves.

Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.

For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs — titled after Swahili numerals — are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.

Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.

Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums by Miles Davis’ legendary Second Great Quintet — and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz — the 1967 effort mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity’s 180g 33RPM SuperVinyl LP.

Sourced from the original master tapes and pressed at Fidelity Record Pressing, this numbered-edition audiophile edition of Sorcerer joins the ranks of other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism. Credit goes to MoFi’s engineers as well as the label’s groundbreaking SuperVinyl profile that features the lowest-possible noise floor as well as sublime transparency, dead-quiet surfaces, and superb groove definition.

By any measure, this is a reference reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter’s horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams’ rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock’s piano runs occupy their own space, where their relationship to the central rhythms and front line becomes clearer.

Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad “Pee Wee,” an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another’s moves with guile and purpose. The opening “Prince of Darkness” showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.

A lasting example of Davis’ visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing “Nothing Like You” — a brief tribute to Davis’ eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough — the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.

This collection features sixteen of the most renowned salsa and Latin soul singles released on Fania Records, and its subsidiaries, between 1964-1978, making it the perfect introduction to the legendary catalog. It celebrates the trailblazing label’s 60th anniversary, and iconic artists Willie Colón, Héctor Lavoe, Rubén Blades, Johnny Pacheco, Celia Cruz and more. Archival images and new liner notes, in English and Spanish, by New York-based music historian Aurora Flores are also included.

NEVER reissued on vinyl, rare 1969 album - Includes the Grammy nominated Top 40 hit ‘He Called Me Baby’.

The Sound System has become part of today’s musical/cultural heritage, playing the people’s favourite hits or just as important, breaking some new tunes.
But perhaps less known are the roots of the Sound System, which began way back when…in Kingston….

Around the late 1940’s the Sound System began to overtake the big bands that usually played at the dances in Kingston.

The American Rhythm and Blues records that were so popular at the time would find their way to Jamaica via the merchant sailors and migrant workers returning from their stints in America. For economical reasons alone it would pay to have a DJ on hand to play these hits rather than a 10 piece band that could eat and drink the promotor out of the house and on curried goat!!

The early Sound Systems were basic affairs built around a single record deck, a valve amp and a speaker.

But by the 1950’s they had grown to purpose built speakers the size of wardrobes that could be heard blocks away.

Record producer Bunny ‘Striker’ Lee would remember the time ‘Sound Systems was like our radio station…not many people on the island would own a wireless, so it was the way for the people to hear their music.

So this selection of Lovers, Ballads, Root’s classic’s made the Sound Sytems of Jamaica the place to be.

So sit back and enjoy the ride….SOUND SYSTEM ROCKERS …one and all

The fourth instalment in Pev's Pulse series finds him further widening the scope of his sound as he touches on the distinct energies which inform his unique strain of soundsystem techno.

'Pulse XIII' deals in stark, tweaked-out acid lines cutting through a taut drum machine backbone, balanced out with a sci-fi pad which lets you know its Pev at the controls. 'Pulse XIV' finds him dialling up his jungle roots once more for a dreamy excursion into diced up breaks, cascading synths and dislocated piano chord chops. There's a deeper dub techno spirit to 'Pulse XV' and 'Pulse XVI' deals in the raw, bleep-informed jack tracks that have started to creep into Pev's sound as the Pulse series has evolved.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Vin Gordon, also known as Don Drummond Jr, is a celebrated trombonist from Jamaica who now drops a second 12" on Finnish Dub & Sound International with the Dubsetters. It carries on the good work of their first outing with rootsy and organic reggae rhythms topped with the signature smooth sounds of Gordon's melodies up top. After the original version of 'Get On The Groove', the B-side keeps things sweet with a Groove Dub that is as deep as they come and stacked with echo and reverb for that lovely authentic sound and then closing it out is 'Groove 78 Style' which is more percussive, splashy and cavernous with some deft studio effects added in.

On his third album as Etelin, Alex Cobb explores the intricacies of separation and belonging using field recordings and electronics, reconfiguring the dividing line between what is artificial and natural in the process. Maintaining a sense of playful reverence and lurking melancholy in its glitchy pastoralism, Patio User Manual hums with a meticulous and singular energy. From the loops and static pulses of "The Chemistry of Cobalt" to the tension and release of "Electrical Sailing," the listener is pulled into a sound world at once ambivalent and radiant, reaching its denouement in the lovely melody that closes the final track, "Picnic at Gas Station Park". Although the album might bring to mind the nuanced and imaginative ambient music published by labels such as Mille Plateaux, Sonig, and Silent Records in the 1990s, it is, in the end, a world of its own and very much of today. The patio as a stage for alienated life, pyrrhic in its isolation, deceptive in its promise of distinction. Orientation as disorientation, often unseen inside the frame but felt in the bones. What is out there, anyway, other than the thing we fear the most?



"Another day of weird weather and screens. What type of perfume did Philip Johnson wear when he designed Glass House? Is it actually possible to flee to the country when you’ve internalized a lifetime of intellectualized urban living? When you buy a DIY patio kit, you get instructions for how best to embed concrete or brick or flagstone into the natural world. The patio will make you enjoy your environment more. It will become yours. You can stand on it and think “this is Mine.” The structuralists talked about the importance of fixed camera position, but didn’t properly interrogate it because to do so would be impossible. It’s hard to believe that it really wasn’t long ago that computer music seemed exciting, novel, even radical. We’re now thoroughly estranged from eating what’s in season. Walking around the woods in southern Ohio in spring, I thought about the curious imperative of the patio, how my kids get excited about picking oyster mushrooms, the dynamics of switched capacitor filters, and how adequacy is tethered to doubt." - AC, May 2024

Superb EP !! maximum sound !

2026 Repress

Indispensable heartbreakin' Disco House!