Search:textures

The visionary French musician stays true, in this third compendium too, to his path of planetary asceticism. A new treasure chest of secrets reveals to us the same spirituality of total experimentation, by balancing the universe and the inner soul. In Taste The Fullness Of Life Ariel builds his symphonic pillars toward the cosmos, eternal architectures that always smell of Indian fragrances. The music always communicates a state of full grace, spreading balms of bliss. An unprecedented whispered narrating voice, evident especially in Spiritual Chanson D'Esprit, is embellished with textures of harmonic bells, tropical flutes, spacey harmoniums and drones of mystical light. In the recordings of Going Inward, also made on the occasion of a Tantric workshop, Kalma oscillates between tribal electronic dances, metalic almost industrial rhythms, but then always falls back in a comfort zone made of desert carpets of synths and baths of sound (gong/bells). Harmonica Galactica crowns interestellar dreams with unscrupulous drum-machine gears and pulsing saxes, superb use of VCS3 with arabesque and Schulzian overtones, and suave touches of fingerpicking guitar with freak vibes typical of psych-folk.

Folk Magic Band represents one of the most interesting and original, yet lesser-known experiences of the italian jazz scene of the 1970s. In the legendary alternative environment of the Folk Studio in Rome, an open 18-members lineup is inspired by the free jazz of its time, a music that encompasses the whole world and its polychromy of sound. The echo seems to resonate the pan-ethnic motifs of Don Cherry and his Organic Music Society, but also the spiritual jazz of Pharoas Sanders and the orchestrations of the Sun Ra Arkestra. The textures chase a chinese melody, ignite with african scents and south american jungles, flow into fusion violin drifts a la Archie Shepp's Attic Blues or Mingus-like orchestral sections. The fascination of this collective affair still strikes for its playful and ironic nature, still impressing for its strength and willingness to open and influence new directions.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

"Ritualised choral chants and skronky electric guitar add textures and lustre, subverting possible expectations of an album whose principal instrument is the humble accordion. It may be called Avant Folk but it's so much more than that." - Sid Smith, Prog Magazine

Featured musicians on this are some of Norway's finest from the creative music field: Frode Haltli on accordion, Oddrun Lilja and Juhani Silvola on guitars, fiddlers Erlend Apneseth and Hans P. Kjorstad, horn players Rolf- Erik Nystrom and Hildegunn Oiseth, wizard Stale Storlokken (Supersilent) on Hammond, bassist Fredrik Luhr Dietrichson (Moskus), drummer Per Oddvar Johansen of The Source and multiple legendary Norwegian bands, as well as the up- and- coming traditional musician Helga Myhr on vocals.

PYLAR, one of the best kept secret of the Spanish underground, is a collective formed in Seville (Spain) by members of Orthodox and Blooming Látigo. With an imaginary that feeds on occult sciences, the sacred (with special attention to pagan themes) or hyperstition, PYLAR navigates the depths of mysticism and cosmic horror evoking interdimensional and abyssal sonic scenarios.
An instrumental training that incorporates percussion, guitars, keyboards, horn, violin or mandolin, to which is added vocals that intone texts by the experimental writer and philosopher Francisco Jota-Pérez, fragments extracted from occult sciences and the cult vanguard grimoire Cyclonopedia. PYLAR moves between experimental doom metal, black metal and psychedelia, creating music of dense textures by superimposing elements in the styles of Blut Aus Nord, Swans or Oranssi Pazuzu. Their first work “Poderoso se alza en my” (2013) was their letter of presentation, praised by the very Julian Cope.

Der gefeierte Künstler Israel Nash aus Texas und Missouri wird sein mit Spannung erwartetes neues Album 'Ozarker' am Freitag, den 20. Oktober veröffentlichen. Aufgenommen mit dem Produzenten Kevin Ratterman (My Morning Jacket, Ray LaMontagne), ist Nashs mitreißendes neues Werk eine Ode an seine Wurzeln. Aber mehr als das, es ist eine Meditation über Liebe und Familie, über die Schönheit und den Schmerz, den wir über Generationen hinweg weitergeben, über die Bande, die uns in guten und in schlechten Zeiten verbinden.
Israel Nash, der vom Rolling Stone als "master of sonic textures" und vom britischen Uncut Magazin als "folk-rock visionary" bezeichnet wurde, wurde zunächst in Europa bekannt, wo er sich mit einer Reihe von der Kritik gefeierten Alben eine treue Fangemeinde aufbaute, die ihm einen Vertrag mit dem renommierten Londoner Label Loose Music einbrachte. Als das amerikanische Publikum auf den Geschmack kam, zog der aus Missouri stammende Musiker nach Dripping Springs, Texas, wo er sein eigenes Aufnahmestudio auf einer Ranch baute und einen etwas psychedelischeren Sound entwickelte, der irgendwo zwischen Neil Young und Pink Floyd angesiedelt ist. Produziert von Kevin Ratterman (My Morning Jacket, Ray LaMontagne), kehrt Nash mit seinem neuesten Werk, dem mitreißenden 'Ozarker', zu seinen Wurzeln im Mittleren Westen zurück und macht sich den Heartland-Rock zu eigen, mit dem er aufgewachsen ist - mit überlebensgroßen Gitarren, hymnischen Melodien und reichhaltigen Charakterstudien. Tipp!

