Suche:the beat

British South African composer & producer Galina Juritz presents 'One Weird Trick', her debut solo album on London's home for interdisciplinary oddballs, Kit Records.

As a classically trained violinist, Galina has worked in bands and ensembles such as ShhArt Ensemble, Inclementine, and in various combinations featuring leading musicians from Cape Town and Johannesburg's classical and jazz scenes.

Galina composed the music for Madness: Songs Of Hope and Despair, a cantata made in collaboration with Dizu Plaatjies, with a libretto by psychiatrist Dr Sean Baumann. Madness debuted at the World Psychiatry International Congress in 2016, and had a two week run at Cape Town's Baxter Theatre in 2017. As a composer she writes frequently for film, animation and ensemble.

She has collaborated with the likes of composer Neo Muyanga, Mr Beatnick, Cara Stacey, Kelpe, Juliana Venter, Violeta Garcia, Kit Records head Richard Greenan & more. Galina has been remixed by the likes of Photay, Memotone and Tom Skinner (Sons of Kemet, The Smile).

'One Weird Trick' is the culmination of her solo material. Still rooted in the ornate, technical world of string composition and arrangement, the album is stubbornly unclassifiable.

Opening with time-dilated ambient ('Leaves') before segueing into rippling, florid techno ('Skeleton and Tiger fighting'), Galina twists again and again, shifting gears through stoned, jazz-inflected r'n'b ('Things I Know to be True'), string-led widescreen songcraft ('Come Back') and orchestral minimalism for standing on vast shorelines ('Time Split at the Seams of Your Departure [everything is now before and after]').

On the B side, Galina flexes her composition chops with the storming jazz of 'Spirit Level', recorded by Cape Town-based musicians Buddy Wells, Andrew Lilley, Jonno Sweetman & Stephen de Souza. Galina is then joined by the Stockholm Sax Quartet on 'In Rebellion of Time', a stately Reichian revelation that moves from solemn ballet to ecstatic multiharmonic denouement. To close, Galina retrieves oozing electronics and smeared journal entries from the guts of a black hole - a fitting conclusion to a truly unique, unpredictable, delightful, sad, infectious, and bizarre record.

Influences / sounds like: Louis Cole, Matthew Herbert, Darkside, Thundercat, Eiko Ishibashi, ECM, Oliver Coates.

'One Weird Trick' is out 7th November 2025 via Kit Records, available on vinyl & digital formats.

Kit Records will throw an album launch party at Servant Jazz Quarters in Dalston, London on 30th October 2025. Tickets TBC.









[g] 07: Time Split at the Seams of Your Departure (Everything Is Now Before and After) [feat. sir kay]

The Dears have made some of the most beautiful music of the past quarter century, but also some of the most defiant, with an attitude and emphasis that seems to blend the operatic with a punk sensibility. On their new album, "Life Is Beautiful! Life Is Beautiful! Life Is Beautiful!", The Dears are again at the top of their form, coming back with passionate, compassionate, urgent music that uplifts, explores dark corners, and ultimately shines out in a way that's absolutely gorgeous, with an edge.

""Life Is Beautiful! Life Is Beautiful! Life is Beautiful!" feels like a new masterpiece and provides further evidence that The Dears are a vital part of the musical landscape, and also just completely doing their own thing, as ever." "If I love The Dears, if you love The Dears, it's because that orchestral, symphonic feel, those gorgeous melodies, are grounded in a gritty, gonna-die-on-this hill mentality and a heady intellectualism." "... my heart skipped a beat from the opening chords of "Gotta Get My Head Right"—a masterpiece of rising tension and killer melodies, layered and precise and yet roving and wild, with changes in the music and the progressions that alter your brain while listening. What follows is an album that's as various and yet as unified as that first track. Few bands can achieve this kind of complexity while also making it seem timeless and so very perfect." "There's no one like The Dears and there never will be, and I really appreciate that so very much." - excerpts from the album bio, written by New York Times bestselling author Jeff VanderMeer

The Dears' 9th studio album, "Life Is Beautiful! Life Is Beautiful! Life Is Beautiful", pressed on gold vinyl in a limited edition of 1000, will release worldwide 11/7 via Next Door Records.

