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‘Verdigris’ the new EP from Japanese artist Atsushi Izumi, is a deep dive into the crevice of the mind. It is an exploration of where fearful emotions lie and confronting them. It is only through this conflict that light can shine through in the end.

The Osaka native has a background in music and sound design and as such found his sound going through a metamorphosis from Drum n Bass to a more experimental sound. His EP ‘Snow’ was released under the subtract imprint last year and saw the initial phase of this transformation. It was followed up by ‘Lansing / Mistrust’ via The Collection Artaud, which continued his growth of using slowed out heavy percussions surrounded by frantic synths and modulations.

Atsushi Izumi’s use of long drawn out hallow synths is like an ominous cemetery at night before these powerful percussions detonate in. He uses heavy spaced out bass drums, either as a single or double beat, which simmer as they echo and roll. They are surrounded by these chaotic, textured synths, which can sound like a cicada, hovering and distorted to give a mechanical effect. It feels like being thrown into the woods late at night, eerie yet calm in the beginning, before extreme panic sets in and you feel like you’re being chased.

Japan witnessed the end of the world up close and it is still reflected in their art and music: it delves into the sadistic and explores deep themes of melancholy and the apocalypse. This is juxtaposed against pure joy and serenity, showing that life is there to be enjoyed and struggles have an end, which is translated quite coherently to this piece.

As an extra bonus to all this, there is a scintillating remix from ANFS. The Greek adds a bit of pace to the track Zeit. He is an artist who enjoys frantic distorted techno and it shows in this cut. He takes the basic elements but whereas the original slowly introduces the percussions, ANFS bangs straight in. It’s structured yet frantic and a massive sound.

‘Verdigris’ is due for release on 17th May 2019 under the mysterious Swiss label Thrènes, that is known for eye-catching signature artwork and a deep and dark techno sound.

180g
In order to celebrate 5 thrilling and inspiring years, we gathered well-known artists, Goldmin regulars and emerging talents. It was really important for us to express the elusive nature of the Goldmin sound, in the form of a compilation tracklisting. Over the past 5 years, we had the chance to meet most of these guys in person, follow their very own creative path, share ideas, thoughts and there’s no doubt that they all had their part to play in crafting our sound. This intimate and stimulating kind of collaboration had to be expressed and there couldn’t be a better way to capture what we’ve been busily working for, than a serie of Various Artists 12″. What it comes down to is a quintessential, hard-to-follow Goldmin selection devoid of any specific standard or norm. And this whole compilation seems to reflect that non-septate artistic direction, this little something, which has grown throughout our whole catalogue, since the label’s birth.That’s why, picking these select few tracks, that could illustrate Goldmin Music’s essential freedom was probably our toughest work yet. It was also important to pick only the most original and iconic tracks from each artist. In the end each track had to be their most Goldmin one and they all have been tried in all types of situations, in club at 1 and 5 AM, on the highway at night or even staring at the ceiling during a sleepless insomnia session. They all fullfilled their duty.

Jan St. Werneris A Critically Acclaimed And Internationally Recognized Sound Innovator. In A Myriad Of Ways, As A Solo Artist, A Collaborator, Through His Group Mouse On Mars, As A Producer , Or As A Course Instructor At Mit, Werner Has Challenged Traditional Approaches To Creating And Experiencing Music. The Sixth Installment Of His Fiepblatter Catalogue Series, Glottal Wolpertinger, Endeavors To Transcribe The Phenomenon Of Sound As Anarchic And Highly Sensitive Material. His Multilayered Presentation Of The Project Highlights The Ways In Which Sound And Music Can uctuate And Morph Depending On Context. In Keeping With The Series' Collaborative Nature, The Pieces Include Contributions From Guitarists Aaron & Bryce Dessner Of The National, Who Werner Also Collaborated With On Mouse On Mars' Dimensional People, And The National's Sleep Well Beast. Glottal Wolpertinger Was Initially Conceived As A Radio Installation For Documenta 14 With Each Of The Tracks Broadcasting Individually Over The Course Of Ten Weeks And Culminating In A Convergence Of All Eight Tracks At A Performance In Athens. The Pieces Consist Of Microtonally Tuned Feedback, Multispectral Drones Which Werner Modulated And Fltered With A Purposeful, And Indeed Vocalized, Emphasis Given To The Different Frequencies And Textures Used. Glottal Wolpertinger's Incarnation As A Recording Is No Less Potent Than Its Preceding Forms, But Serves As A Continuation Of The Project's Evolution As A Distinct Listening Experience.

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the Mouches it is now time to set free another Black Beast amongst discerning listeners.

Born out of a chance encounter in 2012 that led to a lasting friendship, Rhythm Section Int'l & producer, DJ, label boss, radio host, and record store owner Ruf Dug join forces to present 'The Committee'. Sitting somewhere between fictional band and studio collaboration, the record is the first fully in-house production for Rhythm Section, recorded start to finish at their own South East London studio and featuring vocals from label founder Bradley Zero and label mate FYI Chris's Chris Watson.

Right from the studio's initial creation, Ruf Dug felt inspired by the space's unique musical identity, jumping at the opportunity to create a collaborative record there over a two week studio residency. And between his DJ residencies at Pikes, Gottwood and NTS radio the Manchester-via-Ibiza computer game freak and renowned vinyl digger found the time to meld his wide range of influences. Having been a key driving force behind Be With's Holy Grail reissue of Bô'vel's - Check 4 U , Ruffy has more than earned his stripes as a boss level Street Soul collector, pre-empting the resurgent interest in the genre, which began in the mid 80s and is still a popular sound in Manchester today. This new release draws parallels between the DIY attitude of Street Soul labels like TSR, Intrigue, Jam Today & Elite and the modus operandi of the RS studio.

