Suche:three pieces

We’ve got something a bit different from usual for our next release: Meeting of Waters by Josiah Steinbrick.

Back in 2017 the unassuming Los Angeles-based multi-instrumentalist and producer released his first collection of solo pieces and we’ve been listening to it compulsively since then. Given that its initial release was only in North America, both on cassette with Leaving records and in an extremely limited vinyl self-release via BANANA editions, we felt that this meticulously crafted, essential work righteously deserved to get a proper spin in Europe too!

The album is composed of what you could call nine sculptural environments, each a mixture of organic sketches and improvisations, recorded rapidly and more or less free of any processing. Each piece is based on up to five simple elements - electronic and/or (tonal) percussions - used to create subtle evolving patterns and harmonies. The sounds explore the wilderness of jazz in a concrete setting, devotional in nature, creating a timeless cartography.

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination.

Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first – a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress – recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike.

While the first half of Pale Bloom showcases Davachi's latent Romanticism, the sidelong "If It Pleased Me To Appear To You Wrapped In This Drapery" reveals the Mills College graduate's affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves – suggesting a well-tempered stillness, yet without stasis.

Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination.

Recorded at Berkeley, California's famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first – a three-part suite where Davachi's piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress – recalls Eduard Artemiev's majestic soundtrack for Andrei Tarkovsky's Solaris. "Perfumes I-III" employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike.

While the first half of Pale Bloom showcases Davachi's latent Romanticism, the sidelong "If It Pleased Me To Appear To You Wrapped In This Drapery" reveals the Mills College graduate's affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves – suggesting a well-tempered stillness, yet without stasis.

Repress available in early May.

Faitiche releases a new collaboration between the Japanese sound artist ASUNA and Jan Jelinek: the album Signals Bulletin brings together joint improvisations and compositions made over a period of three years in Berlin, Kyoto and Kanazawa. ASUNA’s meandering organ drones merge with Jelinek’s pulsating synthesizer and field recording loops to create dense superclusters that span broad harmonic arcs.

"Watching the Japanese sound artist ASUNA playing the organ, some people might be surprised. ASUNA is no virtuoso flying over the keyboard in a rage. Instead, with the calm gestures of an office worker, he cuts strips of adhesive tape to the correct length before sticking them onto the keys of his instrument. In this way, large clusters of keys are held down, creating a dense and sustained range of frequencies, while the sound artist continually prepares further sets of keys or removes tape again. I have rarely seen a more convincing performance concept, with such a power to fascinate.

I first met ASUNA when we both gave a concert at the 21st Century Museum of Contemporary Art in Kanazawa, his home city. He performed the organ drones as described above and I immediately knew I wanted to collaborate with him. Six years and five meetings later, we completed Signals Bulletin. The album includes both joint improvisations and compositions, recorded in Berlin, Kanazawa and Kyoto.

Whether using prepared organ, Casio keyboards or mechanical plastic toys, ASUNA creates rich textures of sound that barely change over long stretches of time. It is a music without breaks. For a while, I was unsure how my loops made using modular synthesizers and live sampling fitted here – until I realized the role I had to take in this duet: I would provide the rhythmically pulsating foundation over which his dense continuums could unfold.

The result is harmonically drifting superclusters that put us into a meditation-like state. It can perhaps be compared to Automatic Writing – a mode of creative expression floating somewhere between concentration and distraction. Both the structure of our pieces and our approach to our instruments allow a similar “absence”: we let the machines play and repeat themselves – while we, in a mild form of trance, adopt the role of observers, intervening only occasionally.

It is no coincidence that ASUNA owns a collection of Doodle Art – drawings jotted down during conversations or while talking on the phone. It is said that works made like this point to the unconscious and reveal pet motifs – because a doodler always inadvertently returns to his or her favourite themes. The artwork for Signals Bulletin features pictures from the collection, in this case sheets of paper from the pads provided in stationery shops to test out pens. The special quality of such doodles is that the jumble of drawings is the work of a collective whose individual members do not know each other. Layer by layer is added, by someone different each time – until it becomes a dense cluster of lines and symbols ..."

Jan Jelinek, Berlin 2018

Alt-rock icon Josephine Wiggs is best known as bassist in The Breeders, rising to superstardom in the '90s and continuing to draw crowds and critical acclaim in the wake of their 2018 album All Nerve.
But over the years, Wiggs has released several of her own albums, all of which delightfully defy genre. Her new solo record, We Fall, is both a departure and a distillation of an enduring personal aesthetic: moody and spare but also melodic, at once contemporary and nostalgic.
Some influences are clear: We Fall is reminiscent of the experimentalism of Brian Eno's Another Green World and recalls the delicate, languid minimalism of Harold Budd. The album's classical inflections, sharpened by a dialog with electronic elements, evoke Alva Noto and Ryuichi Sakamoto. This is an album of juxtapositions: minimalist at moments, richly layered in others; ambient while also sharply focused; melancholy yet resolute.
There's something both dreamy and scientific about We Fall. Wiggs, an enthusiastic amateur mycologist, has an impressive collection of mushrooms she's photographed in her travels. We Fall could be the soundtrack to what can't be captured in a single photo—the growth and decay of miraculous creatures that a less astute and sensitive eye might overlook entirely.
Composed, performed and recorded by Wiggs, with drums and electronics by her longtime friend and collaborator Jon Mattock (Spacemen 3, Spirit , We Fall is a lyrical, bucolic album with an undercurrent of disquiet. Think of a wintertime walk in the woods as dusk falls too soon. True to the classic album form, the 10 almost entirely instrumental tracks on We Fall form a compelling whole: a crystalline meditation on paths not taken and words unspoken, an elegy for moments lost and last embraces.
JOSEPHINE WIGGS BIO
Josephine Wiggs grew up in an unconventional family north of London. Returning home from a summer holiday with a donkey riding in the back of the family's 1927 Rolls Royce was not considered at all bizarre. Wiggs studied cello as a child, segued from college in London to undertake a master's degree in Philosophy, and then, in a move few would have predicted, joined a rock band.
After making three albums with The Perfect Disaster (1987-1990), Wiggs left to join Kim Deal (Pixies), Tanya Donelly (Throwing Muses), and Britt Walford (Slint) in forming indie supergroup The Breeders, whose debut album Pod came out in 1990. Following a shift in line-up—with Kelley Deal on guitar and new drummer Jim Macpherson—The Breeders released Last Splash in 1993; with its hit single 'Cannonball' and 'Divine Hammer,' they became alternative rock superstars.
During the same period, Wiggs released two lower-key albums with Jon Mattock (Spacemen 3, Spiritualized): Nude Nudes (1992) under the name Honey Tongue, and Bon Bon Lifestyle (1996) using the moniker The Josephine Wiggs Experience. She also recorded and produced Klassics with a K (1996), the beloved and only album by the Kostars (Luscious Jackson's Jill Cunniff and Vivian Trimble). During a brief run of shows, Wiggs joined the band on drums, showing her range of musical ability.
In the late '90s Wiggs collaborated with Vivian Trimble as Dusty Trails, whose eponymous 2000 album is an homage to neo-noir soundtracks, spaghetti westerns, and Gallic pop. Time Out described it as 'one of the most subtly suggestive, understatedly elegant...things likely to have caressed your cochlea in years.'
Allusions in Dusty Trails to film music foreshadowed the next stage of Wiggs's career, writing scores for feature and documentary films—from Happy Accidents by Brad Anderson in 1999 to Appropriate Behaviour by Desiree Akhavan in 2014. Her new album We Fall began as a suite of short pieces for the documentary film Built on Narrow Land. Wiggs has also composed and recorded music to accompany live performance and short films by the acclaimed Brazilian choreographers chameckilerner.
In 2013, following the 20th anniversary of Last Splash, the classic lineup of The Breeders reunited for a world tour. Five years later in 2018 they released All Nerve, with Wiggs co-writing two songs and singing lead on the standout track 'Metagoth.' We Fall, Josephine Wiggs' third album of her own design and ninth album in a career spanning three decades, will be released on vinyl and available for download and streaming on April 12, 2019 by Sound of Sinners.