When CRIMEAPPLE and Big Ghost Ltd first linked up on their "Aguardiente" collaboration in 2016, the two came to shake the game up. The iconic Antioqueño bottle left a mark in underground hip-hop that still stands strong to this day, and to follow up they cooked up the deadliest material to do that once again with "Bazuko".

Named after the deadliest and most addictive street drug in Colombia, basuco, the album embodies the raw, uncut and unfiltered essence of their artistic process, much like the gritty remnants of cocaine paste.

CRIMEAPPLE's razor-sharp lyricism cuts through Big Ghost Ltd's masterful, hard-hitting beats, creating a visceral, addictive and immersive soundscape. With "Bazuko," the two aren't just following up on "Aguar-diente"; they're raising the stakes, delivering a project that is as potent and unforgettable as its namesake.

When CRIMEAPPLE and Big Ghost Ltd first linked up on their "Aguardiente" collaboration in 2016, the two came to shake the game up. The iconic Antioqueño bottle left a mark in underground hip-hop that still stands strong to this day, and to follow up they cooked up the deadliest material to do that once again with "Bazuko".

Named after the deadliest and most addictive street drug in Colombia, basuco, the album embodies the raw, uncut and unfiltered essence of their artistic process, much like the gritty remnants of cocaine paste.

CRIMEAPPLE's razor-sharp lyricism cuts through Big Ghost Ltd's masterful, hard-hitting beats, creating a visceral, addictive and immersive soundscape. With "Bazuko," the two aren't just following up on "Aguar-diente"; they're raising the stakes, delivering a project that is as potent and unforgettable as its namesake.

Halina Rice is a London-based electronic music artist known for her groundbreaking approach to music production and live performance.Rice has established herself as a leading figure in the contemporary electronic scene, blending complex soundscapes with immersive visual elements.

Her previous releases have been praised for their innovative use of technology and emotional depth, earning her a dedicated following around the world.

UNREALITY is the latest installment in the NEW WOLRDS series where each track is considered as the creation of a unique environment using textured synths, warped sound design and underpinned by a beat-driven dance sensibility.

Rice has toured the album extensively across the UK and Europe with sold out headline shows as well as festival appearances on the lineup with artists such as Jon Hopkins, Max Cooper and Rival Consoles.

Press coverage for the album includes Mundane Mag, Narc Magazine and previous support for the artist project includes feture length articles in Electronic Sound Magazine, DJ Mag, Mixmag, Decoded, Earmilk and Headphone Commute.

"Rice is part of a frontier movement of like-minded artists who twist, transform and manipulate the hallmarks of electronic dance music and visual accompaniments into exciting new shapes"

