Cerca:the earl

J. Written has been preparing for this moment almost his entire life. From early on he has been writing. You might even say he was obsessed with writing. It did not matter what he was writing, he just felt compelled to write. Hence the name Written.
Born on January 18, 1994 (yes, he will gladly accept birthday greetings!) in the Payne Land neighborhood of Kingston, Jamaica, J. Written entered this world as Jason Rasheed Wright. Due to certain financial instability in his family they had moved around a bit to various locations within the Kingston area. His parents, wanting him to be safe, encouraged him to be at home with his two sisters and to occupy his time at home he began to write. And write and write. And write some more.
He would write daily journals and even create newspaper articles written on the walls of their home. This creative outlet gave way to writing poems, speeches and essays while a student in high school. At 16 he started a dance trope known as the ACEZ dancers who were quite popular around Kingston.
He was then drawn to music around age 18 and began to create beats at a studio in Trench Town. He became part of the Trench Town community and is still very connected with the people there. His drive to write songs became his new medium for expressing himself. And this has led to him being recorded for various producers and included in the song “Fear To Understand” with Albarosie. Other songs and music videos followed and J. Written was brought to the attention of reggae producer Doctor Dread.
“When I first saw a video with J. Written and began to listen to more of his songs I knew this was a unique artist with a special vibe and a knack for writing interesting songs” says Doctor Dread. So he came to Jamaica and produced a first album “Kaleidoscope” for J. Written which is due for release in late 2024.

“My mission is to be active and positive. Not to confirm with the norm. To sometimes make people feel uncomfortable with issues impacting our community and society at large. To give thought to what is happening in the world and presently around us”. J. Written has made his intentions clear and it is revealed through his music.
And of special note is that J. Written has a role in the Bob Marley movie “One Love” as Junior Braithwaite, a member of the early Wailers in the scene when the young Wailers first come to audition for Coxsone Dodd of Studio One.
The future is bright for J. Written. He is creating music and lyrics as a constant in his life. And now the world will be able to share in his vision of creative expression.

This star-studded John Prine tribute album is now available on vinyl from Oh Boy Records. Featured artists include The Avett Brothers, Drive-By Truckers, Justin Townes Earle, and Justin Vernon of Bon Iver.

Lyrical polymath and spoken-word extraordinaire Emmeline blends genres and influences on this DVDinspired mixtape, released by Lewis Recordings. Citing both the ‘dark stream of consciousness’ and ‘early
influence of film, music, and literature’ on her creativity, West-Yorkshire born Emmeline takes us
through a musical and visual journey, of navigating her early 20s and a new move to London. Made in
collaboration with a range of exciting new production talent, such as Dom Valentino (Skepta, Greentea
Peng), John Foyle (FKA Twigs, Sampha), Cameo Blush and The Still Brothers.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

There are few hidden gems that we can find on the different streaming channels, and it is precisely our job to have them for you. This Saturday we want to bring you a Chilean band that is born from transversal rock and its variants. We talk about The Cruel Visions. The Cruel Visions is the name that Pablo Giadach (founder) proposes to imagine a luminous and nostalgic interior landscape, expressed in songs of subtle composition and evocative beauty. The guitarist and musician in the bands Casino, Trancemission and The Ganjas, brings with him an album weathered by the passage of time in nightly improvisations and his recording studio, influenced mainly by the sounds of the early 80's, new wave, paisley underground, post punk and dark wave. The Cruel Visions was born from the idea of grouping together different recordings that Pablo made in parallel to his work with The Ganjas between 2015 and 2017 at different times and formats. Most of the album is a collection of demos and improvisations with a Rickenbacker 12-string guitar, an echo chamber and a drum machine, which were then worked on for almost 3 years in the free time at Estudio Lautaro, where he also performs. as an engineer and producer. His authorial present discovers the ethereal and light sounds that bands like The Cure or The Jesus and Mary Chain decanted, who left the initial rawness to give way to a more atmospheric and personal repertoire, which, although luminous, maintains traces of the darkest noise of the post-punk era. This time the path taken in other formations where Pablo provides precise sounds, completed with effects such as reverb and distortion, gives shape to a more personal list of songs that sails with the wind in its favor through foggy waters, already known to listeners of English 80's alternative music. Vocals and some arrangements were done at Woodbine St Recording by John A. Rivers, who has produced records by Love and Rockets, The Specials, Nikki Sudden, Close Lobsters and Dead Can Dance, among many others