This score is pound-for-pound the funkiest with its heavy bass and drum groove throughout each movement of the score. Most of the pieces from this soundtrack also include killer samples and breaks, my favourites being 'The Diamond Fortress' with Ronnie Scott on solo sax and Chris Karan on Drums and 'Thief On The Prowl' featuring Tubby Hayes and Daryl Runswick on Bass. This release also has an exclusive edit. The Main Theme (vocal by The Three Degrees) and instrumental scores have been combined to deliver an unforgettable version of this great title theme. Now for the first time, Dynamite Cuts brings you yet another exclusive 2x7' 45 collection featuring some of Roy Budd's finest work.

DIAMONDS Musicians

Roy Budd Key boards - Harpsichord, Clavinet, Electric Piano

Paul Fishman - ARP 2600, Electronic programmed

Daryl Runswick - Bass & Double bass

Brain Daly & Judd Proctor - Guitar

Ronnie Verrell - Drums,

Tristian Fry - Percussion

Frank Riccotti - Vibraphone

Ronnie Scott - Alto Sax

Tubby Hayes - Baritone & Flute

The Three Degrees - vocals on 'Diamonds theme'

String orchestral parts led by violinist Sidney Sax: 1974 The National philharmonic

Recorded at CTS Wembley

Roy Budd - Arranger

Following their hotly tipped 2018 debut album 'On' - Altin Gün returns with an exhilarating second album. 'Gece' firmly establishes the band as essential interpreters of the Anatolian rock and folk legacy and as a leading voice in the emergent global psych-rock scene. Explosive, funky and transcendent.

Some words from the label:

The world is rarely what it seems. A quick glance doesn't always reveal the full truth. To find that, you need to burrow deeper. Listen to Altin Gün, for example: they sound utterly Turkish, but only one of the Netherlands based band's six members was actually born there. And while their new album, Gece, is absolutely electric, filled with funk-like grooves and explosive psychedelic textures, what they play - by their own estimation - is folk music.

'It really is,' insists band founder and bass player Jasper Verhulst. 'The songs come out of a long tradition. This is music that tries to be a voice for a lot of other people.'

While most of the material here has been a familiar part of Turkish life for many years - some of it associated with the late national icon Neset Ertas - it's definitely never been heard like this before. This music is electric Turkish history, shot through with a heady buzz of 21st century intensity.
Pumping, flowing, a new and leading voice in the emergent global psych scene.

'We do have a weak spot for the music of the late '60s and '70s,' Verhulst admits. 'With all the instruments and effects that arrived then, it was an exciting time. Everything was new, and it still feels fresh. We're not trying to copy it, but these are the sounds we like and we're trying to make them our own.'

And what they create really is theirs. Altin Gün radically reimagine an entire tradition. The electric saz (a three-string Turkish lute) and voice of Erdinç Ecevit (who has Turkish roots) is urgent and immediately distinctive, while keyboards, guitar, bass, drums, and percussion power the surging rhythms and Merve Dasdemir (born and raised in Istanbul) sings with the mesmerizing power of a young Grace Slick. This isn't music that seduces the listener: it demands attention.

Altin Gün - the name translates as 'golden day' - are focused, relentless and absolutely assured in what they do. What is remarkable is the band has only existed for two years and didn't play in public until November 2017; now they have almost 200 shows under their belt. It all grew from Verhulst's obsession with Turkish music. He'd been aware of it for some time but a trip to Istanbul while playing in another band gave him the chance to discover so much more. But Verhulst wasn't content to just listen, he had a vision for what the music could be. And Altin Gün was born.

'For me, finding out about this music is crate digging,' he admits. 'None of it is widely available in the Netherlands. Of course, since our singers are Turkish, they know many of these pieces. All this is part of the country's musical past, their heritage, like 'House of The Rising Sun' is in America.'
As Verhulst delves deeper and deeper into old Turkish music, he's constantly seeking out things that grab his ear.

'I'm listening for something we can change and make into our own. You have to understand that most of these songs have had hundreds of different interpretations over the years. We need something that will make people stop and listen, as if it's the first time they've heard it.'

It's a testament to Altin Gün's work and vision that everything on Gece sounds so cohesive. They bring together music from many different Anatolian sources (the only original is the improvised piece 'Soför Bey') so that it bristles with the power and tightness of a rock band; echoing new textures and radiating a spectrum of vibrant color (ironic, as gece means 'night' in Turkish). It's the sound of a band both committed to its sources and excitedly transforming them. It's the sound of Altin Gün. Incandescent and sweltering.

Creating the band's sound is very much a collaborative process, Verhulst explains.
'Sometimes me or the singer will come in with a demo of our ideas. Sometimes an idea will just come up and we'll work on it together at rehearsals. However we start, it's always finished by the whole band. We can feel very quickly if it's going to work, if this is really our song.'

Just how Altin Gün can collectively spark and burn is evident in the YouTube concert video they made for the legendary Seattle radio station KEXP. In just under 20 minutes they set out their irresistible manifesto for an electrified, contemporary Turkish folk rock. It's utterly compelling. And with around 800,000 views, it has helped make them known around the world.

'It certainly got us a lot of attention,' Verhulst agrees. 'I think a lot of that interest originally came from Turkey, plenty of people there shared it.'

That might be how it began, but it's not the whole tale. The waves have spread far beyond the Bosphorus. What started out as a deep passion for Turkish folk and psychedelia has taken on a resonance that now travels widely. The band has played all over Europe, has ventured to Turkey and Australia and will soon bring their music to North America for the first time.

'Not a lot of other bands are doing what we do,' he says, 'playing songs in that style and seeing folk music in the same way.'

A little mystery goes a long way, but it's fair to say the appetite for unearthing those secret tunes and lost classics has rarely been stronger...

A LOVE THAT NEVER DIES give us a peek inside their formidable archive with three wonderful pieces of coveted music, in very short supply in their original form

One super limited, clear vinyl pressing.

Demon Music presents a narrated full-cast TV soundtrack adventure starring William Hartnell as
the Doctor, in an epic quest to defeat his arch-adversaries, the Daleks.
In this classic 12 part 'lost' adventure, first shown on BBC TV from October 1965 to January 1966,
the Daleks threaten to destroy the fabric of time itself. In their quest to control the Solar System,
they have taken possession of the devastating Time Destructor. Determined to stop them, the
Doctor (William Hartnell) steals the core of the weapon. He and his friends are thus pursued
across Time and Space by their ruthless, powerful nemeses...
Presented across 7 x Heavyweight 180g Blue translucent pieces of vinyl, this narrated TV
soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. From the eerie
sonics of Ron Grainer & Delia Derbyshire's theme tune, and the familiar 'wheezing, groaning' of
the TARDIS, through screaming jungle worlds and an array of spacecraft, the story is alive with
weird and wonderful sound.
Written by Terry Nation and Dennis Spooner, this is the longest single Doctor Who adventure ever
made for television. Linking narration is provided by Peter Purves (Steven) and the cast includes
Kevin Stoney as Mavic Chen, Nicholas Courtney as Bret Vyon, Jean Marsh as Sara Kingdom and
Peter Butterworth as the Meddling Monk. The film recordings of all but three episodes of this
story are lost from the BBC archives.
The prelude episode Mission to the Unknown is presented on its own single-sided disc with a
unique Dalek (standard edition) or TARDIS (exclusive edition) etched reverse.