Der gefeierte Künstler Israel Nash aus Texas und Missouri wird sein mit Spannung erwartetes neues Album 'Ozarker' am Freitag, den 20. Oktober veröffentlichen. Aufgenommen mit dem Produzenten Kevin Ratterman (My Morning Jacket, Ray LaMontagne), ist Nashs mitreißendes neues Werk eine Ode an seine Wurzeln. Aber mehr als das, es ist eine Meditation über Liebe und Familie, über die Schönheit und den Schmerz, den wir über Generationen hinweg weitergeben, über die Bande, die uns in guten und in schlechten Zeiten verbinden.
Israel Nash, der vom Rolling Stone als "master of sonic textures" und vom britischen Uncut Magazin als "folk-rock visionary" bezeichnet wurde, wurde zunächst in Europa bekannt, wo er sich mit einer Reihe von der Kritik gefeierten Alben eine treue Fangemeinde aufbaute, die ihm einen Vertrag mit dem renommierten Londoner Label Loose Music einbrachte. Als das amerikanische Publikum auf den Geschmack kam, zog der aus Missouri stammende Musiker nach Dripping Springs, Texas, wo er sein eigenes Aufnahmestudio auf einer Ranch baute und einen etwas psychedelischeren Sound entwickelte, der irgendwo zwischen Neil Young und Pink Floyd angesiedelt ist. Produziert von Kevin Ratterman (My Morning Jacket, Ray LaMontagne), kehrt Nash mit seinem neuesten Werk, dem mitreißenden 'Ozarker', zu seinen Wurzeln im Mittleren Westen zurück und macht sich den Heartland-Rock zu eigen, mit dem er aufgewachsen ist - mit überlebensgroßen Gitarren, hymnischen Melodien und reichhaltigen Charakterstudien. Tipp!

The rising Tamil-Swiss artist Priya Ragu is set to release her long-awaited debut album ‘SANTHOSAM’ on October 20th.



‘SANTHOSAM’ (the Tamil word for ‘happiness’) is a standout dynamic album which takes her raguwavy sound – simmering R&B, masterful pop hooks, earthy soulful vocals, dance beats, and the warm tabla rhythms, and spiralling melodics of Tamil music – to even more adventurous heights. Defined by Priya’s contagiously positive spirit, it pulsates with gorgeously varied musical textures and urgent political themes. Once again crafted in collaboration with her brother and producer Japhna Gold, it’s an album that originates from Priya’s quest for self-discovery.



‘SANTHOSAM’ opens with ‘Ammama’s Note’, which features a voice recording in which Priya’s grandmothers is questioning why she isn’t married. Like many young South Asian women, Priya felt like she wanted to achieve much more before she settled down, regardless of other people’s preconceptions of what direction her life should take. That ability to write one’s own destiny continues the euphoric ‘School Me Like That’, set to a rumbling tambla beat and breezy synths. More universal issues are explored in the blazing anger of ‘Black Goose’, which was written in the wake of the murder of George Floyd and the Black Lives Matter protests, and ‘Let Me Breathe (Reprise)’, a spiritual call for freedom, emancipation, and peace.



Elsewhere, the record brims with highlight-after-highlight, taking in everything from the dancefloor disco energy of ‘One Way Ticket’ to ‘Power’ which features a rousing string arrangement that was written by Indian composer Bala and recorded with an orchestra in Budapest. It closes with ‘Mani Osai’, a song which continues a yearly family tradition in which Priya, Japhna and their father write a song together. Never intended to be a Priya Ragu track, it nonetheless felt like the perfect way to close the album – especially as the concluding “santhosam” chant conveys the meaning of the word with life-affirming zest.

BLUE-BLACK COLOURED VINYL! LIMITED TO 100 UNITS
Irakli’s new album is due to come out October 2023 on Live at Robert Johnson. Mechanical Moon is a retrofuturistic adventure of beautiful compositions and pulsating rhythms which are weaved together over the span of eight tracks.

We are immersed into evocative atmospheres, full of intricate textures. This is techno where you close your eyes and board an ocean liner that slowly rises and floats towards the moon.

Happy human with sad eyes roamed the neon-lit streets of the artificial island. This section of the metropolis had been designed as a necessity more than any other amenities. It had been allocated a budget surpassing the one for waste management in a city housing over a billion inhabitants.

Society had managed to eradicate love, yet it still grappled with untamed primal instincts such as dancing, sex, or violence. The island provided a discreet haven, away from the prying eyes of telescreens that silently stared into all souls. Similar to Las Vegas centuries ago, it was a safe space where anything was fair game.

Once there, night time lasted all day. Everything retained an analog essence. Music emanated from vintage record players. Amidst the laughter and tears, the artificial glow of the mechanical moon had become the last reminder of life outside.

A life so repetitive that he had been consumed by the desire to transform into a machine or a human satellite. Yet, breaking the cycle in such a manner remained impossible. And so, he wandered for hours on the island, among the weary faces.

Happy as one could be.

Emerging from the heart of Brussels, the captivating five-piece Azmari is set to release "Maëlström" on October 20. For Maelström, the follow up to their acclaimed debut album Sam?'? (with raving reviews in Uncut, Songlines, Uk Vibe and Electronic Sound), the group has delved into uncharted musical territories creating a mesmerizing "azmarian" identity and melding intricate jazz textures with intoxicating oriental influences, otherworldly ethio grooves, enigmatic dark funk, and the pulsating beats of dub music,

For the creation of "Maëlström," Azmari embarked on an intensive one-week recording journey. During this time, they meticulously honed the sound of their instruments, blending the nostalgic notes of old-school clavinet keyboards with cutting-edge synth sounds, resulting in a distinct and alluring atmosphere. Enriching their traditional instruments with balanced pedal effects and special amplification, the band added new flavours to their sound.

Founded in the vibrant musical haven of Brussels in 2015, Azmari have been crafting a truly unique tapestry of musical exploration. Azmari defies conventional labels to weave a narrative of sonic innovation and artistic liberation. Influences range from an eclectic array of artists, including Okay Temiz, Heliocentrics, Whitefield Brothers, Surprise Chef, Antibalas and Sons of Kemet.