A1 Northern Lights
Darkly, tense tones take center stage as Northern Lights kicks the LP off, introduced with an eerie synth before classic, striking old school breaks that aficionados will recall from the likes of John Bs Secrets drop, chopped expertly by our Spatial duo to create a quietly vengeful beat pattern with heavy kicks and a unique stuttering detail. Circling menacingly around the mix we are treated to swathes of choral detail, subtle vocal samples and shimmering ambience..

A2 Sunset on Mars
Showcasing the strengths of both producers through a delightfully rich atmosphere, Sunset on Mars opens with soothing echoed effects that ooze a welcoming sense of wonder. Delicate in composition yet still packing a punch, the breaks sit over a sumptuous deep sub bassline which carries our journey through simple key melodies, vivid mood-changing synths superbly to create a pure, wholesome atmospheric bliss.

B1 Totality
Dominant hats and cymbals surf the peaks of the mix early in Totality, detailed old school breakbeats quickly seizing our attention constructed with an effortless attention to detail. A stark, thick atmosphere is carved from a broad backdrop of sound blending vocals and synths, enveloping the listener with a dense, bleak soundscape that develops continually as the breaks roll on with memorable intent.

B2 Reincarnation
A deeply evocative, interstellar intro opens Reincarnation, generating images of lonely spacewalks with trademark Spatial aplomb. The vibe continues through a barrage of heavy analogue amens which crush the mix, edited with a chunky, commanding panache. The listener can picture pillars of isolation and thundering defiance dancing in duality as the elements weave their way fluidly throughout.

C1 Seraphim
Into an intense, epically atmospheric piece next as Seraphim channels the spirit of yesterday for a journey into the souls core via scene-trademark Hot Pants breaks, a moody 808 bassline and swirling atmospheric pads, melodies & synths. Layered with detailed FX demanding repeated listens to soak it all in, Seraphim is a special track which will take over your setlist and the journey home.

C2 Prism of Light
Sit back and relax to another slice of classic atmospheric bliss with Prism of Light, opening with a DJ-friendly hi hat intro before melodic synths generate an instantly unforgettable late-90s vibe. Hot Pants breaks drive us forward with a wondrously simple yet effective mix of 2 step and double kick edits, as blissful ambient washes and vocal hits are drizzled over the mix. Delightful.

D1 Harmonic Function A uniquely constructed beat pattern guaranteed to move you opens Harmonic Function, building up from rushing cymbals and hats intertwined with a fantastic crunchy, metallic half-time snare. Throw in a slew of mournful melodies and blanketed pad work around the mix and youre left with a superbly laid back yet danceable piece from ASC & Aural Imbalance, continually innovating in their music as ever on Spatial.

D2 Fade to Grey
Old school rhythms are on the agenda as our duo close out the album with a tense, meandering exploration through space, circling the planets through mellowed out beats before a layer of dense, analogue breaks are added to the mix as the atmosphere escalates. Exquisitely programmed vocals provide texture and feeling, while an understated bassline rumbling on below, completing a timeless collage of sound.

Words by Chris Hayes (Spatial / Red Mist)

The dark lord of the dance returns to Sneaker with the 'No Favours' EP, another ominous set of non-conformist shellers rough-cut from obsidian and set in steel.