As co-founder of Fuck Buttons; the highly-influential noise-electronic duo, Andrew Hung has toured extensively with headline shows at the Kentish Town Forum, Glastonbury and Greenman Festivals, been featured on the

2012 Olympics opening ceremony and all three albums have featured as Best New Music on Pitchfork Media. His production work has included Zun Zun Egui's 'Shackles Gift' and cowriting/

co-producing the critically acclaimed 'Kidsticks' by Beth Orton. In 2016 he soundtracked the multiple-award winning film 'The Greasy Strangler ', and was nominated for Best Soundtrack at the Empire Awards. His debut solo

album, Realisationship was released via Lex records in October 2017. An Evening With Beverly Luff Linn is the soundtrack to Jim Hosking's directorial follow up to The Greasy Strangler and stars Aubrey Plaza, Jemaine Clement,

Emile Hirsch, Craig Robinson and Matt Berry.

After Heading Up The First Three Releases Of His Akoya Circles Label, Look Like Brings A Brand New Name Into The Fold.

On The Motorsport Ep, New Swiss/ Serbian Talent Parco Palaz Takes Familiar Club Sounds And Reanimates Them Through His Own Prism Of Rhythm And Sound Design, Presenting An Unconventional And Sophisticated Debut Release. The Tracks Show A Mouth-watering Combination Of Heady Textures And Impulsive Movement That Mark The Young Producer As One To Watch For The Future.

The Lead Track, Motorsport Takes An Acid Trip Through An Imaginary, Nocturnal Landscape Of Hissing Percussion. Raw And Hypnotic, The Track Has A Looseness And Swing To It That Tempers A Tight Rhythmic Focus, Swelling And Pulsing For Sure Fire Dance Floor Heat.

On The Flip Side Palaz Steps Away From The Peak Time With A Pair Of Spacey, Ambient Leaning Electronic Pieces. Prelude To A Dream Is Wandering And Cinematic, Tinged With Psychedelic Melodrama. Slow Motion Is More Upbeat But Similarly Wide-eyed And Explorative. The Young Producer Experiments With Junglist Rhythms Against Soft Keys, Creating A Meditative Rave Homage To Round Off The Ep.

When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.

The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green's film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape's knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter's famously shoestring original, its musical spirit was preserved.

Budabeats Records celebrates its 10th anniversary in 2018, on this occasion label bosses Dj Gandharva & Von Yodi picked 11 previously unheard tracks from artists of the Budabeats family and created a compilation that perfectly represents the imprint's musical approach: no restrictions in terms of genre or style, the only thing that matters is the quality of the music.

Shades Of Budabeats features African- influenced jazz and funk (Dokkerman & the Turkeying Fellaz, The Mabon Dawud Republic), head-nodding hip-hop beats (Abase, Tom Caruana), straight dancefloor friendly pieces (BeTe aka Suhov, Umoja, M.W.D, Chilum Trio & Auto Reverse) and also, laidback grooves (Freakin' Disco & Crookram).

All kinds of good vibes that will feed your soul and make your body move !

LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

James Clarke's Mystery Movie was released in 1974 as modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema flm where music is used to create the mood and carry the action'.
So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to fnish.Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme Car Patrol', the fuzz rifng and ARP soloing of The Heavies' and the slow-mo strut of Mystery Moll'. Study In Fear' and Empty Streets' are horror soundtrack fodder of the fnest sort.
However, it's the understated, plaintive pieces that we fnd the most rewarding.
Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies.
Music that evokes the 'downlifting' Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise Waiting Game' from being sampled by melodic downbeat masters Express Rising.
Check Relaxed Theme', Quiet Girl', Routine Procedure' and Quietness Sustained' for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Play It Say It welcome New York artist David Berrie for a first EP on the label and one that offers three dynamite pieces of punchy, high impact and inventive house music.

Raised amongst the diverse culture of NYC's nightlife, Berrie started sneaking into clubs as a youngster and since then has risen through the ranks to have now played iconic rooms like Output NY and DC-10 Ibiza. Fusing his musical history with other genres to create his own, unique style of house and techno, David has taken his passion to the studio and served up essential tunes on Hot Creation and Cuttin' Headz.

Opening the account is 'Revolution', seven superbly programmed minutes of slick and involving house beats and knotted bass. It's a restless, body shaking track to make the floor move with futuristic synths fleshing it out and bringing a vital sense of machine soul.

The equally compelling 'JB Loop' is another dynamic bit of electronic house music. Rubbery drums bobble and bounce about with wild computer sounds and infectious bass all ramping up the energy levels and making for a standout track.
Last but not least, 'Rear End' is a supple, intricately designed track with slippery synths, spinning hi hats and bass surges all wrapping around each other to make for real minimal funk. It's a track that oozes Detroit vibes and cannot fail to sweep up the floor.

These are three characterful and masterfully produced cuts of high-class dancing music.

When the new Halloween movie hits theaters in October 2018, it will have the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter serves on the new David Gordon Green-directed installment as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his three recent solo albums, Cody Carpenter and Daniel Davies.

The new soundtrack pays homage to the classic Halloween score that Carpenter composed and recorded in 1978, when he forever changed the course of horror cinema and synthesizer music with his low-budget masterpiece. Several new versions of the iconic main theme serve as the pulse of Green's film, its familiar 5/4 refrain stabbing through the soundtrack like the Shape's knife. The rest of the soundtrack is just as enthralling, incorporating everything from atmospheric synth whooshes to eerie piano-driven pieces to skittering electronic percussion. While the new score was made with a few more resources than Carpenter's famously shoestring original, its musical spirit was preserved.

is it the best jazz record from japan, as the french-born english disc jockey, record label owner and music collector gilles peterson once assumed or is it maybe the best jazz record of all jazz records
well, everybody needs to decide by himself and has to listen to 'watabase', the second solo piano album of the japanese jazz pianist fumio itabashi, that was originally released in 1982.
tokyo based mule music unearth it, remastered the original recordings and brings it back to the global stores in order to seduce all music lovers that embrace notes who come straight from the heart and soul.
while diving deep into the seven compositions on 'watarese', any sensible listener finds out, that the instrumental piano pieces are somehow soulfully connected to what keith jarret plays on his legendary 'the köln concert' live album for the munich based ecm record company.
like jarret, itabashi does not play his notes academic. he let them fly, gives them some kind a life of their own, hits the piano keys deeply emotional and injects his compositions and interpretations some kind of nervous human soul.
in terms of style some call his 'watarase' recordings post-bop, others contemporary jazz. none of such definitions fit really, as all is just that kind of agitating jazz that melts spirituality with humanity. three tunes, the epic 'someday my prince will come' as well as 'msunduza' and 'i can't get started', are interpretations of compositions by the us-american movie score pioneer frank churchill, south african pianist dollar brand and russian-american composer and songwriter vernon duke.
all other four compositions been written and recorded by the 1949 born itabashi who started to play the piano when he was eight years old. while studying at the tokyo based kunitachi college of music, he fell in love with jazz.
his love was so deep, that he starts to work in the 1970's with such legendary japanese jazz musicians like trumpet player terumasa hino, drummer takeo moriyama and saxophonist sadao watanabe.
till today fumio itabashi is a vital part of the japanese jazz culture as a live performer and film score composer. those who want to see how he makes love with his piano should check the world wide web for the french documentary 'jazzed out', that captured his unique way of playing in one episode.
but as music is always firstly for the ears, and not for the eyes, this little letter in-front of you would rather like to recommend to play the 'watarase' recordings loud to get hooked by the highly infectious piano gems that have been recorded at nippon columbia 1st studio in tokyo on 12th and 13th of octo-ber 1981.
they will haunt you. they will come for good. and they will force you to be a good friend with the repeat button - whatever medium you chose to surrender to the piano jazz music of fumio itabashi.

Boredom, anxiety, pain killers and frustration make a heady mix for both reflection and action. For three weeks I stared out of the window of the tower block onto the tall brick towers of the old asylum chimneys. The past was a strange land suddenly out of reach, the present confusing and claustrophobic, the future something I could only visualise and idolise.

From the balmy Autumn day of my release a light was switched on, buzzing urgently like a neon street light on my path. Life took on new vigour and meaning. Pleasures starkly illuminated, annoyances inconsequential. Old work was re-examined and appreciated. Machines were treasured and connected. My basement filled with ever greater warmth and excitement.