A wholly synergetic work, the project's title 'The Committee' reflects the collaborative nature of this release, as Ruf Dug states: 'Authorship is a strange concept at the best of times but this genuinely is a group effort and I very much enjoyed feeling like just one piece of a larger entity - the complete opposite to my usual production experience of being all alone in my room for days at a time.' The EP also features additional production from Rhythm Section's own Mali Baden-Powell, who DJ's and produces as Z Lovecraft and comes from a background in Street Soul music, his father was also in legendary UK acid jazz collective D'Influence. In addition, the record features a dynamic range of vocalists: sultry deliveries from Natalie Wildgoose and Sienna Mustafa, a rap from her sister Nadina, and the vocal debuts of FYI Chris's Chris Watson and Bradley Zero. 'I had been joking with Bradley that he needed to be on the record somehow and he did appear, playing an egg shaker at one point, but his singing wasn't in the least bit planned... I got back from lunch, and the next thing you know he just starts singing...So I dragged him reluctantly down the corridor to the studio and that's it- now he's a pop star!'

Also playfully melding digidub, soul, chicago house and acid jazz, the release not only marks a new chapter in the development of the Rhythm Section sound, but also catalogues a crucial turning Point in Ruf Dug's musical development. Still oozing with the cheeky DIY approach that won his own label, RUF KUTZ an army of fans, this latest Collab steps things up and opens a whole new realm of possibilities for one of Manchester's favourite sons.

A world premiere of AI-generated symphonic music!

All three audio files are compiled from two live recordings with different microphone settings. The cover image is generated by algorithms trained with the following image searches: migration, mediterranean, boat, Libyan coast, EU. Different search engines were used. »Land der Musik« celebrated its world premiere on 7 October 2018 at steirischer herbst '18 - volksfronten in Graz, Austria. Commissioned and produced by steirischer herbst in cooperation with ORF Musikprotokoll.

A1. soundalikeStrauss (an audio reverse-engineering tool is used after the initial cross-fade) A2. AIstrauss (algorithms are trained with midi-files of Johann Strauss waltzes) B1. AImahler (algorithms trained with midi-files of Gustav Mahler symphonies) B2. (untitled)

A new standard of beauty. Artificial intelligence (AI) algorithms can now group photo pixels or audio waves into meaningful categories. This is similar to how our brain operates, yet the outcome seems distinctively non-human. At the same time it appears that the sphere of our appreciation and imagination may just have expanded. The question of whether we are still able to see and hear the difference between automated and so-called autonomous artifacts should be left to historians. On the other hand, producing this analog audio record with this image on the front cover really is an antagonism. A more appropriate medium might be a tracking chip of your online and offline activities generating customized results in real time—be it images, music, or whatever.

If AI is communist (to quote the libertarian Silicon Valley entrepreneur Peter Thiel), then this statistics-based technology might actually reinforce centralized monopoly capitalism and the coming crisis of inequality, just as it might accelerate into Deleuze's notion of the Society of Control. But it might also be seen and heard as a demo, a new standard of beauty, for the redistribution of wealth and for solidarity; in short as a utopia freed from exploitation, nationalism, and racism, liberating us from our own perception of this world. »Land der musik - The Graz AI Score« demonstrates how machine learning might help us to finally create the perfect Austrian national music identity. Yet in doing so, our ultimate aim is to get rid of the construction of national identities all together.

»God created man because he dreamed him. / But man forgot God and created the machine because he dreamed it. / At the end of the twentieth century, however, the machine has forgotten man. / Who could predict who or what she dreams of« (Friedrich Kittler)

In 1959 Michel Giacometti moved to Portugal and dedicated the following thirty years of his life recording traditional music all over the country. In the present decade Portuguese music has been thriving and finally travelling abroad, long gone are the days those hidden gems were kept in secret in this distant corner of Europe. The discovery of current Portuguese music sparked an interest to Portuguese music, past and present.
With both of those ideas in mind, Giacometti and the interest in Portuguese music, 'Antologia de Música Atípica Portuguesa' creates an anthology of current sounds to the future. You can see it as history being made or a broad catalog of sounds that live and breathe the experimental and electronic that is happening in Portugal. The first step happened two years ago with the releasing of the first volume on this anthology, 'O Trabalho' ('The Labour') and we now move onto Vol. 2, 'Regiões' ('Regions'), with each track connecting with a different province from Portugal.
Some names return to this volume, like Live Low with the beautifully haunting 'Montemor' or Gonzo (our own Gonçalo F. Cardoso), affirming his path in building detailed and processed field recordings music. More than a list of names, or songs, this second volume of 'Antologia de Música Atípica Portuguesa' recreates a passage throughout different landscapes of Portugal, constantly leaving a trail of past, present and future. The trail doesn't limit itself to the music, but to the traditions contained in the sounds and the stories spelled by the words.
The beautifully slowed haunting-waltz 'Por Riba', by Síria (Diana Combo), sets everything in motion and builds the way to Random Gods' upbeat march 'Gazulo à Estronca da Santosa'. 'Malta Inquieta' (Ondness) embraces the most modern/contemporary side of this volume, proving that 'Regiões' goes beyond the idea of catalog or even its own concept of 'anthology' and provides music that's hard to categorize or even judge by modern standards. We are not afraid to say it: 'Malta Inquieta' is an experimental jazz-electronic modern gem.
It's followed by the guitar of Rui Carvalho, aka Filho da Mãe, with 'Manta', closing the A side with one of his enchantments. B side strikes with the aforementioned 'Montemor', setting the tone for a different trip, building up on more abstract and freeform music by Banha da Cobra ('Asylo'), Fantama ('Lamento das Beiras') and the track by Gonzo. 'Regiões' finishes with the right tone, fields recordings worked by Luís Antero, that tie the connection between Giacometti and the now - with the now still happening and building up on the story of the future 'Antologia de Música Atípica Portuguesa'.