Electronic Sound Magazine

Später, in den Tagen der funkelnden weißen Overalls, erreichte Elvis einen Höhepunkt, als die Musik ihn so tief bewegte, ihn in solche Höhen hob, dass es nur noch eines zu tun gab: "die umgekehrte Klaue". Wenn Musik dich dazu bringt, ist das ein wirklich großartiges Gefühl. "Die umgekehrte Klaue" ist das, worum es bei Deerhoof geht. Ihre jubelnde Musik zieht dich in den Moment hinein, und dort freust du dich. Auf dem transzendenten Album ,Friend Opportunity" überrascht die Musik immer wieder: Songs wie ,Perfect Me" haben drei oder vier Abschnitte mit atemberaubenden Offenbarungen des Erhabenen; ,Matchbook Seeks Maniac" zieht in der Mitte einen ,99 Luftballoons"-Breakdown-Move durch, rockt ein Brahms-Intervall im pop-narkotischen Refrain, und die Beach Boys und The Who sind überall im Mix zu hören - es ist eines der glorreichsten Dinge, die man je hören wird. Auf früheren Alben war eine der Hauptwaffen von Deerhoof der negative Raum - die atemberaubenden Stille zwischen den Beats und Akkorden schlugen härter zu als jedes Klirren und Klirren von Gitarren und Becken. Deerhoof waren wie Maler, die leere Stellen auf der Leinwand ließen, um ihre Pinselstriche hervorzuheben; jetzt neigen sie dazu, jeden Quadratzentimeter auszufüllen und laden uns ein, jeden brillanten Winkel zu genießen. Und Songs wie ,Perfect Me", ,Believe in E.S.P." und ,Choco Fight" sind weitaus groove-orientierter - und ja, auch sexier - als alles, was sie bisher gemacht haben. Das alles ist in Gegenüberstellungen integriert, die eigentlich irritierend sein müssten, aber einfach nur erstaunlich klingen. ,Believe E.S.P." beginnt mit Deerhoofs Interpretation von funkiger Slinkopation, aber der nächste Abschnitt klingt wie etwas aus Palestrina; wie so viele dieser Songs ist es eine malerische Fahrt, die von einer erstaunlichen Aussicht zur nächsten führt, von weiten, schimmernden Wüsten über neblige Schluchten bis hin zu atemberaubenden, schneebedeckten Berggipfeln. Wie Mike Watt einmal über seine Band The Minutemen sagte, schreiben Deerhoof keine Songs, sondern Flüsse. Woher kommt dieses Zeug? Da ist das hoch aufragende, ungerade getaktete Gitarrenriffarama von Chavez, der Heavy-Metal-Donner von Strawinsky, die beschädigten Schnörkel von Gastr del Sol, der Klang und Stomp von Led Zeppelin, Japans illustre Reihe atemberaubend innovativer, von Frauen dominierter Bands wie Ex-Girl und Melt Banana. Und jetzt gibt es diese Mensch-Maschine-Beatbox-Rhythmen, bei denen der titanische Schlagzeuger Greg Saunier die Technologie übertrifft wie ein John Henry mit zwei Holzstiften in den Händen anstelle eines Vorschlaghammers. Manchmal erinnern sie an The Who - wie ,Underture" aus Tommy oder die großartige Live-Version von ,A Quick One", eine Rockband, die die Arbeit eines Orchesters leistet, fesselnde Träumereien im Wechsel mit kraftvollen Ausbrüchen gewundener Melodien, lyrischen Machtspielen und Inverted Claws, die überwältigende Freude hervorrufen. Aber es gibt noch eine weitere wichtige Quelle: Seit mindestens 20 Jahren hat der Hip-Hop die ausgefallenste und experimentellste Musik hervorgebracht, die die Popmusik je gesehen hat. Warum kann Rockmusik nicht das Gleiche tun, auf ihre eigene Weise? Während ,Friend Opportunity" also tangential den Hip-Hop (und verschiedene Epochen des Rock in seiner abenteuerlichsten Form) zitiert, wendet es meist nur die gleiche Denkweise an - was wäre, wenn wir einfach unserer Fantasie freien Lauf lassen würden? ,Friend Opportunity" ist eine Meisterleistung der Neuerfindung, die nur von Künstlern kommen konnte, die bereit waren, alles zu überdenken. ,Es ist, als wäre man wieder ein Kind", sagte Saunier einmal zu Pitchfork, ,denn das ist es, was Kinder die ganze Zeit tun. Jeden Tag lernen sie neue Dinge, von denen sie nicht wussten, dass sie sie tun können." Mann, wenn man von Sonic Youth spricht - Deerhoofs Frühling ist ewig. - Michael Azerrad

Wahrscheinlich das erste Album, das komplett in einem Bundesliga-Fußballstadion geschrieben und aufgenommen wurde, nämlich im Millerntor-Stadion des FC St. Pauli in Hamburg. Keine Sorge, es klingt überhaupt nicht nach Stadionrock. Ganz im Gegenteil sogar ... Lo-Fi, ohne spröde zu sein, und minimalistisch, ohne karg zu wirken. Seit 1995 haben sich Swearing At Motorists mit ihrer rohen Energie, ihren herzlichen Songtexten und ihrer unerbittlichen DIY-Ethik eine Kult-Anhängerschaft aufgebaut. Als ,The World's Local Band" bezeichnet, sind sie unzählige Kilometer gereist, um weltweit Konzerte zu geben, und haben die Bühne mit legendären Acts wie Guided By Voices, Songs:Ohia, The Breeders, Spoon, Unwound, Brainiac, The Lemonheads, My Morning Jacket und vielen anderen geteilt. Nach einer zehnjährigen Pause ist die Band zurück. Von Kritikern gefeiert, aber definitiv unter dem Radar geblieben, sind Swearing At Motorists nach wie vor ein beliebter Fixpunkt der Indie-Rock-Underground-Szene.