The toy towns of our inner minds are constructed of a million tiny building blocks of experience. But there's a freedom that comes from realising what might have been. Peace in reflection, untethered from the everyday distraction and I take pleasure in the hum drum. Unhampered by trends, untethered to a scene, stripped back to essential carnal influences and desires. Who are we but the sum of our experience.

'Everything Is Quite Now' meanders through a reimagined landscape of personal history, releasing musical fragments to dri* amongst soaring treetops, hollowed lakes and labyrinthine concrete structures, liberated from genre and form - alive at last. In these great expanses, light and dark are presented not as polar opposites, but as a limitless, unified whole.

References to EBM and industrial techno manifest within the sporadic percussive framework whilst gauzy ambient backdrops form an entire world of their own, constructed from the gentle hiss of a looping tape, the booming caverns of a muffled kick, the vivid distortions of a crystalline synth. In the depths of a misty forest, warmth permeates, absorbing inside it all of the darkness, pain, romance and beauty from before.

Prequel Tapes is a work of deep synthesis. Fragments of melody and memory orchestrated into densely layered tapestries; a deeply emotional study on a life characterised by a shi*ing relationship to electronics. The pieces serve as a chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club. Oscillating between utopian to claustrophobic, the evolving synth work, deep techno atmosphere and traces of clangorous energy of early European ambient and industrial tell a distinctly German tale, forged between the forest and the autobahn.

Everything is quite now. What else can it be.

Originally released in 1972, Lord Of Lords was Alice Coltrane's final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances - shining a vital light on the devotional path that she would follow for the rest of her career.

On the first two pieces, "Andromeda's Suffering" and "Sri Rama Ohnedaruth" (titled after the spiritual name for her late husband), Alice's dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer "Going Home." Coltrane's musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions.

This first-time vinyl reissue has been carefully remastered from the original master tapes.

Set for release on June 23 via Asylum Records, x (multiply) is the hugely anticipated new album by Ed Sheeran.
It follows his critically acclaimed and hugely successful 2011 debut +; an album that was certified 6 times platinum in the UK alone and has achieved worldwide sales of over 4 million copies to date. It also saw Ed asthe recipient of various awards for the record, including 2 Brits, an Ivor Novello and multiple Grammy nominations.
Never an artist to stand still, Ed recorded x at various locations around the globe (all the while drawing on experiences and influences encountered on his over three years of unrelenting touring) with such luminary producers as Rick Rubin (Eminem, Jay-Z, Red Hot Chilli Peppers), Pharrell Williams (Daft Punk, Robin Thicke, N.E.R.D), Benny Blanco (Rhianna, Wiz Khalifa) and Jeff Bhasker (Alicia Keys, Jay-Z) adding new flavours to the classy work of key collaborators Johnny McDaid (Snow Patrol) and Jake Gosling (who produced +). xhas the musical ingredients to make it one of the most important global releases of this year.
The new set showcases the exponential growth (both vocally and musically) of an incredible artist, who at 23 exhibits the poise of a seasoned veteran. The songs for x came together whilst touring + and, in the same way as the latter was a snapshot of his life and relationship to-date, x charts his loves and life since. Only 'One', the perfect album opener and first song written for the record (in 2011 whilst on tour in Australia) looks back to that time and is the link between the two records. With 'One' under his belt, almost before he noticed he was writing, Ed had ten new songs and counting.
The breath-taking album-closer 'Afire Love' was written about his grandfather who passed away last Christmas. 'Always the hero of the family - such a cool guy - he'd been suffering with Alzheimer's for some time and I actually started writing that song two weeks before he passed away," Ed says. "I was thinking 'What if' and then he did...' Then there is the timeless ballad 'Photograph' written in May 2012 in a hotel room in Kansas whilst on tour with Snow Patrol. McDaid had a piano loop playing on his laptop while Ed was making a Lego X-wing Fighter to give to a charity auction. He just started singing as he put the pieces together and the song grew from there. 'Don't' started life as a riff on his phone and grew into another of x's massive moments. The deluxe version of the album also includes the original song, 'I See Fire', which Ed wrote, produced and recorded for the second Hobbit movie. This was after Academy award-winning filmmaker Peter Jackson personally commissioned him. With no promotion besides 3 tweets from his personal twitter account, it reached #2 on the UK iTunes chart.
However it's the Pharrell-produced lead single 'Sing', due out in the UK on June 1, that's pushing the envelope for Ed. #Sing was the number one trend on twitter globally ahead of launch with the track immediately tearing up airwaves nationwide including a 7-week add to Radio 1 and an unprecedented addition straight to the Super Hit list at Capital FM and Kiss Network. The audio upload on YouTube was Ed's biggest ever video launch, clocking 650k views in its first 24 hours. Already i-tunes Top 5 in 15 different countries (number 3 in the US), Top 20 in 36 countries and with all chart positions climbing, 'Sing' is well on the way to being a global smash.
On the back of 'Sing's' launch, x reached No.7 in the UK iTunes chart on pre-order alone with that success mirrored internationally with No.1 positions in the US and Canada, Top 5 in New Zealand, Sweden, Australia and Top 10 in 20 countries.
'I'm really proud of my new album and can't wait for people to hear it.' Ed says. 'It's definitely my best work.'

Salvador Font studied violin, clarinet, composition and harmony at the Conservatori Municipal de Barcelona, but very soon started to gain notoriety as a saxophonist in the rich jazz scene of 1940s Barcelona. Font would soon be playing tenor sax and clarinet in the Orquesta Gran Casino. He was in his early twenties and his hot swing technique was already praised through the citiy's scene, he would grow to be considered the best saxophonist in Spain by playing in many orchestras and combos, among them: José Puertas', Antonio Vilá's Virgina, Bonet de San Pedro's band, Pierre Michel, El Lirio Campestre, Los Marios, Luis Rovira y su orquesta, Orquesta brasileña Fon-Fon, Jaime Camino, Los Embajadores, Italo Leone's... With these and others, Font toured constantly, visiting many countries and even staying on some for long seasons: Mexico, Morocco, Switzerland, Egypt... Hungarian violinst of Turkish ancestry Kurt Dogan gave him the "Mantequilla" surname - he felt "Mantequilla" (which means "butter") fit Font's mellow yet swinging improvisation style.

Mantequilla y su conjunto

In the early sixties, "Mantequilla" had the chance to lead his own combo, Mantequilla y su conjunto, with which he was to record the three splendid EPs that are compiled on the present album. All these 7" have become elusive collector pieces in the record market, with sellers demanding from 200 to as much as 950 euros per copy.

In 1961 "Mantequilla" was at his best moment, his gigs at the Jamboree Jazz Cava had brought him back to the first line of Barcelona's jazzmen after he had been working abroad for a long time, and was approached by the Belter label to record an EP. On the sessions he was accompanied by Manolo Mercedes on trumpet, Pedro Ferré on piano, Rafael Lizandra on double bass and Rafael Verdura on Drums. The material chosen for the disc were four original compositions by Salvador Font which had a high West Coast flavour all over: "La Tuna Club", "Whisky Jazz" and "Jamboree" named after famous jazz clubs and "Azul Trompeta", dedicated to Manolo Mercedes.

In late 1962, after spending some time in Madrid working as members of the Italo Leone combo, "Mantequilla" and pianist Manuel Gas came back to Barcelona for the recording of the second "Mantequilla" EP, also on Belter. We find again Manolo Mercedes on trumpet, Pedro Ferré on piano and Rafael Lizandra on double bass, the drummer this time was José Farreras. Another news is that Manuel Gas also sat on piano and vibraphone. The songs chosen for the occasion were two tunes from the Art Blakey Jazz Messengers repertoire: Bobby Timmons' classic "Moanin'" and the Jacques Marray track "No Problem" from the soundtrack of the Les liaisons dangereuses film (mispelled "Not Problem" on the sleeve and label), plus the Salvador Font penned "Blue Note" and "Full de ases" - on "Full de ases" "Mantequilla" trades his sax for the violin, which he also mastered under high influence from Stephane Grapelli. The record was released on Belter in early 1963 and showed "Mantequilla" adding a certain aggressivity to his sound, in a soloist style which has been compared to that of tenor saxophonists Barney Wilen or Benny Golson.