From the band: "For the third part of our musical journey, we dug into a deeper creative process. We literally immersed ourselves in deep waters during a unique two-week aquatic residency. The tracks on this album are thus directly imbued with distinctive underwater frequencies, the sounds of abyssal creatures, and the beauty of the seabed. Convinced by this creative experience, and guided by captain (and producer) Frederik Segers, we brought this album back to the surface and reveal a resolutely scaly, sandy, and deep soundscape."

The follow-up to his acclaimed Constellation debut Third Album released in lockdown spring 2020, Markus Floats returns with Fourth Album, pushing the Montréal-based artist's distinct abstract electronic compositions into newly evocative terrain (while preserving his record-titling literalism). Faced with another couple of years spent unexpectedly, though not unfamiliarly, secluded and studio-bound, working on both paintings and music, Floats emerged by the end of 2022 with a set of tracks "about 60% finished" and a determined desire to throw off the shackles of distancing and isolation. "I had always thought about Markus Floats as a solo project but I am wrong about that. Fourth Album is about asking for help, inviting in, and making a home. It's about trust, exploration, and the effort of letting go."Sharing his in-progress recordings with a trio of close friends and collaborators from the powerhouse free music ensemble Egyptian Cotton Arkestra, each of these players then spent a day improvising to the tracks at Montréal's Hotel2Tango studio. With violin by Ari Swan, saxophone and mbira by James Goddard, and guitar and drums by Lucas Huang, Floats stitched their extemporized instruments back into his compositional process. The result is a fluid, lustrous, dynamic expansion of his sound and structure that continues to strike the ineffable balance of abstraction and soulfulness rightly highlighted and celebrated in the critical response to Third Album. Fourth Album sustains much of that previous work's enchanting equanimity, while inviting a bit more restlessness, accident and grit, with the incorporation of acoustic instruments and improvisation melding Floats' own background in Electroacoustic Studies and Jazz Performance more than ever before.Signature avant-electronic explorations of arpeggiated and timbral transformation, subtle shifts in harmonic consonance and dissonance, and a through-composed praxis that draws coterminously upon free jazz, musique concrète and modern Minimalism, all continue to shape Fourth Album to great effect. But an additional palette of sonic and gestural raw material is now also decidedly "out-of-the-box", charting a wider range of gestures, textures and temporalities. Fourth Album complexifies and intensifies across its 12 tracks, thematizing dualities and introducing new elements of play and accident, even a sort of looseness here and there, as it conjures communal expressivity within shorter, still scrupulous formal structures. Fourth Album also for the first time includes spoken word as a recorded element, previously only (and always) a feature of Markus Floats live performances. The album's final track samples the poet and activist Fred Moten, closing with these words: "What we've been trying to figure out how to get to is how we are when we get together to try to figure it out." This koan of socially-engaged process and creation/advancement of meaning through praxis and immanence reflects the unique fusion of intangible materiality and affective sensibility at work in Markus Floats music, unfolding in new depths and currents with Fourth Album.

Ivan Pavlov aka CoH characterizes his latest solo work,Radiant Faults,as “the recording of a dialogue,” rather than a set of compositions. Crafted using a rare new synthesizer,the Silhouette Eins, Pavlov’s first encounter with the instrument across a long, late night session resultedin a continuous set of textures, patterns, and subliminal melodies. Atsome point during the process, he realized he was not alone: “It was as ifsomething was speaking to me through the gear–the feeling was very intense.No matter how determined and specific I attempted to be, theresults were something else. They felt like 'responses.’ This instantly reminded me of ELpH.

Ivan Pavlov aka CoH characterizes his latest solo work,Radiant Faults,as “the recording of a dialogue,” rather than a set of compositions. Crafted using a rare new synthesizer,the Silhouette Eins, Pavlov’s first encounter with the instrument across a long, late night session resultedin a continuous set of textures, patterns, and subliminal melodies. Atsome point during the process, he realized he was not alone: “It was as ifsomething was speaking to me through the gear–the feeling was very intense.No matter how determined and specific I attempted to be, theresults were something else. They felt like 'responses.’ This instantly reminded me of ELpH.

McCombs is one of the most highly regarded bassists/guitarists working today, known for his pioneering band Tortoise, his bass playing in Chicago"s Eleventh Dream Day, and his innovative instrumental group Brokeback. He has released albums with guitarist David Daniell, and collaborated with the likes of Tom Zé to Yo La Tengo, Stereolab to Daniel Lanois. In addition to being the touring bassist for The Sea and Cake, McCombs has somehow found time to form a new trio Black Duck with guitarist Bill MacKay, and percussionist Charles Rumback. Douglas McCombs" VMAKMcCombs" debut solo album is a mix of improvisation, textural explorations and recurring melodic themes. Taking after Brokeback"s classic Morse Code in the Modern Age: Across the Americas, "Two To Coolness" is a piece that McCombs refined through a series of improvised performances and features Calexico drummer John Convertino, as well as singer/guitarist/synth player Sam Prekop (also of The Sea and Cake). "Green Crown"s Step" was largely improvised working through melodies and patterns. The stately "To Whose Falls Shallows" reshapes three key themes that Tortoise and Brokeback fans will find to be signature McCombs, buoyed by fellow Brokeback member James Elkington (Tweedy), who also engineered and mixed the album. On the album, McCombs plays with spare instrumentation and primarily plays electric and acoustic guitars as well as the Bass VI, drawing out textures that stretch the scope of his instruments. McCombs" work is pastoral and expansive, his playing is refined and nuanced, and his melodies often bely his admiration for Ennio Morricone as his guitar imbues endlessly sprawling fields of the midwest with the same sense of magic. It is a true pleasure to hear him perform in such an intimate way. This is an absolute essential for followers of McCombs and newcomers alike, as the album lays bare his influence on each of his groups as well as firmly stakes McCombs as a force all his own.