The filthy diva of the dancefloor is back and she’s not here to whisper sweet nothings. Melleefresh crashes into the techno scene with XXX, a gloriously sleazy anthem produced by Callum Magnum. This is Melleefresh in her purest form: wild, camp, and deliciously unhinged. Her vocal performance is a debauched incantation - 'triple X, hot sex' - teased and distorted like a spell that summons sweat, lust, and absolute chaos. Magnum’s production fuels the frenzy with a thunderous peak-time beat, acidic jolts, and a trance-tinged lead that pushes the track into wicked, late-night delirium.

The engine idles low. The story is almost told. Jaguar On Palisade 3 marks the final descent in a trilogy carved from fog, memory, and cold chrome — a farewell wrapped in smoke and steel.

CRIMEAPPLE weaves through late-night laments and razor-edge reflections, cruising past ghosts and gilded silence, traveling over cinematic productions by trusted collaborators: DJ Muggs, DJ Brown 13, Michaelangelo, Buck Dudley, Loman, DJ Skizz, and Comma Uno. Each beat is a scene; each bar, a flicker of something lost. There’s heat, there’s hunger, and the creeping calm of finality.

It’s not about where we’re going — it’s about what we’ve already left behind. Pressed on limited edition vinyl for those who’ve been riding since the ignition turned. No reruns. No reissues. Just one last ride.

Sarathy Korwar, genre-breaking drummer, producer and composer, announces the release of his seventh album "There Is Beauty, There Already" out on Otherland. Celebrating the melodic power of the drum ensemble, the album follows his 2022 Indofuturist manifesto "KALAK" with a deeply immersive longform suite of percussion-led compositions.

Diese LP, die ursprünglich 2002 auf CD veröffentlicht wurde, enthält Archivaufnahmen aus dem Jahr 1959 sowie Aufnahmen, die Hal Willner im Januar 2001 (7. bis 10. Januar) gemacht hat. Zum ersten Mal überhaupt auf Vinyl erhältlich, wurde ,DIE ON ME" von Kramer remastered und neu bearbeitet. Diese historische Sammlung enthält die letzten Sprachaufnahmen des legendären Beat-Poeten Gregory Corso. Intim und unverfälscht sinniert er im Gespräch mit seinen Freunden Allen Ginsberg, Marianne Faithfull und dem legendären Chicagoer Schriftsteller Studs Terkel über sein Leben und diskutiert und rezitiert einige seiner beliebtesten Gedichte. Die Aufnahmen beleuchten Corsos Gedanken zu seinem eigenen Werk in aufschlussreichen Details. Keine andere Spoken-Word-LP beleuchtet ihr Thema so eindringlich. Marianne Faithfull fordert ihn spielerisch auf, Geschichten zu erzählen, und auf seine Bitte hin beehrt sie ihn mit ihren eigenen Rezitationen seiner Gedichte. Dies ist ein einzigartiges Kompendium der Werke eines der unterschätzten Helden der modernen Poesie, produziert vom verstorbenen großen Hal Willner. Gregory Corso starb am 17. Januar im Alter von 70 Jahren, nur wenige Tage nachdem viele dieser wertvollen Aufnahmen fertiggestellt worden waren. Corsos Asche wurde am 5. Mai 2001 in Rom am Fuße des Grabes von Percy Bysshe Shelley auf dem Cimitero Acattiolico beigesetzt. John Keats liegt in der Nähe.

Molekul is taking its claim in the underground techno scene, teaming up with the next-gen artists on this 6 tracks compilation built for the dancefloors. Each artist delivering their own signature sound and personal energy, making this release unique.