1965 was the year of release of Mantequilla y su conjunto's third EP, now on the Discophon label. Mercedes and Farreras are again present in the recording sessions, joined by Ricardo Miralles on piano and Enrique Ponsa on double bass. Four original Font compositions make up the fantastic EP: "Blues 3/4", "Atmósfera", "Vat 69" and "Balada".

There would be a further EP on Belter, released in 1971 as Mantequilla Group it was a cash-in operation to take some redits of the ye-yé discothèque phenomenon, it gets quite afar in style from the jazz works of Mantequilla y su conjunto, so we just left it aside for the present edition.

"Mantequilla"'s career would continue, in 1968 he would settle in Majorca and form a swing band with Bonet de San Pedro and Manuel Bolao. He played in local orquestras and also with first class world acts like Gerry Mulligan, Tete Montoliu, Errol Gardner, a.o. He was even approached by Henry Mancini to play sax on The Pink Panther Theme in a gig Mancini did with his orchestra in Palma de Mallorca in 1975, He also joined his son Salvador Font (a demanded drummer himself who has played with Máquina!, Orquestra Mirasol, Música Urbana, Gary Burton Quartet, Georgie Fame, and many others) and his peers Carles Benavent, Emili Baleriola, Josep Mas 'Kitflus' and Jordi Bonell with whom he recorded his acclaimed "Mantequilla" album in 1987.

Now, for the first time ever, the legendary three ultra rare and imposible to find EPs by Mantequilla y su conjunto are compiled in a lavish vinyl LP with remastered sound, featuring liner notes and photos and a fantastic period inspired, three backflaped, front laminated sleeve. It is a stricly limited edition of only 500 copies and they are expected to sell out very soon, do not miss your chance of getting yours - it may be the last chance of chasing the Mantequilla sound on vinyl at a reasonable price!














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Moscow Is Mythologized For Its Grandeur And Gravity But Its Parable Pleasures Offer Splendor And Even Absurdity. Over The Ten, Symmetrical Pieces Of For, Kate Nv Scores Her Native Urban Environment With Just Enough Whimsy To Gurgle Through The City Cracks And Grow Psychotropic Foliage. Each Sound Assumes Its Own Personality, Moving Through The Album Metropolis Like Miniature, Mutating Molecules Viewed From Nv's Apartment Window.

Alternately A Guitar-wielding, Post-punker And One Within The Multitude Of Moscow Scratch Orchestra's Avant-garde, Nv Is A Versatile Artist That Maneuvers Instinctively In Whatever Musical Environs She Finds Herself. Nv's Second Solo Album Is An Even More Abstract Endeavor Than The Hybrid Pop Of 2016's Binasu. Inspired By Casual Moments Of Ephemeral Sound From Within And Beyond Her Apartment Walls, The Record Has A Clarity Arrived Altogether And From Right Under Her Nose. Recorded At Home, Nv Says It Was As If The Music Was Not Written By Herself, But Her Chair.

For Inhabits A Stage That Piero Milesi & Daniel Bacalov, Ann Southam, Or Hiroshi Yoshimura May Have Written Music For And Dresses It With Viktor Pivovarov's Psychedelic Depictions Of Moscow - Contorting Bodies, Flying Pencils, And Multi-dimensional Faces Dance With Subtle Arpeggiations, Conversational Voice Synthesis, And Anthropomorphic Midi. Animating Objects Is Essential To The Album. Like A Surreal Still Life, Each Piece Is An Alien Arrangement Of Common Elements That Extend The Everyday Ritual Into An Eternal Landscape Of Unconscious Activity. Somewhere Along That Landscape, Kate Awaits And Greets With Apples For Hands And Fish For Feet.

Like The Album Title, Each Composition Contained Within Is Represented As A Three Letter Word, In Russian And English. The First Half Of For Was Written In The Spring. Starting With yxo Ear,' Previously Released On The Peaceful Protest Compilation Cassette In 2017, Melodies Meander And Lollygag. a Two' Incorporates Human Breath Played Like Notes On A Pump Organ. Oak' Offers A Warm Tune To Tango. How' Loops Curious Notes That Bump Into Each Other With A Chirpy Acknowledgement. You,' The Only Track On For With Lyrics, Sets A Wassily Kadinsky Poem To Song.

The Second Half Of The Album Was Written In The Autumn. The Feathery Edges Of One' Extend Like Watercolors Bleeding Off A Rubber Scroll. See' Is A Subdued, Shadowy Variation Of How', As If The Same Song Were Played In Different Weather, Dimmer Light, Or By Kate's Devious Doppelganger. The Electronics Unravel And Unwind On Dog' Until The Final Track, Who,' Ends With Vague Solemnity And Rattled Metals.

A Short Online Film Series By Shura Kulak Will Accompany The Release Of For. The Films Follow A Solitary Figure Performing Ordinary Tasks Through A Slow, Warped Lens — Each Song Enacting A Daily Habit: Waking, Dressing, Reading, And So On. In Her Live Performances Around The Album, Kate Nv Will Play Each Song From Memory, Allowing For Variation From The Recorded Tracks, And Scenes From The Films Will Be Re-created And Improvised In The Moment.

Scottish Producer, Stephen Lopkin Is Back On M>o>s Deep With A Great Double Pack Of That Gleaming Sound We Love Him For! Tip!
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Having Released Two Eps On The Label Since 2014, Stephen Lopkin Now Steps Up To Mos Deep With A 2x12" Release Entitled Clyde Built, Recorded In His Home Town Thornliebank. The Scottish Artist Has Been Making Prickly House And Techno For Almost A Decade. His Style Is Serene And Slick, And Across The 10 Tracks Here He Manages To Conjure Tracks That Work In The Club But That Come With Plenty Of Cerebral Qualities.

He Never Made A Secret He Takes A Lot Of Influence From Early Detroit Techno, Even Several Track Titles Pay Direct Homage To His Musical Heroes Like Derrick May, Kevin Saunderson, Carl Craig And Also The Track New Euro Politique Is Made In Memory Of The Late Uk Producer Matt Cogger Aka Neuropolitique.

'welcome To Nowhere' Kicks Thing Off With Languid House Grooves And Jittery Percussion, 'matrix' Is Awash With Swirling Pads And Astral Grooves And 'new Euro Politique' Is A Blizzard Of Kicks, Panning Percussion And Arpeggiated Synths That Glows Bright. There Are Darker, Driving Cuts Like 'fridays At Pure', Trippy Offerings Like The Title Track And More Thoughtful And Pensive Jams Such As 'qinosen'. The Final Three Tracks Are Busy, Electrifying Pieces That Fire Every Synapse With Their Sci-fi Fx, Crisp Drums And Cinematic Atmospheres.

The Whole Album Is Wrapped Up In Majestic Synth Work And Every Track Reveals More Layers With Each Listen. Offering A Sublimely Complex House And Techno Sound, These Tracks Look Back To Go Forwards And Do So With A Real Timelessness.

Shunter, the new album by the Berlin-based duo Driftmachine, is their most ambitious work to date. Although instantly recognizable, featuring their trademark Kosmische and Avant-garde sounds, it also presents a new journey into abstract and hallucinatory worlds. Filled with eerie textures, their electronic visions are darker and more vaporous than ever.