Caetano Veloso's seminal first '68 Tropicalia monster in MONO, must have or what...

First Authorized North American Vinyl Issue of Caetano Veloso Courtesy of Third Man Records!

IN VERY RARE MONO VERSION

Caetano Veloso's self-titled debut solo album is one of the most important and influential Brazilian (and, dare we say, South American) albums of all time. With the release of this seminal album, Veloso would become the leading voice of Tropicália. The songs on this album immediately connected with people. "Alegria, Algeria" was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album's first song "Tropicália" was an anthem for the whole movement; it's a fragmented allegory, a structure borrowed from friends in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship.

"Superbacana" (translated as "Supergroovy") follows a hyperbolic superhero's use of technology to fight a gang of cowboys led by the money-hungry Uncle Scrooge, serving as allusions to American imperialism and greed felt in their country, all in the rapid-fire structure of a comic book. The subtext in all these songs, which the dictatorship would not immediately catch, were that these repressed but glaring contradictions, not the bountiful sunny paradise that the military regime was pushing, were the true national identity. Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries' bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort. Despite these difficulties, the Tropicalists continued creating in exile, strongly influencing artists both at home and abroad.

This is the first authorized North American vinyl issue of Caetano Veloso. Whether you're a longtime fan or first-time listener, Third Man Records could not be more proud to spread the compelling story of this album, this artist and the Tropicália movement.

Chicago-based Matt Warren has been a DJ for forty years and has been a producer since 1984, when he released his debut single Rock The Nation. This inspired Matt to cofound Sunset Records in 1985, which released several house classics. However, in 1987, Matt resigned from Sunset Records and founded AKA Dance Music.

The first single that AKA Dance Music released was Bang The Box, which sold over 50,000 copies in America and nowadays, is regarded as the first hard house track. Bang The Box was the first of seven singles that AKA Dance Music released between 1987 and 1988. By then, Matt's second label was part the history of house music.

After the demise of AKA Dance Music, Matt Warren continued to travel the world DJ in some of the top clubs. Meanwhile, Matt continued to produce new music, remix tracks by some of the biggest names in music.

By the nineties, Matt was also writing, arranging, mixing, and producing a wide variety of artists and bands. He sometimes was asked to play on a number of albums. However, he still loved house music, and worked on several releases.

As the new millennia dawned, Matt continued to work in a variety of roles in the ever-changing music industry, and occasionally released some new music. Over the next few years, Matt has been working as a producer, engineer and remixer, which meant he had to put his own career on hold, until he began working with a familiar face.

In 2016, Matt was reunited with house diva Pepper Gomez, who was now running her own label Wake Up! Music. By then, Pepper Gomez had dawned the MyMy Lady G moniker and embarked upon a career as producer. She had travelled to Chicago, to record Elena Andujar's genre-meting album Flamenco In Time at Matt's Sound Studio Recording. Matt took charge of engineering, programming, mixing and production on Flamenco In Time while MyMy Lady G added backing vocals and assumed the role of executive producer on this groundbreaking project. After the completion of Flamenco In Time, MyMy Lady G asked Matt Warren if he would like to record an album

It didn't take long for Matt to answer in the affirmative, and in early 2018, he hit the comeback trail. He was accompanied by a group of talented musicians and vocalists including gospel singer and soulful diva Jan McGhee, Elena Andujar and legendary house diva Pepper Gomez who plays a starring role on the album. That album was recorded over the course of several months, and eventually became Music Is My Life which marks the comeback of Mark Warren.

Matt Warren has been away to long, now one of the pioneers of Chicago House makes a welcome return with a groundbreaking new album. This is Music Is My Life, the first ever Nu House album, which is guaranteed to transform Matt Warren's career and become part of dance music history.

Alt. folker Will Oldham - better known as Bonnie 'Prince' Billy - is set to drop a joint record with gently psychedelic crew Trembling Bells

Just four years after their debut album Carbeth, Trembling Bells are amassing a formidable body of work at a startling velocity. Just twelve months after the release of their critically acclaimed third album The Constant Pageant, the Glasgow quartet return to share the billing with a similarly restless creative spirit. A few thousand miles separate Will Oldham and Trembling Bells' drummer and principal songwriter Alex Neilson, but their stories intersect as far back as 2005, when the young Leeds-raised Neilson found himself playing drums on Alasdair Roberts' No Earthly Man, with Oldham producing. In time, a friendship between mentor and student became one between two kindred musicians. Neilson augmented his work with free-psych-drone practitioners Directing Hand by playing with the Bonnie 'Prince' Billy band. The drummer's eagerness to experience new epiphanies yielded unforgettable memories. In Big Sur, he recalls, 'we took mushrooms at midnight, then visited a natural hot spring built into the dramatic cliffs overlooking the Pacific Ocean. The stars were as vivid as frozen fireworks.' All of which is worth dwelling on, because without that background of mutual openness and empathy, it's hard to imagine The Marble Downs existing.

Neilson recalls a conversation about a 'collaboration' in the summer of 2010, though stresses that it 'was nothing too formal at first'. By the end of that year, a limited-edition seven-inch New Year's Eve Is The Loneliest Night of the Year showed what an inspired match the vocals of Trembling Bells singer Lavinia Blackwall and Will Oldham made. The cut-glass precision of the classically-trained student of medieval music and the worldly, careworn tones of Oldham created an unlikely chemistry. It must have seemed that way to Neilson too. He set about assembling a cache of songs with the purpose of further harnessing that chemistry. The result is an album that has, once again, redrafted the boundaries of what Trembling Bells can achieve together. Indeed, genre-lines aren't terribly helpful this time around. Yes, Trembling Bells' love affair with traditional music remains a constant — most emphatically so on the unaccompanied Blackwall/Oldham two-hander, My Husband's Got No Courage In Him. Then there is Blackwall's musical setting of Dorothy Parker's poem Excursion Into Assonance — and the thorough-going new-found classicism of Neilson's increasingly assured songwriting. Albeit delivered with Trembling Bells' rain-lashed sense of abandon, Love Is A Velvet Noose sounds like a standard of sorts — a warped consequence of Neilson's increasing fascination with the songbooks of Cole Porter and Hoagy Carmichael. 'I'm not saying I stand any chance of emulating them,' he adds, 'but the appreciation is definitely there.'