Following the news that all three Lush albums are going to be reissued, Emma Anderson, the band’s co-founder, has announced her debut solo album, Pearlies. One of the most underrated British songwriters to emerge from the era that encompassed shoegaze and Britpop, she has teamed up with producer James Chapman (aka Maps) for this collection that combines effervescent electronic pop with psych and folk textures with lyrics covering themes such as confronting your fears, embracing independence and moving on in life.

country songwriter from Brooklyn's indie underground, Dougie Poole blurs the lines between genre and generation on his third solo album, The Rainbow Wheel of Death. Rooted in sharp songwritingvand the organic sounds of a live-in-the-studio band, it's a classic-sounding record for the modern world. The Rainbow Wheel of Death's title nods to the colorful pinwheel that appears onscreen whenever a computer's application stalls. For Poole _ who found himself working as a freelance computer programmer once the pandemic brought his touring schedule to a temporary halt in 2020 _ it's also a reference to the holding pattern that's left much of society feeling stuck, unable to move ahead in an uncertain world. That feeling was pervasive when he in his New York City bedroom and wrapping up the songwriting process in the recording studio itself. Once hailed as the "patron saint of millennial malaise" for his sardonic wit and topical, tongue-in-cheek songwriting, Poole broadens his reach here. "High School Gym" builds a bridge between 2020s lo-fi textures and 1980s pop vibes, while "Must Be In Here Somewhere" _ whose narrator sits at a lap top, searching through "every server burning in North Carolina" for a digital souvenir of a long-lost relationship _ mixes modern concerns with classic country instrumentation. If records like 2017's Wideass Highway and 2020's breakthrough release The Freelancer's Blues told stories about uninspired Millennials languishing in dead-end jobs and no-good relationships, then The Rainbow Wheel of Death focuses on more universal issues like mortality, love, and the passing of the time. With The Rainbow Wheel of Death, Dougie Poole breathes new life into country music, retaining the acclaimed elements of his previous work _ drum machines, synthesizers, and his deep-set voice _ while pushing toward something warm, organic, and prismatic.

country songwriter from Brooklyn's indie underground, Dougie Poole blurs the lines between genre and generation on his third solo album, The Rainbow Wheel of Death. Rooted in sharp songwritingvand the organic sounds of a live-in-the-studio band, it's a classic-sounding record for the modern world. The Rainbow Wheel of Death's title nods to the colorful pinwheel that appears onscreen whenever a computer's application stalls. For Poole _ who found himself working as a freelance computer programmer once the pandemic brought his touring schedule to a temporary halt in 2020 _ it's also a reference to the holding pattern that's left much of society feeling stuck, unable to move ahead in an uncertain world. That feeling was pervasive when he in his New York City bedroom and wrapping up the songwriting process in the recording studio itself. Once hailed as the "patron saint of millennial malaise" for his sardonic wit and topical, tongue-in-cheek songwriting, Poole broadens his reach here. "High School Gym" builds a bridge between 2020s lo-fi textures and 1980s pop vibes, while "Must Be In Here Somewhere" _ whose narrator sits at a lap top, searching through "every server burning in North Carolina" for a digital souvenir of a long-lost relationship _ mixes modern concerns with classic country instrumentation. If records like 2017's Wideass Highway and 2020's breakthrough release The Freelancer's Blues told stories about uninspired Millennials languishing in dead-end jobs and no-good relationships, then The Rainbow Wheel of Death focuses on more universal issues like mortality, love, and the passing of the time. With The Rainbow Wheel of Death, Dougie Poole breathes new life into country music, retaining the acclaimed elements of his previous work _ drum machines, synthesizers, and his deep-set voice _ while pushing toward something warm, organic, and prismatic.

“Cinematic electronica embraces intelligent Indian infused beat making”.

Belgian beat collective Up High Collective return with their new album 'Koinonia.' Their second full-length comes five years after their debut album in 2018. For 'Koinonia' they have invited Belgian iconic drummer Lander Gyselinck (STUFF.) and several other guest musicians. The first single 'Koi' is available now, the record is set for release on Wednesday October 11 on vinyl, Bandcamp and via all digital platforms via San Kofa Rhythm Records.

"Going with the cinematic tides of sound: first single 'Koi' features compelling South-Asian sitar, imminent strings, drums by Lander Gyselinck and carefully constructed beat making."

Spearheaded by producer duo Koen De Petter and Renaldo Maria, this record is Up High Collective’s most ambitious music project to date and has been in the works since 2015. The name of the record - Koinonia is Greek for "fellowship" or "community" - refers to the intense and inspiring interplay between the collective and several musicians they invited to contribute.

Raw analog recordings and beats by the producer duo, brimming with imperfections and samples from original Indian music, laid the foundation for live studio sessions by Bert Cornelis, one of the few sitar players in Belgium, drummer Lander Gyselinck (Lander & Adriaan, STUFF.), double bassist Jens Similox (Orchestre Collone) and multi- talented bassist Boris van Overschee (Okon, Delv!s). From their intrinsic penchant for deconstruction, the live elements were cut up by the producers, heavily rearranged and presented as new sounds. After several sessions in their Up High Studio (Leuven), carefully constructed collages gradually started to form with all of its layers filling the deepest corners of the sound space.

The result is a record that balances perfectly between cinematic electronica with complex harmonies to get lost in and solid club oriented beats with crunching textures and off the grid rhythmic patterns.

"All of these songs share an underlying, invisible force bound by the intense interplay and mutual inspiration between us and the live musicians.