We first broadcast our love of Christoph de Babalon's distinctively destructive, hard-boiled hardcore via the Evident Ware compilation back in 2020, but a longer release has been an ambition of ours ever since. From his early years on Digital Hardcore through his prolific return in the 2010s across a broad tapestry of underground operators, de Babalon has left a fascinating trail of albums, EPs and scattershot tracks behind him that feed into the cult fervour around his music.

As this EP demonstrates in reliably gritty fashion, the magic in the German producer's music lies in his ability to take the tropes of jungle and hardcore and subvert them through signal chains which owe more to noise and industrial than dance music. The structure of his tracks is equally maverick, pushing and pulling according to its own whims rather than following the dancer-centric energetic flow of a standard club record. Somewhere in this alchemy between classic ingredients and confrontational experimentation, he evokes the original chaotic spirit of hardcore when it seemed anything was possible within the music.

'For Nothing' is the perfect example — a tunnelling odyssey of ferrous atmospheres, roundhouse drums and bass bloated into the red on a force-fed diet of saturation. 'Total Deceit' turns up the pressure on the break chopping science de Babalon is capable of, teasing gamelan flurries and elegiac swirls that hit at the emotional depth he can wrench amidst such bludgeoning material. 'Jaded Memory' funnels Mentasm bass into a strange new form amidst staggering, tightly clipped drumfunk, leaving enough space for haunting ballroom reveries stretching out across the mid-section. That leaves it to 'Dearth Mill' to mop up with gloriously creepy detuned piano notes slopping over each other in between the most ferocious blasts of drums on the whole record.

You didn't expect something straight-forward, did you?

"The Millennium Bell is the 20th record album by Mike Oldfield, originally released in 1999. The theme of the album is a reflection of different periods of human history. The album borrows its name from the dawning of the 3rd millennium and Oldfield's Tubular Bells series of albums. The Millennium performance of the latter half of the album plus some older tracks was given in Berlin, Germany on New Year's Eve 1999, with an estimated audience of 500,000 people.

Oldfield recorded the majority of the album at his home studio, Roughwood Studios, Berkshire, and then recorded the orchestrations in just one day at Abbey Road Studios, London with the London Session Orchestra. It was Oldfield's third album within one year, after Tubular Bells III in late 1998 and Guitars MOVLP1694 earlier in 1999. The album is eclectic in style, ranging from majestic choruses and soundtrack-esque orchestral passages through New Age sonic textures and ethnic sounds to strong pulse of electronic percussion. The Millenium Bell is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl and includes an insert."

The ever prolific Teffa is back on LoDubs, albeit for his first Vinyl EP.

As just alluded to, this is the second meeting of the Far West Ruler and the Low End Master from Leeds, although one might be forgiven for blinking and missing the highly sought after (sold out in 5 minutes) Poly DubPlate cut released in early 2023, which was a matter of course in a year where pressing turn times quadrupled. As glad as we are that those days are in the past it also still left the inkling that a full release was necessary once the time and tunes presented themselves.

..And as such, here we have a total of 6 now-ting Grime hybrids (4 on the vinyl, and 2 vinyl-only bonus tracks in the DL and details on how to get those as a poly Dub, only for owners of the vinyl EP), Containing the elastic basslines of a true UKG and Dubstep Stalwart, whilst stretching those elements over syncopated, at time staccato-esque riddims, all beneath a novel modernization of the stilted, subharmonic and eski-esque synth bass pads that are quintessentially Grime. There truly is more to these with each listen, all the while grabbing you at first go.