The knowledge that Oldham and Blackwall would be sharing centre-stage on The Marble Downs gave Neilson extra impetus to flex his songwriting muscles. I Can Tell You're Leaving finds both vocalists on irresistible form, dissecting their dying relationship with no heed to the other's feelings. 'You treat me like a child,' sings Oldham. 'I need a man,' she responds, barely catching breath. 'Now like Merle Haggard, you'll see the fighting side of me,' he later promises. 'I guess that's one of the lighter moments on the album,' ponders Neilson, 'I was trying to get a Planet Waves-era Bob Dylan feel there, with the piano and walking bassline.'

Here and elsewhere, the band — Blackwall, Neilson, bassist Simon Shaw and guitarist Mike Hastings — has never sounded more psychically attuned to one-other. On the slow-reveal sonic establishing shot of I Made A Date (With An Open Vein), two minutes of manic modal chaos elapses before Oldham takes the narrative reins of a majestic call-and-response folk-rock epic. The electrifying free-folk portent of Riding — a revival of the Palace Brothers classic — is no less compelling, calling to mind the words of broadcaster Stuart Maconie when he praised Trembling Bells for their ability to invoke simultaneously 'the charm of folk music and the power of rock.' Ditto Ain't Nothing Wrong With A Little Longing, in which Neilson slams down a four-to-the-floor beat over a synergy of demonic krautrock keys and a dialogue between Oldham and Blackwall that scales Nancy & Lee levels of romantic intrigue.

With nine songs gone and one remaining, the album's sonic undulations find an arresting denouement in the form of an inspired cover. Adapted from Robin Gibb's 1970 solo masterpiece Robin's Reign, Lord Bless All sees Trembling Bells tease out the hymnal qualities of Gibb's original with a slow volcanic upswell which — on four minutes — explodes into heavy psychedelic technicolour. What pleases Alex Neilson when he listens back is 'a sense of a common vocabulary and identity being forged.' If, by that, he means that there isn't another band on the planet that quite sounds like Trembling Bells, it would be hard to disagree. The evidence is right here.

'I didn't know anything about Trembling Bells. I just heard them and was knocked out. I instantly became a fan.' Paul Weller

'Trembling Bells are my kind of band.' Joe Boyd

"Jesus fucking shit! These jamz claw so hard at the tatties below methinks the Lord misnamed them, having intended to say Trembling BALLS." Will Oldham

'A poetic incantation of British identity far brighter than Michael Gove's GCSE syllabus.' Stewart Lee

'This time, I'm attempting to reclaim the art of songwriting from the charity shop bargain bin.' Alex Neilson

Limited retail edition in double transparent yellow vinyl.
Explosions in Slow Motion is the new album from Brock Van Wey's transcendent bvdub project.
Van Wey's previous n5MD album Heart- less found him harnessing the turmoil around him to create something vast, emotive, and brooding, yet somehow comforting, allowing you to cradle in its weight.
Months after Heartless' release Van Wey moved from turbulent times of his native California home to the chilling winter of Warsaw Poland. A divergence. Alone against the icy cold, confined to the indoors in search of protection against the world outside, Van Wey channeled, as he always does, his surroundings as they coalesced with his self-imposed aberration. The outcome of this move, and period of near total isolation, is Explosions in Slow Motion.
Featuring four long-form songs accompanied by four 'ember' vignettes, Explosions in Slow Motion is quite possibly Van Wey's most mournfully isolated work in his massive discography to date.
Filled with swelling arcs of spectres from the past appearing then slowly drift away. Foggy memories of friends, loved ones, and even adversaries seem to achingly sweep across Explosions in Slow Motion's eighty-minute runtime.
There is a forlorn thread of shrouded nostalgia throughout the album which by album's end leads to catharsis, acceptance and the finality of progres- sion.

'Listen To The Music' is the fourth star-studded 'Songs Around The World' album and video series from the world-renowned Playing For Change organization. It features audio recordings of hit rock and world-beat songs, along with a compelling series of performance videos in which Playing For Change's unique recording process is documented to great effect. each song is multi-track recorded and videotaped in multiple picturesque locations around the world by visionary producer and hilanthropist Mark Johnson. The full 12 song project features more than 200 Artists and was recorded in 25 different countries. Featured stars include The Doobie Brothers, Ellis Hall, Jack Johnson, Dr. John, Warren Haynes, Cyril and Ivan Neville, John Cruz, Preservation Hall Jazz Band (New Orleans), TP OK Jazz Band from Congo
(Kinshasa), John Densmore, Bombino, Buddy Guy, Waddy Wachtel, Roots Gospel Voices of Mississippi, James Gadson, Reggie McBride, Karl Denson,Roberto Carcasses, Mamadou Diabate, Lee Oskar,Anders Osborne and Pancho Amat.
Now available on vinyl.

White Shadows In The South Seas is the title of a book written in 1919 by Frederick O'Brien as part of a trilogy he wrote based on his experiences living in the Pacific islands in the early part of the 20th century. His book was taken as the starting point for a film to be directed, initially, by Robert Flaherty (famous at the time for his groundbreaking documentary / fiction film Nanook Of The North) with W.S.Van Dyke as his support. The film, ultimately, apart from the title, had little to do with O'Brien's book and Flaherty left the film after a few months leaving Van Dyke to finish it.