Samo Records celebrates its 20th release with a special vinyl from Sintex Bortexx. The Argentinian duo present three original tracks, crafting a distinctive sound that fuses elements of New Beat, EBM, Acid, Dark Wave, and more.

For the occasion, Samo Records has invited three heavyweights to complete the package, with remixes from Tutto Vetro (aka Curses), DC Salas, and Charlie.

Centinex, die schwedischen Death-Metal-Legenden, melden sich ihrem bisher wildesten und kompromisslosesten Werk zurück. 'With Guts And Glory' ist ein rohes,
energiegeladenes Album, das auf Überflüssiges verzichtet und sich auf das Wesentliche konzentriert: unerbittliche Riffs, D-Beats und thrashige Aggression.
Klingt wie Demonical, Goatwhore, Entombed AD, Dismember, Lik, Entrails, Vomitory oder Unleashed!

Centinex, die schwedischen Death-Metal-Legenden, melden sich ihrem bisher wildesten und kompromisslosesten Werk zurück. 'With Guts And Glory' ist ein rohes,
energiegeladenes Album, das auf Überflüssiges verzichtet und sich auf das Wesentliche konzentriert: unerbittliche Riffs, D-Beats und thrashige Aggression.
Klingt wie Demonical, Goatwhore, Entombed AD, Dismember, Lik, Entrails, Vomitory oder Unleashed!

,Sad Sappy Sucker" (oder mit dem ganzen Titel auf dem Cover ,Sad Sappy Sucker Chokin on a Mouthful of Lost Thoughts") ist ein Compilation-Album von Modest Mouse aus dem Jahr 2001. Ursprünglich sollte ,Sad Sappy Sucker" 1994 das Debütalbum von Modest Mouse werden, wurde dann aber für ein paar Jahre auf Eis gelegt, bis es schließlich 2001 nach dem Erfolg von ,The Moon & Antarctica", dem dritten Album der Band, rausgebracht wurde. Einige Songs wurden in den Dub Narcotic Studios in Olympia, Washington, von Beat Happening-Frontmann Calvin Johnson aufgenommen. Das Album wurde offiziell von Johnsons Label K Records veröffentlicht und enthält neun zusätzliche Titel, die zur ursprünglichen Trackliste hinzugefügt wurden. Die ersten 15 Titel bilden das ursprüngliche Album "Sad Sappy Sucker". Die Titel 16 bis 24 stammen aus dem Anrufbeantworter von Isaac Brock, der einen ,Call to Dial a Song"-Dienst eingerichtet hatte. (Quelle: Wikipedia)

Sex Tags UFO presents the second instalment of the non stop ongoing HOUSE music collaboration between the Burger man and DJ Sommer! Music created as house music as a FEELING!

Another four track EP smashing out some fine underground house music, all with the mix of DJ Sommers studio skills and old-school hardware approach, and the Burger man's wonky touch! The almost weekly live session recorded in DJ Sommer's studio, then arranged and mixed at Casa de Fett bare some fruits, and here is their first record!

The first track on this EP, a deep and mellow house groover, with some trippy beats and percussion that keeps it moving. Deep pad, with a light and engaging melody on top. A real house groover to start the night.

The second cut, the energy shifts! A power infused feel good house track with spacey elements, timeless and simple 909 kick, a catchy bass line, swinging hi-hats for the groove, a strong classic snap. Added with some keyboard infused organ melody, and a 303 bass line. Sparkled with some synth EFX to give it a feeling of Galaxy!

One the flip side we go back to the depth. A deep tribalistic and dubbed out house track. Simple by all means. A moving and grooving beat added with a simple but catchy pad that brings everything together! Simple, pure and groovy!

The last tune on the EP, another uplifting energy driven house track! Classic US house style, with the driving, and swinging beats to make you move. With an uplifting organ pad, and some additional party oriented flute action! A real underground party smasher!

Just as previous time, versatile, simple, raw dance floor oriented HOUSE EP made in and for the underground!

Enjoy!