OVERVIEW: This is essential. We don't just refer to the album title: this new record by multi-instrumentalist and producer Thysenterprise is essential material for lovers of spiritual jazz with a hip-hop edge. As described in the liner notes: "The spirit of Pharoah Sanders, Archie Shepp, and Coltrane permeate the music here. At times, Thysenterprise and his guests meld the influence of the great jazz cannon with the rhythms of hip-hop."

'ESSENTIAL' moves with ease from spiritual sounds to hip-hop-infused head nods. The liner notes by writer John Morrison perfectly encapsulate the type of sonic trip you're in for: "While the improvisational heights that Thysenterprise and crew reach throughout the album owe a debt to hardbop and the avant-garde, there are beats and textures here akin to the work of Karriem Riggins or A Tribe Called Quest. The result is a truly contemporary sound that plays freely within the depths of human feeling."

'ESSENTIAL' is by far Thysenterprise's most personal album to date. From beginning to end, he pays a heartfelt tribute to his late father. The artist revisits and rearranges melodies from iconic jazz records that formed a profound connection between the two of them. Throughout the album, there are nods to songs that were essential for Reinier's musical upbringing. It shows that the saxophonist plays with heart and doesn't shy away from expressing grief and loss. Or as stated in the liner notes: "We play for pleasure, we play to understand ourselves and the world around us, we play to celebrate and remember our loved ones."

Renowned Dutch alto saxophonist Benjamin Herman joins Thysenterprise for intimate call-and-response on "Feedback of Silence." Next to that, Michael Moore graces "Happiness Is a Memory" with a heartfelt bass clarinet solo. Moore is part of the Han Bennink-founded ICP Orchestra. It's safe to say that Thysenterprise builds on that rich lineage of improvisation, playfulness, and distinct originality. On 'ESSENTIAL,' he takes that to new heights. The album comes beautifully packaged as a gatefold 2LP with vinyl-exclusive alternate takes on the D-side.

Following Laksa’s mind-bending Body Score EP, Jurango joins the re:lax family for their second outing. Enchanting yet explosive, Isle of Crass EP explores driving rhythms, deep textures and heady atmospheres across four high-tempo tracks. The release sees the Bristolian entering new territory, drawing inspiration from Rian Treanor, Djrum and the pulsating energy of Singeli and Nyege Nyege Tapes.

HYbr:ID Vol. 2 is the second installment of Alva Noto’sHYbr:IDseries initiated in 2021. The new album captures the music commissioned to score RichardSiegal's Ectopia performed in 2021 by Tanztheater Pina Bausch with Shooting into the Corner (2008-09) by Anish Kapoor. Building upon the captivating blend of immersive dub and electronica from the first installment, HYbr:ID Vol. 2 takes the listener on a journey into the realm of intricately manipulated digital production. These ten compositions delve into infinity, drawing inspiration from resonance and elasticity, concepts rooted in Minkowski's four-dimensional spacetime model.

Throughout the album, Carsten Nicolai summons precise rhythmic patterns that gracefully hover, reminiscent of celestial bodies orbiting in perfect cosmic unison. The sonic landscape gradually unfolds with somber and brooding tones, incorporating spacious sound design, ethereal atmospheres, and cascading metallic percussions. These elements are delicately crafted with artistic finesse, set against a backdrop of expansive dub textures. At times, the music takes unforeseen turns, as melancholic chords skitter and meander through a digital haze, evoking an atmosphere of introspection and emotion. The ten compositions are accompanied by graphic notations informed by the album’s sonic and acoustic codes.

Introducing a super charged split LP featuring the talents of Cameron Stallones aka Sun Araw and Spencer Clark’s duo with Jan Andersen, Tarzana.
What originally started as an Aquapelago inspired residency in the summer of 2021 quickly developed into its own thing. Truth be told, both artists always surfed their own personal waves of musical freedom, so Aquapelagos Vol.2 album became AQUA X, a split offshoot work featuring rehashed Tarzana compositions on one side and a live presentation form Cameron’s residency in the island of Tenerife around Keroxen festival’s 13th Edition. With two artists very dear to us this split LP picks up perfectly on the aquapelagic concept and twists inside out into worlds high and below creating a further testament to both’s artists oeuvres. Here’s an extract of Professor Haywards original liner notes regarding the music:
‘’The tracks on this album reflect the geo-cultural position of Californian-based musicians, Cameron Stallones, (who records here under the Sun Araw moniker), and Spencer Clark and Jan Andersen’s (performing as Tarzana) with oceanic atmospheres and structures of feeling.
Sun Araw’s dedication to producing subtle, flowing, psychotropic compositions can be read as an attunement to the oceanic sublime. Recorded within the disused Keroxen tank in Santa Cruz harbour in Tenerife, The Canary Suite is an extended piece that features a mix of electronic pulses, short synthesizer fragments and distorted guitar bursts. The textures are relatively sparse throughout, with a linear emotional contour sustained by an ongoing melodic play within a defined band of possibilities before settling into a calmer, soothing and floating mood, like an aural floatation tank.
Tarzana’s tracks artfully blend simple synthesizer tones, vocal exhortations, and an assortment of treated instrument sounds to create a pulsing, wandering and restless music. Short rhythmic ostinato fragments push and pull against bold blown pipes and horns while subtle darker colours and shades intermittently move through the soundscape to intensify the mood. This is busy and dense music but with an orderly flow and internal sense of motion that sweeps up the listener in its wake, like a sailing ship propelled through tropical seas.’’

Memory Play returns to Control Freak Recordings, this time offering up the latest release for their White Label series with Weather Structures EP.

Following recent performances across Japan and at London techno haven FOLD, Memory Play has marked themselves out as one of the most exciting & energetic live techno acts to emerge onto the scene in recent years.

Dark, mechanical and intensely psychedelic, Weather Structures EP sees Control Freak exploring new sonic territory. A boundary-pushing exploration in driving 4x4 techno, Memory Play’s strong focus on hyper-detailed textures will be instantly familiar to fans of their debut Choice EP, released on Control Freak earlier this year.