I purchased O'Brien's book, along with many others, from Basement Books, a secondhand bookstore in Melbourne/Australia. Part of my 'Islomania' and on going fascination with all things Pacific. When I discovered there was a 1929 silent film based on the book I sought it out and started to present it as part of my 'Live Music/Silent films' repertoire. Tabu by Frederick Murnau, which coincidently also had Flaherty as co-director originally, was the first film I ever wrote / improvised a score for and presented as a live film/music performance. My repertoire extends to over 23 films now.

My eclectic and diverse musical and artistic interests extend into 'Hawaiian', 'Exotica', 'Ambient' and 'Electronic' Music. I have produced several volumes of so called 'Electronic, Ambient, Exotica' on CD and Vinyl, including Kiribati, Globe Notes, Rayon Hula ( on Vinyl, CD and digital format ) and most recently, New Globe Note on Vinyl and White Shadows In The South Seas on CD.
White Shadows In The South Seas features some of the music presented in my live screenings of the 1929 silent film.

The film is the story of Dr. Matthew Lloyd, an alcoholic doctor who is disgusted by the exploitation by white people of the natives on a Polynesian island. The natives dive for pearls, however, numerous accidents occur and one diver dies. In anger, Dr. Lloyd punches Sebastian, the employer. As revenge and to prevent further interruption of his activities, he tricks Dr. Lloyd onto a ship with a diseased crew (thinking they are ill) and his men rough him up and send the ship off into a storm. Dr. Lloyd survives and is washed ashore on an island where none of the natives have ever seen a white man before. Lloyd is rescued and ultimately falls in love with the chief's daughter, who is Taboo, hence Lloyd is prevented from pursuing his love for her. An incident occurs and a young boy is thought to have drowned but Lloyd is able to revive him, earning him points and permission with the chief's daughter. Lloyd begins to realise that the local islanders have no sense of the value of the black pearls which grow in abundance around their island and he starts to dive for them and collect them. One morning the white man Sebastian unexpectedly turns up on a scooner and starts to offer the islanders trade for their pearls. Llloyd tries to interrupt the encounter and is shot and dies. His wife and the islanders morn for his dead body and, symbolically, the passing of a way of life.

Mike Cooper plays - Electric and acoustic lap steel guitars / electronics / Zoom Sampletrack / Kaos Pad / Casio SK1 / Korg Drum Machine / Self Made Instruments.

It also features field recordings made on Pulau Ubin by Mike Cooper during a month as Artist In Residence for The Artist Village / Singapore.

I would like to acknowledge and thank Lawrence English (Room40 Records) for his assistance and encouragement with the original recordings and the CD version of White Shadows In The South Seas.

All music written and played by Mike Cooper PRS/MCPS - except Po Mahina (trad. Arr. Cooper) and Hilo Hanakahi (trad. Arr. Cooper)

Recorded and Mixed at the Steelworks in Rome 2012/2013.

A White Shadow In The South Seas
In February 2014 'A White Shadow In The South Seas' was the title of an audio-visual installation I made at the Teatro In Scatola in Rome, Italy, presented as part of a series of sound installations titled 'Visitazioni' produced by Proposte Sonore.

The essay below, as well as our collection of Hawaiian shirts, Exotica and Hawaiian vinyl records, was an inspiration for this installation.

'..the transformation and reconstitution of the souvenir commodity as an indigenous ethnic art form and a scarce relic of Hawai'i's romanticized past...' from - Clothing and Textile Reasearch Journal - From Kitsch to Chic by Marcia A. Morgado.

And....
Michael Thompson's Rubbish Theory (1979)
' ...a critical aspect of Western culture is the pre-disposition to see objects in terms of two overt categories: the transient and the durable. Objects identified as transient have finite life spans and lose value over time, whereas those identified as durable have infinite lives and over time increae in value....category assignments are arbitrary, but once assigned a category membership determines relative value. Fashion apparel-by defenition-is assigned to the transient category; paintings commonly are designated durables....how is it that transient objects.. ( e.g. Hawaiian shirts and vinyl records ) ..sometimes become durables.

Objects assigned to the rubbish category are largely invisible, have no value and, ideally, no life span. Fashion for example, no longer worn and relegated to the back of the wardrobe has fallen into the covert rubbish category. But rubbish can be rescued and transformed. Thompson says ' What I believe happens is a transient object gradually declining in value and in expected life span may slide across into rubbish. Here it exists in a timeless and valueless limbo where it has a chance to be re-discovered and be successfully transformed to a durable. Such transferes are radical: objects gradually slide from transcience to rubbish, but the transformation from rubbish to durable involves an all-or-nothing leap across two boundaries, that separating the worthless from the valuable and that between the covert and the overt. Things drift into obscurity but they leap into prominence.

The delightful consequence of this hypothesis is that in order to study the social control of value we must study rubbish.

The rubbish-to-durable transformation is accompanied by the development of highly specialized knowledge derived from the discovery of subtle variations and complex details that went unnoticed in the objects transient stage. The discoveries initiate renewed interest in the object and its market value begins to climb. As prices soar beyond the reach of ordinary people, the object becomes available only in high priced collectors' markets. Furthermore, as market values rise, the aesthetic value of the object undergoes a reassessment as well, and it becomes increasingly apparent that the objects intrinsic beauty has been overlooked. Ultimately the object is re -assigned as a durable and becomes recognized as a timeless classic.

Exotica, Ambience and Pacificism - A dialogue with Mike Cooper & Professor Philip Hayward Deputy Pro Vice Chancellor of Research Southern Cross University, Lismore, Australia.