Driftmachine's fourth album (also the fourth one for Umor Rex) offers a new perspective on their ample sound spectrum and systemic narratives. Shunter overlaps and mutates their post-industrial-dub motives. It was conceived and produced in search of a very different kind of imagery, with sections of noise and field recordings intersecting with analogue sounds, a mixture of contrasted fragments, where the usual creative process of modular-synthesis leads Gerth and Zimmer to the discovery of a dark, hazy and diffused experience. There is a protean quality to the rhythmic elements, with tempos constantly contracting and expanding, a departure from the mono-beat-rhythms of "Nocturnes" and "Colliding Contours". The first half of Shunter is made of four pieces named "Shift", although individually separated, they are conceptually linked and can be understood as a sort of score. Imagine a late stage of the industrial revolution, with the interaction between heavy machinery and human beings. The second half of the album is not completely separated, but it has three other substantial melodic moments. Somewhere between the hauntological and the realms of archive-music, a huge range of subterranean beats and distinct patterns dotting the landscape of early electronic and post dub music.

All songs written & produced by Driftmachine (Andreas Gerth & Florian Zimmer), Berlin.
Mastered by Rafael Anton Irisarri. Design by Daniel Castrejón.

Face Time is the second release from the trio of Oren Ambarchi, Kassel Jaeger, and James Rushford, following on from their 2016 debut Pale Calling. Recorded at the GRM studios in Paris in June 2017, the record immediately returns to the idiosyncratic sound-world of the trio's first release, a simmering stew of electronic smears, pitched-down animal moans, and mysteriously emotive microtonal organ chords. But before long the record takes an unexpected turn, as sounds that initially enter as occasional percussive pitter-patter build to a halting rhythm. Equally reminiscent of Basic Channel-style dub techno and the sound of a microphone loose in a pocket, these stumbling rhythmic figures provide the framework for the remainder of the record's two sides, occasionally receding into the background to allow squelching electronics, chiming bells, distorted autoharp, inchoate grunts and the sound of a Cristal Baschet to take centre stage, but each time returning with the inevitability of a an idée fixe.

Eschewing any clear sense of form, the two side-long pieces move seamlessly through episodes with the organic flow of improvisation, embracing the happy accidents of events conjoined by chance and lingering on liminal moments. Gradually washing out into a cavernous roar, the record's final moments are suddenly enlivened by shimmering metallic percussion and a sequence of woozy synth chords, combining with the muted rhythms and a distant thunderstorm to become a sort of oneiric tribute to the work of Wally Badarou. Bringing together three of contemporary experimental music's most individual voices, Face Time is an essential slice of outsider electro-acoustics. Cover design by Stephen O'Malley. Mastered and cut by Rashad Becker at D&M, Berlin.

From Hip Hop to Soul, then from Soul to Beatmaking, Sly Johnson never really changed universe. Today, it's immersed in the mechanics with processors and printed circuits that we find him, under the alias of TAGi, producer-beatmaker who, for the occasion, has joined the services of Steven Beatberg. It's together, in artistic autarchy with the only presence of softwares, samplers and sequencers, that they have built their pieces in the light of their computer screens.
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After three EP dominated by instrumentals, the duo finally chose to realise their dream: to craft a multi-voice album where customized production for each guest would guide the creative process.

Rapper Big Pooh, the former member of the Little Brother group (With Phonte & 9th Wonder), the contemporary soul of Lisa Spada, but also the rapist #madeinfrance Pumpkin (worthy descendant of MC Solaar, Fabe ...), multi-faceted Georgia Anne Muldrow, the MC Finale, the new rising wave of artists of the Hip-Hop scene in Detroit. Tiemoko from Paris, Saga an MC who follows the pure tradition of the New York Hip-Hop, the very smooth-jazzy Elodie Rama and Dilouya, the producer of the previous record of Sly (The Mic Buddah), are of this casting where men and women share the roles and where TAGi as soon as the mic presents itself to him, becomes again Sly Johnson for some refrains, choruses or solo rereading of the sublime "Retrograde" of James Blake.

Guided by Hip Hop since the 90's until today, worked in great detail, YOUARESURROUNDED highlights vintage keyboards on granular rhythms, injecting a lascivious Soul, P-funk, electro futuristic or melancholic in black and white touches on 13 tracks that are as atmospheric as they are emotional.

Ryuji Takeuchi provides Instruments Of Discipline with an EP of noisy, hypnotic tracks, ranging from giddy, stomping, left-field techno to melancholic ambience; the EP's title 'One's Sentiment' provides a thoughtful angle to this at times cacophonous collection, for while they are bristling with noise there is something contemplative about the pieces, expressed in a way that suggests more than one thought trying to take life at the same moment, Ryuji finds space for conflicting voices both spatially and in terms of mood, the first three tracks, 'Ambivalence', 'Sadness' & 'Sorrow' crawl with competing elements, synth lines drool over and meld with throbbing kick patterns, anxiety & excitement are tightly wound in focus as tracks build and develop, leaving the listener to navigate these abstract planes, intoxicated; while the final track 'Regret' is a compelling piece of noisy, ambient minimalism that allows for an austere pause after the eruption of the initial works. It becomes evident that Ryuji's journey as a producer, through periods of hard-techno, deep-minimalism and the more abrasive ventures on HueHelix, has created a powerful and nuanced voice that is fully on display in 'One's Sentiment'.

Ryuji Takeuchi - Artist Bio

Ryuji Takeuchi (Local Sound Network / LSN, HueHelix) was born in Osaka, in the late 90s, he moved to the United States where he discovered Techno, House and Electro Music, influencing his desire to produce & DJ. His first wave of releases on LK Records, Arms, Mastertraxx, FK Records, SWR, Innervate, I.CNTRL, Impact Mechanics, Silent Steps, GSR & Brood Audio to name a few, were straight-up, hard techno,

In 2011, Ryuji started his own imprint, 'Local Sound Network / LSN', a platform for a new generation of both Japanese & global electronic music & later on, in collaboration with Tomohiko Sagae, Go Hiyama & Kazuya Kawakami, the label, 'HueHelix / HHX', developing further the voice of Japanese techno & experimental electronics, with a focus on distorted, industrial sounds.

In 2012, Ryuji launched the 'Local Sound Network Digital Solutions / LSNDS' series born from a desire to both discover and introduce a wider range of electronic music to the world.

Ryuji Takeuchi provides us with an EP of noisy, hypnotic tracks, ranging from giddy, stomping, left-field techno to melancholic ambience; the EP's title 'One's Sentiment' provides a thoughtful angle to this at times cacophonous collection, for while they are bristling with noise there is something contemplative about the pieces, expressed in a way that suggests more than one thought trying to take life at the same moment, Ryuji seems to find space for conflicting voices both spatially and in terms of mood, the first three tracks, 'Ambivalence', 'Sadness' & 'Sorrow' seem to crawl with competing elements, synth lines drool over and meld with throbbing kick patterns, anxiety & excitement are tightly wound in focus as tracks build and develop, leaving the listener to navigate these abstract planes, intoxicated; while the final track 'Regret' is a compelling piece of noisy, ambient minimalism that allows for a pause after the . It is testament to Ryuji's journey as a producer through periods of hard-techno, electronic minimalism

Sacred Summits returns after a two-year hiatus with an album of interpretations of the music of Eric Satie by acclaimed composer Morgan Fisher.

Active for over 50 years Morgan's career has moved from 60's number one hit wonders Love Affair, to 70's rock'n'roll keyboardist in Mott The Hoople, before finally on to 80's ambient, improvisation and soundtracks, working with the likes of Yoko Ono, Haroumi Hosono and Dip In The Pool.

Based in Japan since the mid-80s, Fisher's long-standing admiration for Erik Satie (1866-1925) led to these Inside Satie recordings. Satie's unique work as a precursor to artistic movements such as minimalism, surrealism and repetitive music are acknowledged but for long periods he not given the accolades his music warranted.

A strange, eccentric, surreal man, he was never as acclaimed as the established masters, but influenced not only the likes of Debussy but also many of the Dada artists. On this album Morgan played his music freely after just a brief look at the scores. Recorded in just three days, it features piano, melodica, synthesisers, and Morgan's favoured tape delay system.

'INSIDE SATIE is one of the first albums I recorded in Japan shortly after moving here in 1985. In three days I improvised on several of my favourite Satie themes. Mostly I played piano as well as the rich, analog-sounding Yamaha GS-1 (precursor of the DX-7), and sometimes used long tape delays to build layers of sound. All the pieces were recorded in single takes - no overdubs (no time!)'.