State of the art: From the one and only Teffa.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

For Talia Hoit from Colorado, who has been classically trained to play the piano since the age of five, her early musical education has definitely paid off. Now she writes original songs, performs on vocals and keyboards, and composes orchestra scores for symphonic metal. For many years, she has also had a passion for writing songs outside of any formal band situation, and is now working with talented producers and musicians to bring her most personal and intimate songs to life to share with the world. For five years, Talia was the keyboardist and a songwriter for the band AnaDies. Presently she is the lead singer, orchestrator and co-songwriter in the symphonic metal band Beyond Forgiveness and the keyboardist for the metal band Ob Nixilis. As a solo artist, she recorded two original home studio albums for personal purposes, Fate’s Too Small (2007) and A Little Longer (2012), which had a limited physical CD release only, mostly just for friends and family. Back in 2019, she recorded the single Angel (produced by Jarek Musil), which just recently received a new master, and after the experience of working with a professional producer she decided to pursue her solo project, to professionally produce and commercially release as many of the personal songs she had written over the years as possible. In 2023, she released two more singles: Abandon and Whispers in the Storm. Her extensive experience in the music industry and understanding of classical music are quite audibly reflected in these works, which show a high level of quality and expertise. Talia’s music is definitely a treat for symphonic metal fans and heavy music lovers, showing influences of bands such as Within Temptation, Nightwish, Evanescence, and Visions Of Atlantis.

Flat Duo Jets: White Trees 2024 Remaster Fronted by the late Dex Romweber. The duo’s fourth album was the first album of all original material. Produced by Caleb Southern, White Trees is a Jets’ masterpiece that proved that Romweber could diversify his band’s material without losing his recklessness and urgency.

Dex passed away earlier this year on February 16th and this reissue is dedicated to his memory and legacy. Jack White from the White Stripes has called Dex and the Flat Duo Jets a major influence when starting out. White declared that seeing the Jets for the first time “opened up a whole new inspiration for me about the guitar.” And he was downright effusive in the 2006 cult-classic Romweber documentary ""Two Headed Cow"", calling Romweber “a huge influence on my music… one of the best-kept secrets of the rock & roll underground.” In 2009, White recorded a seven-inch with Romweber, and in 2011 he reissued the Jets’ long-out-of-print 1991 album Go Go Harlem Baby on his Third Man Records imprint.

“[White Trees] by North Carolina’s Jets is a tarnished neo-rockabilly gem. Dexter Romweber’s battered honk is the perfect voice to wrap around these twisted tales about Charlie Dick (Patsy Cline’s hubby), UFOs, and dining with Van Gogh. It’s as if the ”Eraserhead” soundtrack were recorded at Sun Studios and sent to Weekly World News for editing.”- Entertainment Weekly Arguably the busy Duo’s most accomplished set, ‘93s handily diversified White Trees jumbled stylistically antiquated originals in a cohesively dignified manner. -Beermelodies"

Oase is the sophomore album from Berlin-based progressive rock collective Weite, and the follow-up to the band’s 2023 debut LP Assemblage. Clocking in at almost an hour, Oase—German for "Oasis"— takes listeners on an intricate and textured journey that draws inspiration from the pioneering spirit of 70s psychedelic rock, blending influences from “Canterbury scene” prog, Krautrock, early electronica, post rock, and Americana. The new album show cases Weite's ability to merge the old with the new, creating an immersive, exploratory sound that moves from contemplative and pastoral to riffy and doomy without ever sacrificing melody. Oase is characterized by longer expansive, atmospheric compositions yet is undoubtedly more composed than the band’s debut, with more of a focus on songs, albeit in the broader sense of the word. With the focus on melody, texture and mood—although not necessarily always in that order—Weite create a sound that’s intricate and meditative, inviting the listener to embark on a journey through shifting soundscapes and evolving musical narratives. Weite was formed in Berlin in winter 2022 by bassist Ingwer Boysen (delving) recruiting drummer Nick DiSalvo (Elder, delving) and guitarists Michael Risberg (Elder, delving) and Ben Lubin (Lawns). Initially intended as a one-of recording session, the four recognized an obvious musical chemistry and common ground and decided to turn the project into a proper band. Keyboardist Fabien de Menou (Perilymph) joined in 2024.