Jabal is the title of the forthcoming release by Kendojubaki and Dj Ali through Berlin based Label 'Live From Earth'. The release is the second instalment of the labels Live From Earth Klub series.

'Jabal' translates to mountain in Arabic. It is also where the two artists roots trace back to in their home country of Lebanon. The listeners receive a glimpse of the socio-political issues surrounding the jabal areas across Lebanon through unique sampling

KendojubakiKendojubaki is the pseudonym of Adam Rajab, an Australian-Lebanese Sound Designer and producer currently based in Melbourne. As the son of Lebanese refugees he spent parts of his childhood working in his parents Middle Eastern supermarket. In times of recreation he and his relative Ali would pretend to be an Arabic wedding band playing the tabla and the mijwiz to imaginary dabke dancers.Hatched from these activities and through years of back-and-forth between e Middle East and Australia, Adam has captured a unique sound-language which amalgamates traditional sounds of the Levant with modular synthesis, drum machines and industrial elements of unrelenting vim. His thematic music dwells on commonly unfair socio-political issues surrounding the east and the west, displacement and identity.

As a Dj Kendojubaki's sets are filled with long Arabic intros, old school hardcore rave tracks and tempos above 140. In his own productions and live sets, kendo recombines his sound design influence into powerful and cathartic riddims, along with thick echoes un-natural like drums.

Dj Ali Dj Ali is the stage name for Ali Chahine, an Australian-Lebanese live hardware act currently based in Melbourne, Australia. In his productions, Ali fuses sounds from his archive of field and foley recordings along with 90's hardcore rave melodies to create an emotive flow of fast techno music.As the son of Lebanese refugees, Ali also shares stories of conflict and socio-political issues through his music and art. In 2018 Ali joined the collaborative label 'Al Gharib' with relative Adam Rajab who is most commonly known as 'Kendojubaki's'. The two are collaborating on a 12' release named 'Jabal' in December, released through Berlin label Live From Earth.

Following a first compilation in 2016 and a series of parties, Rinse France & Piu Piu join forces for the first release of her own label : Grooveboxx Records.

Together, they present 'Memorias', the first EP of her new imprint.

Quite explicit through its title, Grooveboxx catalogue stands for an exploration of the grooves across its modern shapes, it embodies the quest of trance throughout music and question the body and the individuals on the dancefloor.

The first release is composed of 5 percussive tracks from producers and DJs Aleqs Notal, Myako and Geena.

All tracks are exploring samples coming from the Musee du Quai Branly's ethnos collection along with some some field recordings captured in a garden in Paris where south American tribes were exhibited during the ""Universal Exposition"" in Paris.

With Salvia Cosmica Myako takes us to a progressive voyage surrounded by all kinds of spirits whispering melodies to our soul while the tribe's marching band marks our footsteps with its strong percussions. Enter the forest.

Influenced by Chicago & Detroit, house producer Aleqs Notal graces us with a percussive jam baptized Finger Prints.
6:45 of pure rhythmics honoring the roots of the music its been sampled from. The rite begins.

La Dansa Del Risa is a conversation between birds and humans overlooking at the tension one night in the forest can impose on our western fears of nature. Stay close to the flames.

Antinote senior, Geena blesses us with Selva Spirit, a slowjam reverie filled with eerie pads and peculiar drum sequences.
We're almost there.

Last but not least, Jungla Encantada seals the EP with a deep wisdom and mastership of the jungle's best kept secrets. It's slow pace and flute melodies appease our senses while mysterious dialects becomes our native language.

The journey is complete.

Jonny Rock is somewhat of a sorcerer, an omnipresent eye that gathers secret ingredients from far and wide—old school House oddities, hypnotic melodies of the Orient, the furthest reaches of Disco, the easy pace of Turkish psychedelic funk—fusing it all into his own shrouded code, a string of immaterial messages, both subliminal and lucid, that highlight his eccentric sense of storytelling and nuance. He imbues a sense of familiarity in his music, implying history that might not be studied but still feels learned, a quality inherent to productions born from a vast catalog of influence (and the inseparable sample material). Jonny conjures euphoric acid flashbacks, herds of crowds through Istanbul alleys, the misty morning residue from raves of yore, orchestral winds blown across the Aegean riviera, and he manages to concentrate their essence into singular details such as a snare drum. Both sides of his eternally-awaited ESP debut lean toward his dark arts—'Tye Die Techno' drives a relentless hard-edged drum kit that could throw an otherwise self-respecting Goth into a heated breakdance battle, while the title track and theme, 'Ode To A Happening On Earth,' plays with the imagery of ritual, fantasy and role-playing—but throughout this malevolent stew, there is a sustained hint of the artist's playful nature. No matter how murky the trip becomes, Jonny is always there, a light at the end of the tunnel, with a big hug to reassure that everyone will be OK. He is one clever bastard—if you know, you know.

Sleep-deprived, breakbeat-driven vignettes of unclear authorship, from somewhere west of Lake Lagoda, near the Russia-Finland border.Sekundenschlaf has significant points of correspondence with contemporary European electronic music, as well as the golden age of (early) jungle and ambient techno. But its response to tradition, and to the zeitgeist, is idiosyncratic to say the least - with an atmosphere and psychogeography rooted in the tranquility and majesty of Western Russian nature, and the anxiety and distress of the country's post-Soviet working class. Pastoral calm meets dissonance and unease. The music has a loose, improvised feel, but its arrangements are intricate, its melodies iridescent: cascading arpeggios that stir a sense of optimism and renewal, sighing string-pads that evoke the deepest melancholy. Rhythms simultaneously hyped-up and burned-out, collapsing in on themselves as they race to destinations unknown. All bound together with field recordings of eavesdropped conversations, blurred into abstraction, a droning subliminal menace.Trust me, you'll be fine