Nuiton is back on Exit and has come along with three timeless pieces riding through constantly building rooms of merciless sounds. In - Out Of Prism', he maintains the mystery surrounding his character, and manifesting his place as a chameleon of today's electronic music scene.

Lullabies For Insomniacs presents 'For Leena', a collection of unreleased pieces composed between 1991 & 1998 by Dino J.A. Deane for the choreography of Colleen Mulvihill. Gatefold Sleeve
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Dino J. A. Deane began his professional career, at the age of nineteen, as a musical arranger and multi-instrumentalist (trombone, flutes, keyboards, percussion). He worked in funk bands around Los Angeles before moving to San Francisco in the mid 1970's, where as an improvising artist he became involved in the diverse communities of dramatic theatre, modern dance, free jazz and punk rock.

In the early 1980's Mr. Deane pioneered the use of live-electronics, live-looping and live-sampling in three distinct genres that heavily informed his later compositions: As a member of art-punk band 'Indoor Life', touring and recording with fourth world pioneer Jon Hassell and as an electro-acoustic percussionist in the Conduction orchestras of Butch Morris.

During this period Mr. Deane also worked as a sound designer for the theatre, with directors Sam Shepard, Julie Hebert and Christoph Marthaler. He also maintained a presence in the world ofmodern dance, creating and performing compositions for former Olympic gymnast Colleen Mulvihill.

The couple met in San Francisco in 1979 through his good friend Bruce Ackley, whom was commissioned to compose a score for one of her solo pieces. Colleen, was than a member of the Margaret Jenkins Dance Company and was planning to move to New York City to set out on her own as a dancer and choreographer. Their paths crossed again in 1980 when Dino moved to NYC with Indoor Life, during this time they began a long term relationship both on and off the stage, which continues to this day.

We are proud to announce the kick-off of a new Dynamic Reflections subseries: Dynamic Reflection LTD. A series that is set to explore a broad spectrum of electronic music, and aims to cross the barrier between the club floors and home listening. And to start in a proper fashion, we launch the LTD-series with a very special vinyl + full digital album package by Jonas Korbl.

Three years in the making, this anticipated album chronicles the musical, and in many ways, spiritual coming-of-age of Jonas Korbl. Having started producing house music at a very young age, this debut album under his birth name signifies a new direction for the young Dutchman. In these pieces you hear him shaking off the restraints of formulaic working, opting for more experimental paths instead. You could say Discovered 5 is a story about learning about music; An expression of the author's experience in broadening his horizons.

In the full release Korbl presents nine tracks with a sleek and undeniably dark aesthetic, taking you from ambient soundscapes to main room techno and back, touching down in Berlin and London along the way. Downtempo excursions comfortably rub shoulders with rough-and-tumble club destroyers, but as varied and idiosyncratic as the album is, the music feels far from contrived. Instead, the variation keeps you engaged, with the quieter moments acting as a counterweight to the pieces with a more straightforward approach. Somehow he manages to make all these different places and moods uniquely his own.

The most remarkable thing about this LP is Korbl's uncanny ability to take familiar elements and bending them to his will, creating a new context for the listener to experience his personal brand of electronic music in. The adventurous DJ will surely find a track to create that special dance floor moment on the vinyl release, containing four club-ready tracks. However, for the full experience the entire album is a must-listen, connecting the dots between the highlights placed on the physical LP. All in all, this debut bodes very well. With skills and experience beyond his years, Korbl's star is sure to only rise from here.

Belgian musician Dijf Sanders pens and produces soundtracks for distant, far-flung places that brood with exotica, psychedelia, jazz and electronica. His new album 'JAVA', is a psychedelic and modern search for the sounds of the homonymous Indonesian island. Armed with a set of field recorders, Dijf traveled to every urban and rural corner of Indonesia in the spring of this year. As a contemporary incarnation of ethnomusicologist Alan Lomax, he collected an impressive repertory of recordings, commissioned by the Europalia Arts Festival and KAAP Creative Compass. 'Kacapi', 'Kendang', 'Angklung', 'Calung' or 'Gamelan' are not the names of indigenous tropical diseases by the way, but those of local instruments that Dijf encountered on his adventurous musical quest. For two weeks the American expert ethnographer Palmer Keen stood by Dijf through his total immersion into the island's colourful culture and rich, ceremonial traditions. On his return to Belgium, Dijf headed straight back into the studio with the gathered material and invited some of his musical soulmates to put the icing on the cake. It is no coincidence that the three guests - Nathan Daems, Filip Vandebril and Simon Segers - are all part of Black Flower, a band that famously flirts with Oriental sounds. From hours and hours of field recordings, Dijf distilled ten psychedelic pieces which ride on waves of ecstasy and trance, and bridge the gap between two worlds. Tribal rhythms and warm melodies are fused to a seamless and beautiful musical work in utopia. The Brugge-born, Gentbrugge-based musician is one of those great Flemish talents. In the past, he earned his stripes with Teddiedrum and The Violent Husbands and has produced bands like Kenji Minogue and Blackie & The Oohoos. He has also released music under his own name including the critically acclaimed album 'Moonlit Planetarium'. Welcome to Dijf Sanders' wonderful journey into future exotica.

Special remarks : 12 Vinyl, 180gr, limited to 300 pieces Tracklist A1 Der Merowinger (Original) B1 Pure Awareness (Original) B2 Second Track (Original) Info: The second outing on his Midnight Themes imprint, Marlon Hoffstadt touches on featherlight acid, proto trance and jacking house across three tracks, also brimming with sub and dub. Fresh from recent releases on Hot Haus, Ransom Note Records and his own Retrograde, Marlon Hoffstadt is reemerging as a defiant staple of dancefloors far and wide. With his newest release, the Berlin producer encourages listeners to engage with the music without the parasitic interferences of 21st century life. So for the next 20 or so minutes - screens off and blinds down to enjoy some pure awareness. Vital Sales Points: ' 2nd release on Midnight Themes ' previous releases on HOT HAUS, Ransom Note Records, Retrograde, Axe On Wax, Dirt Crew ' Radio & Press PR by 'The Rest Is Noise

Noplace is an improvised collaboration between Aidan Baker (Nadja / Caudal / B/B/S/), Simon Goff (Molecular, Bee & Flower) and Thor Harris (Swans, Shearwater, Thor & Friends).
Having known each other for a number of years and previously contributed to one another's recordings this trio finally came together as a whole on May 7th 2017 at Redrum Studios in Berlin. In a short, improvised session of just a few hours they set about laying down as much material as possible which was then subsequently edited and re-worked (without overdubs) to form this album.
The same evening the trio played together as part of a 9-piece Thor & Friends ensemble which also included Christopher Hefner (on musical saw) whose artwork graces the cover of the record and gave it its name.
Noplace is a hypnotic and deep listen. Kinetic rhythms pulsate throughout whilst the guitar and violin jostle and weave around the metronomic beats, creating a cathartic and all-encompassing experience. The very nature of the instrumental repetitions give it an immediate avant/krautrock feel but the whole record is coated in a wonderful psychedelic atmosphere that's both melodic, textured and innovative.
Without doubt a perfect marriage and the sum of its parts. You would be forgiven for thinking Noplace took years to craft but that's testament to three excellent musicians who have produced a real treat of a record. Broken down into seven pieces but very much best enjoyed as a thrilling whole, Noplace is a powerful and highly addictive album.

'Less thought, more direction and purpose, less catering, more expression...'

This was Savile's mantra as he sculpted his 'Compersion' EP for Mike Simonetti's 2MR and it's a mantra we should all subscribe to. It's come about through his introspective analysis during the creation of his most succinct and starkest exploration date.