Munich-based duo Glaskin, brothers Jonathan and Ferdinand Bockelmann, have become pivotal voices in modern techno, known for their residency at the legendary Blitz Club and standout releases on labels like Mutual Rytm and Figure. Their live sets channel dynamic, forward-thinking energy, and now they bring that momentum to FJAAK's ever-expanding CROWD family. With the Blue Light EP, Glaskin deliver four impeccably groovy tracks that balance stripped-down flair and shimmering texture. "Blue Light" opens the EP with mellow synth tones, a lean, hypnotic beat and a vocal loop murmuring 'here we go' that signals the underground journey ahead. Next up is "Captcha", releasing as the single, where a spoken female voice is layered atop rhythmic percussion, marrying atmosphere with groove-driven momentum. On the B-side, "Tape", digs deep into rolling uncompromising techno territory, strict in structure yet irresistibly danceable. The EP rounds out with "Prophat Tool Board", stepping slightly into house-leaning warmth, its broader rhythm and melodic warmth offering a fitting counterpoint to the brooding energy before it. The Blue Light EP is Glaskin's debut on CROWD and a shrewd expansion of the label's sound palette: richly textured techno made for both peak-time impact and immersive listening. To celebrate the release on the label, Glaskin will join label-founders FJAAK for a CROWD night at Nitsa Club in Barcelona on October 10, an event primed to showcase the raw energy and precision behind their studio work. Don't miss this one!

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience. How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous? It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite, to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love. And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All the way. We can take it all the way, and never get it back. ” - Molly Nilsson Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart. Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on. When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully, making mistakes, we’re active agents against the myriad oppressions of the world. All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of her career. There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you want to? Here’s to making mistakes.

Anushka Chkheidze + Robert Lippok’s »Uncontrollable Thoughts« on Morr Music is the duo’s debut joint release. The Netherlands-based Georgian composer and the German sound artist from Berlin first met in 2019 in the context of a workshop programme that took place in Tbilisi, and later worked with Eto Gelashvili, Hayk Karoyi, and Lillevan on the massive »Glacier Music II« music and book project, released in 2021. This led them to engage in a less conceptually driven form of musicking and real-time composition that corresponds with their respective environments. They draw on traditions such as minimal music or late 1990s and early 2000s electronica to integrate subtle beats with elegiac organ drones, playful melodies with lush textures. The first document of an ever-shifting intergenerational dialogue, »Uncontrollable Thoughts« is a product of mutual listening outside time.

Though Chkheidze and Lippok had access to professional studios, they chose to rent a simple rehearsal space, equipped with only the bare essentials—bass and guitar amps as well as a small PA—to maintain immediacy in their working process. The music they made together corresponded to and drew on the respective possibilities and shortcomings of this studio, much like their collaboration in general is characterised by the care with which they approach each other's talents and ideas. While both had loosely defined roles—Chkheidze was responsible for the free-flowing beat programming and the evocative distortion came courtesy of Lippok, for example—they individually contributed in different ways to their joint process, which is as free of hierarchies as it is limitless. Hence, the duo’s focus on spontaneity and out-of-the-moment emergence makes them organically move beyond tried and tested conventions, resulting in music that seems to suspend time altogether.

When the first chimes on »Bird Song« announce a piece that sets rattling kickdrums against a backdrop of layered drones and rhizomatically entangled melodic elements, it becomes clear why »Uncontrollable Thoughts« carries this title: The album follows the constant detours of the subconscious of its makers, letting them explore moments of ecstasy such as on »Rainbow,« melancholy with »Field,« and the interplay of suspense and release through the ten-minute-long title track. But the different pieces also tie into one aother in various ways. The dirge-like organ drones on which »Rainbow Road« ends reappear in the beginning of »Uncontrollable Thoughts,« much like Chkheidze’s gentle yet emphatic piano chords on »Field« seem to provide the starting point from which the artist develops the striking motifs of the final piece »Opening«, whose title itself suggests that the record as a whole can and should be enjoyed as a loop. All this creates a unique, idiosyncratic temporal logic.

While there is much that sets Chkheidze and Lippok apart as solo artists, the major shared leitmotif in their respective bodies of work is the sonic engagement with space. »Uncontrollable Thoughts« is hence best understood as an extension of this practice; as an album that maps the geographies of their minds in motion, tracing musical movements as they melt into each other.