Only four releases into it's blossoming back catalogue, and Molly's RDV label continues to establish itself as an unmissable outlet for contemporary house and techno with an EP from long-established, always-vital German producer, Dana Ruh.The twitchy, rhythmic 'Natural High' sets the rhythm, ideal for those easily seduced by Ruh's indelibly tight drum work (or those about to be converted to it nonetheless). 'Moonday' then expands the sound with a deeply satisfying bassline that blossoms in myriad evocative directions, incorporating trippy acid fluctuations, haunting vocals and a general sense of strobe-lit urgency.On the flip, and 'Vattenfall my A' establishes the energy which which it shares its namesake, trading in a minimal but flexible bassline and eeking out each ounce of tension, in the confident, minimalist style Dana Ruh is beloved for. To close the EP, Molly herself takes 'Vattenfall my A' to task, tunneling deeper still with a remix that establishes several shades of fresh, sensual ambiguity, not to mention, an ominous bassline that flirts with the edge.

Deep'a & Biri curate a bevy of much-respected underground techno specialists to further unravel and reimagine the vital and sophisticated sounds of 'Dominance', their full-length LP released earlier in 2018.

Midnight Operator, the collaborative project of Mathew and Nathan Johnson, begin the set with their trippy and transcendent take on 'False Memories'. A rare remix from the pair, their return has been worth the wait; an expertly executed techno excursion, it simultaneously burrows deeper into the psychedelic textures of the original, while providing a club-centred kick.

Further blending the experimental and the physical, Peter Van Hoesen provides a typically complex and compelling take on Voltage, deconstructing the original and expanding each element in myriad, rave-specific directions.

Deep'a & Biri enlist rising Dutch DJ-producer Deniro contributes a rolling, hypnotic version of Dominance's spectral centrepiece, 'Alpha Cephei', while Z.I.P.P.O. charges down a tense, big-room industrial tunnel for his interpretation of 'Seeking Solace', hitting on a cathartic groove after a passage of uncompromising noise.

Concluding the EP, Steinlac'h Records founder Wice reimagines 'Theories of Loneliness' in dubby but propulsive fashion.

Itiberê Zwarg is an award-winning Brazilian bassist and the longest-serving member of Hermeto Pascoal's ground-breaking ensemble 'O Grupo'. Since their first meeting in 1977, the two have been closely collaborating to create a unique musical language: a genre-defying polyharmonic, polyrhythmic music, now widely studied by musicians and musicologists alike, known as 'Universal Music'.

Back in 2001, Itiberê led a workshop at Villa Lobos School of Music, with twenty-nine of Rio de Janeiro's most exceptionally talented young musicians. Employing the principles of Universal Music alongside his long-held belief in the powers of listening and intuition, Itiberê composed and arranged in real time, transcribing the improvisations of the prodigious orchestra while allowing the players total freedom to experiment. The result was Pedra do Espia, an Amazonian orchestral masterpiece which is as difficult to categorise as it is fun to listen to.

Named after the beachside viewing point which translates as 'Spy's Rock', where Itiberê would sit as a child, daydreaming and gazing out over the Brazilian coast, the record harnesses the pure creativity of youth and nature, creating a magical sense of innocence amongst the striking compositions and astonishing musicianship.

Another sure shot double sider out the Now-Again catalogue, until now both tracks were album only and both pure club killers. I smashed these back in the day; I remember listening to it from Jazzman Geralds collection and was blown away. I went right out and found the LPs which took a little time even then when there were fewer people after them. A couple of years after that 'Kashmere' was dropped on funky 16 corners comp Egon put together, and the cat was out the bag. Anyway back to the music, for those who don't know, Conrad O. Johnson of Kashmere High School, Houston Texas, created the Kashmere Stage Band turning it into one of the most fierce unbeatable high school bands in the national championships, the recordings here are my two favorites out of many. Don't miss out on the 2011 Documentary Thunder Soul which reunites the band with Conrad O. Johnson over 30 years down the line.

The neon lights that decorate a dive bar's window cast a vivid reflection in rainwater on the pavement outside, as steam rises from deep beneath the ground. A slow pan across the scene, past alleys cast in shadow, twilit corners & glass doorways streaked with the mist of humid bodies fuming inside: the camera catches the denizens of an unnamed city, studying faces heavy with secrets too sad to bear. Cut to the motorway. Sleek cars barrel through the night. Sirens moan. Engines rev. You're behind the wheel, over the edge as the credits roll.

This film does not exist — but the soundtrack does. Symmetry is Johnny Jewel & Nat Walker, & Themes For an Imaginary Film is their two-hour cinematic opus pokus, a sprawling score for a movie that screens only in your mind. A 'conceptual tangent between Glass Candy, Chromatics, Mirage, & Desire's more abstract sides,' as Jewel himself describes the project, Symmetry is a vigorous, electric, restless exploration of ideas on the bleeding edge of instrumental sound. Analog synthesizers roll and crest, drums collide, keys cascade clear & crystalline. These themes evoke the phantasmic images that inspired them: urgent and ethereal, sinister & romantic. It's a neo-noir epic of pink fog & femme fatales hidden behind rain drenched windshields after dark.

Produced By Johnny Jewel & Nat Walker

Following on from Bodyjack's landmark "Nataraja EP" this summer which marked the 10th DEXT release, we welcome back our good friend Lo Shea to the label to continue the next phase in our journey. He comes to us fresh off his recent outings on Rekids and Dusky's 17 Steps, His first DEXT EP 'Durga' is one of the standouts from our early catalog.

We first heard "Activation" when he dropped an early version at our Fabric takeover earlier this year, and it grabbed us immediately. What essentially starts off as a super sharp rhythm track ends up very differently. This is a DEXT track through and through without a doubt!

Liam delves into his drum and bass roots for 'Pressure', marrying rolling broken beats and dark rave synth work but cleverly keeps the tempo right down and really adds to the sense of foreboding.