At the helm of a collective immersed in London’s underground house landscape, Bizarre Traxx co-founder Jhobei is keeping things moving in his own unique way, shaping and crafting a sound to call his own. Releasing on labels like Mindhelment, Picnic and Mood Waves while stepping out as 1/3 of trio Felon5, he marries warping and heady territories with loose, spacey spheres, creating immersive trips for all hours of the night. Here he delves deeper once more, landing on Up The Stuss for the first time with his playfully titled ‘Slink ‘N Slide’ EP.

The title cut launches straight into the action and showcases his sound perfectly, harnessing squiggly synths, driving low-end grooves and sweeping astral sonics to unveil a cosmic ride through rich textures. Expect the same depth and unpredictable twists and turns across the EP as he draws for influences spanning those early golden years of tech house through to minimal and hazy late-night electronic realms. As debuts go, this one is stacked with treats and musical goodness from top to bottom - no surprise they’ve been go-to cuts for those deeper moments from the label boss!

Keita Sano is a prolific Japanese producer who has released on revered labels such as Mister Saturday Night, Lets Play House, Morris Audio and 1080P. His fusion of dark, distorted, acidic textures and crunchy disco beats gives his produc tions a unique sound which works perfectly for Delusions Of Grandeur and the label is proud to welcome him for his debut DOG EP entitled Love Is Emotion.

The title track comes on like a proverbial runaway train with heavy, pounding beats and bassline forging things ahead while the most twisted, tripped out FX rise and fall creating an absolute juggernaut of a track which takes no prisoners. A decept ively simple DJ tool which is loaded with drama for maximum impact on the more left of centre dance floors.

Up next we have Violet which takes a low-slung deep house approach but with the grit and dirt that Keita always brings to the party. The first half of the track teases with tension-building chords and syncopated bassline which bounces around a massive four on the floor kick drum. Things fall away in the middle of the track to reveal a beautiful, heartwarming piano part, setting the scene before things get truly epic with orchestral strings bringing a touch of the film noir to proceedings.

I’m A Man picks up the pace again for an intense acid work out which pushes the sonic boundaries to the limits with seriously warped FX creating mayhem around a simple, percussive disco groove. As secret weapon DJ tools go, this is right up there.

Closing out this mind-bending release Keita remains in experimental mode on Love Is Emotion offsetting melodic arpeggios and sweet chords with off-kilter sonic madness ensuring things remain dark, dirty and deep.

By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become syn - onymous with the genres of horror, suspense, and science fiction. His innate talent for composition and his deep understanding of how music can elevate storytelling have left an indelible mark on the world of cinema, and a haunt - ing presence in people's record collections. Anthology II continues the celebration of his compositional genius via an ex - cellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter . The compilation opens with "Chariots of Pumpkins" from Halloween III that perfectly captures the eerie essence of the cult classic film with its pulsating synths and haunting melodies. The listener is engulfed by a sense of unease and anticipation, before being thrust into "69th St. Bridge" from Escape From New York , a dynamic track that encapsulates the futuristic and gritty nature of the film via the use of throbbing bass lines, driving rhythms, and electronic textures. The record has also an isolating tone as it skulks through ambient leaning tracks such as "Fuchs" and "To Mac's Shack" from The Thing, and "Walk to the Lighthouse" from The Fog, all of which display a slower tempo, foreboding undertones and an ethereal atmosphere that feels like a distant whisper. All of which has been cautiously laid in preparation to the grand finale. The iconic and instantly recognizable "Laurie's Theme" from the original Halloween . Its simple yet menacing piano melody which has become synonymous with the horror genre, concludes the album by striking fear into the hearts of listeners. These tracks represent just a fraction of John Carpenter 's impressive musical repertoire. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history.

By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become syn - onymous with the genres of horror, suspense, and science fiction. His innate talent for composition and his deep understanding of how music can elevate storytelling have left an indelible mark on the world of cinema, and a haunt - ing presence in people's record collections. Anthology II continues the celebration of his compositional genius via an ex - cellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter . The compilation opens with "Chariots of Pumpkins" from Halloween III that perfectly captures the eerie essence of the cult classic film with its pulsating synths and haunting melodies. The listener is engulfed by a sense of unease and anticipation, before being thrust into "69th St. Bridge" from Escape From New York , a dynamic track that encapsulates the futuristic and gritty nature of the film via the use of throbbing bass lines, driving rhythms, and electronic textures. The record has also an isolating tone as it skulks through ambient leaning tracks such as "Fuchs" and "To Mac's Shack" from The Thing, and "Walk to the Lighthouse" from The Fog, all of which display a slower tempo, foreboding undertones and an ethereal atmosphere that feels like a distant whisper. All of which has been cautiously laid in preparation to the grand finale. The iconic and instantly recognizable "Laurie's Theme" from the original Halloween . Its simple yet menacing piano melody which has become synonymous with the horror genre, concludes the album by striking fear into the hearts of listeners. These tracks represent just a fraction of John Carpenter 's impressive musical repertoire. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history.