This third volume of Universal Synthesizer Interface delves further into early MIDI sequencing software for personal computers, focusing on Intelligent Music Software founded by Joel Chadabe in 1984. In a short period of time (1986-1990) Intelligent Music published a series of MIDI sequencing software titles that would have rippling effects throughout the music world: M, Jam Factory, UpBeat, MidiDraw, Ovaltune, Realtime, as well as an unreleased first version of Miller Puckette’s Max. These programs were a reflection of Chadabe’s desire to create interactive and intelligent algorithmic tools for home computers. Intelligent compositional tools had been floating around for decades in mainframe computer labs, but they had largely only been accessible to people working in academic or corporate laboratories. With the birth of Intelligent Music, these tools became available to anyone with a home studio. As the personal computers of this era had become less expensive and more accessible, they had also grown exponentially in processing power and seeming intelligence. In the music press from this time, we find the same two words used again and again to describe algorithmic computer systems: smart and intelligent. The tone of such articles may seem quaint by today’s standards, when AI and algorithmic control underpin so much of our technology, but the question of machine intelligence remains. Universal Synthesizer Interface VOL III Focuses exclusively on one of the more obscure of Intelligent Music’s software creations - UpBeat: The Intelligent Rhythm Sequencer, released in 1987, and hailed by reviewers of the time as “the world’s best drum machine.”

Esoteric Warfare is the fifth full-length studio album by Norwegian black metal band Mayhem. It was released by Season of Mist on 6 June 2014 in Europe and Asia, and on 10 June 2014 in North America. It is the band's first album with Teloch on guitar since Blasphemer's departure from the band in 2008. As with the previous album, the lyrics focus less on the classically Satanic themes of the band's early work, instead referring to occult and conspiracy theory concepts such as psychic powers, mind control and alien tampering with human evolution. (For instance, the song "Corpse of Care" appears to be a direct allusion to Bohemian Grove and the Cremation of Care ceremony performed there.)

With "Ululo", pianist and composer Koki Nakano immerses us in the depths of his emotions, carried by the striking voices of Jordy, WAYNE SNOW and Yael Naim. For his fourth album, Japanese pianist and composer Koki Nakano moves beyond the conceptual to reveal an intimate and visceral musical expression, a reflection of his deep emotions. Each piece conveys the desire and passion of a cry. The title "Ululo" (which translates to "Howl" or "Cry" in Latin) echoes a childhood memory of being in his father"s arms, yearning to touch the moon. This unfulfilled desire, reminiscent of a famous haiku by famous poet Issa Kobayashi, symbolizes his early realization of his limitations in the face of the vastness of the world and the seemingly unattainable. Koki reinvents himself with a unique fusion of piano and modern vocal collaborations. He is joined by UK rap sensation Jordy and the captivating voices of WAYNE SNOW and Yael Naim. He offers an avant-garde music style distinguished by its emotional simplicity and sonic depth. Beyond virtuosity, Koki explores his classical sensibilities by blending subtle ambient textures with his poignant and sophisticated melodies. While "Ululo" is a cry of frustration with melancholic tones, it is also romantic, filled with beauty, humor, and light.

If Katsuhiro Otomo’s Akira were a utopia instead of its opposite, this EP could be a possible sound track. Using the ingredients of classic house as a platform (pianos anyone?), Nick Nikolov‘s imagination as a producer for his new new NKLV project is far too vivid to stay on the beaten track.

The sound design and nerdy attention of IDM and ambient (Clusters) connects with the brazen boogie approach of the French touch, micro-sampling manifestos have to stand up to the weirder moments of signature sounds like Basement Jaxx or KiNK‘s musical side (Heartbeat). Not too far off from his peer‘s early approach, the Bulgarian‘s take is emotionally charged, play- and powerful.

For instance, Speak to Me and No More hit their respective topical nails on the head and the EPs title track Inbetween is sultry serotonin soul. If you are looking for plain and pure euphoria in between all the hardships, happiness is just around the bend.