''Compersion' is a record about wrestling my own beliefs, both personal and political. It's about experiencing the anxiety and absurdity of loving a partner and ultimately myself. The sounds, tempos and arrangements found here are the result of further experiments with editing tracks to their absolute minimum. I tried to work these songs like I am working on me. Less thought, more direction and purpose, less catering, more expression.'

And more detail; throughout every stripped back heavily-edited sensation the conceptual EP provides, the meaning and message is palpable. Each track title inspired by Jenny Holzer and Helmut Lang's revolutionary provocative, sexualisation of the art space in Florence Biennale, 1996, there's a tangible physicality felt throughout...

The heavy breathing rhythmic elements of the electroid 'Talk Smile Bite' and its bedrock bedspring funk; the playful switch between breezy broken beats and driving techno coupled with minimal sample craft and literal message of an instantly recognisable vocal on 'Watch Scan Wait'; the much heavier, intense techno pressure of 'Tease Breathe Smell' where the heart is on the sleeve and it's palpitating wildly with direction, purpose and true expression.

A smart concept from a Smart resident, Savile has achieved something special here; a provocative model a deep self-construction and, above all, three damn fine pieces of techno.

Legendary Los Hermanos member Santiago Salazar's album 'Aspirations For Young Xol' is given a vinyl release courtesy of Rekids.

A heartfelt dedication to his son Isaias, 'Aspirations for Young Xol' takes us through the life of a pillar in the electronic music community - Santiago Salazar. From his formative years spent in California to his connection with Detroit and the passing of a childhood friend, the long-player's tracks signpost the musician's significant experiences, both positive and negative. This meaningful body of work was released digitally on Pastel Voids and now Rekids release the album on wax.

'Saturated Fear' sets a deep tone for the LP, flanging melodies and echoing claps float through the composition before the album's title track 'Aspirations for Young Xol' offers haunting arpeggios with occasional acidic overtones which are cleverly offset by beautifully designed lead synth transitions. 'Bloodlines' follows a similar musical vein with delayed bass riffs that are suspended above shimmering hihats and a weighted kick.

Santiago provides three beatless pieces throughout, which digress into more emotional territory whilst offering brief respite from his heavier drum work. 'Xol's Pain' combines orchestral strings and swelling synthesisers which build tension with a subtly complex, evolving motif. Both 'Dark Matter' and 'Ode to Stinson' use arresting atmospheres, warped arpeggios and ethereal pads which lull the listener into a retrospective mood.

An intensity builds in the later tracks, a gritty but powerful low end provides a solid foundation in 'Orange Blossom Thump', eventually making way for a hectic and elastic lead synth before 'Pachuco Dub' displays drones that build a dissonant pressure in which the complex tom rhythms and rolling hi hats can grow. 'Sarah Rivera' hypnotises with its delectable chord progressions and complimentary melodies which seem to float above a rigid drum composition to close the album with style.

For the label's 50th release, Emotional Rescue returns to the music of Woo to close a trilogy of reissue collaboration albums, in A La Luna. Following Whichever Way You Are Going (1982) and Into The Heart Of Love (1990), their opus A La Luna (1991) was the last of the bands song based albums and represents a wonderful way to close this association.

Reworked, re-ordered and remastered especially for this first time vinyl release, brothers Mark and Clive Ives again present their unique, ground-breaking and at the time, heart-wrenchingly overlooked music, that seems to fit the folk-new age-electronics of today as well, if not better, than when first released.

Across 20 plus songs Mark's guitar, clarinet and vocals are as ever drenched in Clive's mixing desk mastery. Echo and reverb shimmer as the short pieces rise and fall like the wind blowing across nighttime trees. With no song going much beyond three minutes, A La Luna flows as one piece. The unmistaken sound of Woo wraps itself around you in an essence, warmth and glow that is addictive, meditative and uplifting.

Featuring the original vocal performance of Mark's love ode, Magic In The Dark stands as a centerpiece where, as with all their albums, vocals appear at a minimum, as part of the musical journey.

The underlying somber nature of the album comes as the band ended more than a decade of recording with little critical or commercial success. The fact they did not release a full album again and moved towards a more meditation outlook was a loss, however, their recent rediscovery and the excellent releases by Drag City and Palto Flats included, has finally given the Ive's brothers not just a place in appreciation, but has shown that there really is no one like Woo. Enjoy the magic.

Music From Memory's final compilation of 2017 sees the release of the double album 1 by 1', which brings together the works of American experimental musician Geoffrey Landers. During a period spanning from 1979 to 1987, this Denver, Colorado based multi-instrumentalist, composer, record producer and engineer, conceived several solo albums. Only two of these, The Ever Decimal Pulse' and Habitual Features' along with the single Breedlove' were ever released on vinyl.
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Being heavily involved in the local industrial/punk/new wave scene and wanting to create a recording studio available to record artists regardless of their financial circumstances' Landers set up The Packing House Studio' in 1981. This analog 8-track recording facility was located in a former slaughterhouse in the stockyards of Denver and was a place of significant activity for the next three years with the studio releasing recordings from numerous artists most notably Allen Ginsberg.

It was here that Geoffrey Landers also started his own aptly named Cauhaus' label. Indicative of the underground/DIYculture, Cauhaus' was a subsiduary of a label called Local Anaesthetics which was started as an in-store label by independent Denver record store Wax Trax. Typically Cauhaus releases were only pressed up in small quantities and independently distributed, making Lander's music essentially elusive to a wide audience. After relocating in 1984 to an art district of Denver Landers opened the Cauhaus Institute of Recording' studio where he continued to produce music for soundtracks, art and multi media projects for the next three years, after which Landers stepped out of the music industry entirely. He currently creates and exhibits mixed-media glass art.

Throughout the twenty tracks of "1 by 1", of which six previously appeared on CD only, we are submerged into a wide diversity of musical approaches from Geoffrey Landers. From the proto-house track Logarhythms' and the heart breaking New-Wave Boogie/Funk of Say You'll Say So' to the more contemplative pieces such as the oriental insprired Nisei' and the drenched in sunshine dub/reggae track Mack' Landers shies away from musical expectations again and again, searching continually for innovative and new forms of expression.

Don't shoot me, I'm only the piano player.

The Scene: The Welsh mountains, remote and harsh, a special place. A good place to produce a special album. The characters: Volker Bertelmann in his friend Adam Fuests' studio, equipped with only a piano and a laptop. The Project: To record a album of piano music. Title: Hauschka.

Piano music is highly personal music, which is the reason why piano solo albums occupy a particular place of importance in a musician's work - not that Volker Bertelmann wants to hype his first foray to that extent, hence the pseudonym. Nevertheless Hauschka is personal music, simply because it has accompanied him for so long, because it has always been there in some shape or form, because it has always been important. The title points to the fact that it is dealing with something of import, not just a few finger exercises or background ivory-tinkling.

Substantial' is a snapshot of a life spent with the black and white keys, and is simultaneously both moment and history, thought and feeling, yet without turning into a unduly meaningful concept album. Rather, Substantial' is based upon the least conceptual of all concepts: Improvisation. Each track is based upon an opening sequence, the theme of which is extended, modulated and varied with, as far as form or length is concerned, no specific objective in mind. What has come out is music of a differing, well, substance: Eleven atmospheric pieces in which a variety of different techniques overlap and rhythmical images with narrative depth unfold, in which further instruments, such as double bass or vibraphone make a fleeting appearance, at once lending a hint of pop, but at no time detracting from the piano as central instrument, in which experimental and electronic music is accessed without compromising the directness and ease of the improvisational approach.

The confluence of Bertelmann's multiple musical personality can be apprehended here: Whilst the pop-oriented musician plays the melody, the electronic producer gently experiments with sounds, leaving the pianist quite literally to manipulate the piano, - plucking the strings with a plectrum, dampening them or bowing them lengthways to achieve a variety of percussive effects. Following the recording, the tracks were adapted, supplemented and finalized. Using multi-tracking, up to four piano tracks were superimposed, electronic sounds from the laptop added, as well Stefan Schneider's bass (Mapstation, To Rococo Rot, Music A.M.) on three tracks.