Very limited stock available on these. Picture Disc Vinyl Packaging: 2xLP zoetrope (animated) picture discs, 24x36 foldout poster in custom silkscreen PVC gatefold sleeve + download card. On their fifth album, Infinite Granite, Deafheaven are no longer toying with the juxtaposition of pitting metallic abrasion against swirling grandeur. Quite the opposite: Infinite Granite is a bold and brave leap forward, a gorgeous and invigorating album brimming with style and splendor. In the context of their catalog, it takes on a whole other layer of defiant beauty. Across Infinite Granite, vocalist George Clarke showcases a startling vocal range; falsettos, whispers, multi-part harmonies, and other adventurous vocal treatments, with his trademark black metal-inspired howls mostly absent. Guitarists Kerry McCoy and Shiv Mehra expand their sonic palette to include synth textures using them to enrich their astral guitar work rather than outright replace it. Drummer Daniel Tracy has always been a force to reckon with behind the kit, but where he used to floor audiences with his speed and stamina, he’s now free to broaden his approach and lay down authoritative drum patterns that together with bassist Christopher Johnson’s punchy bass lines anchor the band’s lofty arrangements. The refinement of their sound was further encouraged by producer Justin Meldal-Johnsen, who lent a pop ear to the record. Jack Shirley, who helped produce every previous Deafheaven album, remained on board to engineer the album along with additional engineering and mixing from nine-time Grammy Award winner Darrell Thorp. Ultimately, Infinite Granite is Deafheaven’s most goosebump-inducing album to date. Highlights: Follow up to 2018’s grammy nominated album Ordinary Corrupt Human Love and first full-length release with Sargent House. Deafheaven named ‘Artist of the Decade’ by Vice, along with albums featured in ‘Best of 2010s’ lists on Pitchfork, Rolling Stone, Metacritic, AV Club and many more. Three previous albums Sunbather, New Bermuda and Ordinary Corrupt Human Love have received incredible praise from press and named ‘Best New Music’ by Pitchfork. Deafheaven have scanned over 160k albums and streamed over 30 million tracks in the US alone.

Repress on a new colour - Red/clear half-and-half vinyl with black splatter. Kingston-upon-Hull’s The Black Delta Movement return with their stunning new album ‘Recovery Effects’ – 8 tracks of immersive, groove-heavy garage rock released April 21st 2023 on Fuzz Club Records. Determination and a commitment to musical development are writ large across Matt Burr’s personal and artistic journey as the main creative force behind The Black Delta Movement. His most collaborative work yet, ‘Recovery Effects’ sees Matt recruiting highly lauded UK guitar-slinger and Little Barrie frontman Barrie Cadogan and bandmates Lewis Wharton (Bass) and Tony Coote (Drums) to provide musical backing on the album. With legendary producer, The Heliocentrics’ co-founder and drummer extraordinaire Malcolm Catto also helming production duties. “The album’s a love letter to the band and all the emotions that come with it,” explains Matt when talking about the period of adversity that led to its creation. Finding himself without his former bandmates following the release of their highly-praised 2018 debut ‘Preservation’ and that record’s subsequent live shows, the pandemic-induced lockdown periods throughout ’20 and ’21 initially gave time for reflection before proving to be a time of productivity. Giving Matt the breathing space to fine-tune the new songs alongside Cadogan before hitting the ground running when entering the studio in late 2021 – the band cutting the basic tracks live and Malcolm Catto providing invaluable input when it came to moulding the music you hear contained throughout. The results of this creative melting pot of such talented and seasoned musicians see The Black Delta Movement delivering that ring thing: a layered, honest and deeply entertaining rock’n’roll record. There are a myriad of moods and textures, whether on the garage-blues grooves of opener and first single ‘Fourth Pass Over The Graveyard’, follow-up single ‘Zip-Tie’ which explodes from its moody intro into punk-rock motorik, or the psychedelic slow-burn of ‘Hiding In The Tall Grass’ which manages to channel the likes of The Doors and Spacemen

The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol which will be accompanied by a full length documentary might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music a field traditionally dominated by men in Andean communities long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun

POH (Point of Hue): It’s all about colors. Closet Yi sees the world in vibrant hues, as a sonic exploration of her kaleidoscopic vision. Seeing herself as more of an observer than a doer, she testifies her unique perspectives of the world in each track with all different hues and emotions.

Instinctively catchy and affecting, the four track dance EP is full of intricate textures, unexpected harmonies, and subtle sonic flourishes that reveal themselves with each listen. Written and mixed in her hometown, Seoul, the infectious EP is a collective of warm, floating yellow purple molecules in the air with introspective shades of cobalt and sage.

As much as she has a wide spectrum of taste, Closet Yi cements her core to its place where the most exciting and new coming artists are now.

Gottwax is back with its seventh instalment, and this time, the reins are in the hands of the Beeyou co-founder and FUSE regular, Laidlaw. Laidlaw showcases his unparalleled talent and versatility as a producer in the 'Prophecy' EP, solidifying his status as one of the rising stars in the scene. This four-track EP takes listeners on a journey through deep house, stripped-back grooves, and breakbeat, making it an absolute essential for every discerning DJ's collection.

The EP kicks off with 'Wait Till The End,' a deep house gem with a playful bass line, moody chords, and sparkling top notes. Each element is thoughtfully crafted, blending harmoniously to create an atmosphere that subtly builds throughout the track. 'Wait Till The End' is a flawlessly realised tune, serving as an incredibly strong start to this EP.

Next up is 'Planet 727,’ is a minimal groover with deep, subby bass and hints of tribal drums, infusing the rhythm with captivating movement. This track is one for late-night, ensuring the dance floor keeps moving till the early hours.

As the title track of the EP, 'Prophecy' does not disappoint. This groove-laden breakbeat track is brimming with deep sub bass and intricate textures, leading into an infectious melody. A must-have in every DJ's bag, 'Prophecy' will undoubtedly be the soundtrack for countless future parties.

Closing out the EP is 'That Was Well Quick,' a high-energy composition adorned with mesmerising melodic textures. With its hypnotising baseline groove and captivating top lines, this track creates an infectious atmosphere, injecting an electrifying energy into the dance floor. 'That Was Well Quick' is an absolute essential for all devoted electronic music lovers.

We are beyond excited to welcome Laidlaw to the Gottwax family and share this incredible release you. Prepare to be taken on an unforgettable sonic journey with the ‘Prophecy EP’.

Since stepping onto the scene over a decade ago, Romanian producer Nu Zau has become a figurehead for the microhouse scene his homeland is synonymous with, racking up releases on the likes of the Italian Modbox helmed Castanea, Stockholm’s Sono Unica and Aurum, sub-label of the renowned white label Telum imprint. Here, we see Nu Zau joining the roster of Basel, Switzerland’s Adam’s Bite, home to material from the likes of Barac, Cristi Cons, Traumer and Ion Ludwig amongst others.

Leading the way on the package is ‘Feeling Alive’ a subtly unfurling journey that twists and turns through bouncy bass notes, an amalgamation of modulating synth flutters, hypnotic voices and crisp percussion. ‘Your Turn’ follows next and shifts gears towards squelchy acid bass, choppy stab sequences and ethereal pads, all underpinned by a crunchy, raw drum workout.

On the flip-side ‘Intense Jazzy’, as the name would suggest leans into a more organic feel with a snaking bass line, a shuffled jazz-tinged rhythm and a murky underlying tension perfectly crafted for dark, smoky rooms. ‘The Light We Carry’ then rounds out the release, bringing swirling resonant synth textures and robotic voices into the mix alongside a swaying sub bass groove and low-slung drums

Félicia Atkinson: »Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe)« (2021)

Félicia Atkinson’s Ni envers ni endroit que cette roche brûlante (Pour Georgia O’Keeffe) is approached as a meditation, not as meditative music, but as a reflection on the art of creation: how to inhabit one’s creation, how to convey it, domesticate it and live with it. Drawing inspiration from the artist Georgia O’ Keeffe, both in her work as a painter and in the houses in which she lived in New Mexico, and even in the landscapes that surround them, Félicia Atkinson has composed a piece that evokes and celebrates, in a poetic and holistic way, the mystery of art, the somnambulic oscillation that accompanies the act of creating. Blending fragmentary voices, islands of piano, electronic textures and patterns, and field recordings, Félicia Atkinson’s music is sincere and inspired, a meditation, then, but also a lesson we sometimes forget: being an artist is not an activity, even less a profession, it’s a singular way of approaching the world and, in so doing, densifying it.

Richard Chartier: »Recurrence.Expansion« (2020)

Richard Chartier’s music takes up residence at the frontiers of the audible, on the edge where sound diffracts into an inter-dimensionality where sounds, space, listening and silence recombine in an arborescence of becomings that present themselves to us and then disappear. The space-time in which Richard Chartier’s music unfolds is a stretched space-time, barely emerging in the world of sound. The delicacy, precision and accuracy of the composition Recurrence. Expansion lies precisely in this dialogue between a shape that is exposed and developed in an inspired and masterful way, and the sonic biotope in which this shape develops. It is from such an encounter that the singularity of Richard Chartier’s music emerges, music of attentive listening, but also sensitive, inhabited music, a music of discreet metamorphosis.

If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.

The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.

Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.

Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.

UK drummer and sound artist Cameron Graham dances between EDM, joyous calypso colour, cellular Glassian minimalism, and hyperrealist AI on debut album Becoming a Beach Angel, evoking a SNES world of blissful vibrancy.

Creating his dizzying, dayglo MIDI explorations with drumkit triggers, UK musician Cameron Graham conjures a multitude of soundworlds from dense compositional structures. The music of debut album Becoming a Beach Angel touches on neon, videogame digitisation, the finessed, mechanical precision of IDM, even the rhythmic intensity of gamelan, whilst retaining a thrilling and wholly singular energy. The record is an electrifying experience, full of colour.

Becoming a Beach Angel flips and trips through headspinning, hyperspeed effervescence, like an entire rave condensed into a moment. Instantly joyful, its textures - formed in wavetable synthesis triggered by live-performed percussion pads - thread and bob through hyperreal abstract space, millisecond snippets of organ chords and steel pans zooming like stars in a galaxy rocketed past at

lightspeed. “It’s about grabbing and holding a close person going through depression or self-doubt, taking them out the door,” Cameron explains. “Dance music for that moment you need only to find a way to move forward.”

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Limited rerelease. Unavailable for years. The legendary album from 1984. Fully remastered by David Cunningham. These recordings were originally released on cassette by Touch in 1984 with the exception of 'Parts Of My Body', released on a single by Canal Records in 1979. Performed by: Steve Beresford: bass, piano, farfisa organ, prophet 5, trumpet, flugelhorn, euphonium, percussion, glockenspiel, voice, toy piano, melodica, noises, rhythm tracks, drumkit. David Toop: guitar, prepared guitar, bass, percussion, flute, alto flute, glockenspiel, voice, tapes, noises, rhythm tracks David Cunningham: tape treatments with guests: Lol Coxhill, Dawn Roberts and Maartje ten Hoorn 'The atmosphere which General Strike conjure together suits an old fashioned, cold war-ish scenario of technology. Their 'Interplanetary Music' is the space pop of George Pal and 'The Day The Earth Stood Still', of computers built like Blackpool Tower in order to struggle through simple trigonometry, of 'The Jetsons' and I.G.Y. They go no further than Expo 67, the world's last gasp of optimism. And although there are dark and disquieting moods set in this mosaic which their listeners have pieced together, it is made with a humour which is true to the spirit of adventure which those references apply. The sanitation merchants who make up most of the world's record-makers today would forbid our ears from hearing these strangely electric keyboards, earthworked textures, bizarre chattering of percussion, and voices that seem like puzzled robots. Cataloguing the sound in that way makes it all seem a bit of a joke, but it isn't: laughter is encouraged, but it's serious music, made with a great deal more serious spirit than the great and disheartening mountain of music which today implores you to hear and not listen.' (Richard Cook).