Pyramids. Jagged Teeth Pushing Through Immaculate Skies. The Ever-changing Light. The Expansive Sense Of Freedom. The Wide Open Spaces. The Textured Landscape Seen From Above. Mountains. Watchful And Immobile For Thousands Of Years, Weathering Seasons, Transcending Change.
It's December 2016. I've Left The London Madness To Hit The Reset Button And Compose New Music In A Tiny Village In The Swiss Alps. I'm Over 10,000 Feet High, It's Minus 15 Degrees And The Snow Is Scintillating Under A Rich Blue Sky. I Turn Around And Suddenly This Gigantic Pyramid-shaped Peak Is Towering Over Me, Staring Me In The Face. Mind Blown. Senses Overwhelmed. Perspective. Lightbulb Moment. I Have My Album Concept.
I Wanted To Put Into Sound My Cathartic Experiences Of The Mountains. Every Track Title Was Chosen Before Composing. The Title Would Be A Catalyst For Visual Memories, Narrative And Overall Vibes. I Continued Developing The Tracks On Occasional Trips To Switzerland, But Mainly Back In The Gritty Habitat Of London's Hackney Wick. The Urban-nature Contrast Had An Impact On The Music Too.
I Use A Lot Of Found Sound, Stuff I Have Collected Over The Years, And A Lot Of Resampled Guitar Sounds And Textures. I Love Imperfections In Sound. Detuned Synths. Distortions And Glitches. Rhythmic Flutters And Percussive Frenzy. 'manual' Cut-ups. I Love Moving To House And Disco And Getting Lost In The More Melodic Side Of Techno. I Love Polyrhythms And Melodic Counterpoints. I Love The Energy And Rawness Of A Live Rock Band. I Channel All This To Create My Own Sonic Palette.

Artwork By Jimmy Turrell, Graphic Artist And Video Director Who Combines A Love Of Handmade Collage, Drawing, Screen Printing And Painting Alongside Digital Techniques. He Has Worked For Universal Music, Nike, Lexus, Levis, Mtv, The New Yorker, Intro, Capitol Records, The New York Times, Green Peace, Beck, The Prodigy/xl Recordings, Channel 4, The Guardian, Gq, The Times, La Times, Newsweek, Getty Images, Adidas, Sony Music, New York Magazine, Wired, Glastonbury Festival, And Vanity Fair Amongst Others.

The Debut Album 'pyramids' Comes Out Worldwide On Limited Double, Green Vinyl (including Download Code).

(glossy laminated) His deviant disco songs talk about love and the happiness it breeds, while letting the rage of a rather different-looking militant crooner go.


Cola Boyy, aka Matthew Urango, is a 28 year old musician, coming from Oxnard, California, discovered on the occasion of a concert in Los Angeles during June 2016.
Cola Boyy is an unusual and self-taught musician & singer. His very typical but natural voice is the consequence of a disability from birth.
His deviant disco songs talk about love and the happiness it breeds, while letting the rage of a rather different-looking militant crooner go.

Penny Girl is the soon-to-be 2018 disco hit telling the story of a crime of passion. Poetic as a McCartney's song, as effective on the dancefloor as a Patrice Rushen's tune, and fun like the Frankie Smith's Double Dutch Bus.

Have You Seen Her is the kraut-disco curiosity from the EP, halfway between the Ghetto Brothers' rage and the funkiness of a Kurtis Blow's instrumental. You will also find there a chorus made of extreme noisey guitar chords and a Michel Berger like piano solo, all swaying to the dancing beat.

Buggy Tip is the track that could have been in the hands of an eclectic DJ like Nicky Siano at Studio 54. Disco strings, catchy choruses to sing along... Cola Boyy turns the melancholic memories of an ex girlfriend into a banger to dance & shout in a hot late night club.

The whole EP, recorded between Los Angeles and Paris, produced by French producer 'nit', is a witness of his raw talent and the foretaste of an album coming in 2019.

Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.

The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.

Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.

This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.

Inner is the 5th full-length from Bordeaux composer Franck Zaragoza's Ocoeur. Inner evolves from 2016's Reversed by arching away from the piano-centric works and focusing a bit more on ambient synth motifs. The piano (Mother, Unseen), strings (Inner, Shelter), and sound design (Passage, Echo) are still ever present, but Zaragoza elongates his sounds out by allowing the synths to swoon, drift, and decay. Each note having its proper and due time to ascend. While there is a transition in the overall feel of Inner from Zaragoza's previous output, it feels like the natural progression in the Ocoeur catalog.

Walter Gibbons, a true master of the mix, a disco legend, a pioneer of dance music. There's literally very few who can lay claim to progressing the artform of studio mixing and technique than the late Gibbons. His contribution to contemporary music cannot be understated, first as a DJ where his drum laced experimentation captured the ears and minds of his peers and the dancers, then later as a mixer and studio genius where he continued on his quest. Often fixated on the percussion and breaks within records his versions would often dive into spaced out, dubby and stripped back territory that very few of his peers were even contemplating at that time, fervently reconstructing the tracks themselves and often the time, space and dancefloor within which the record was being played. A true original, Gibbons was behind many of the 'definitive' versions of the classics, his unique style often catapulting records that were just fine in their original form into brand new colourful, cosmic interpretations that flourished sonically and rhythmically with brand new sounds that bristled with vision.

Salsoul Records thought a well programmed and thought out retrospective of this legends output was in order and this incredible collection of tracks is where we find ourselves. A stellar compilation across 2 heavyweight slabs of wax featuring of some of Gibbons' finest works. Included you'll find genre defining cuts like his mixes of Double Exposure, Loleatta Holloway, Love Committee, First Choice and many more.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully selected to reflect the truly timeless nature of the music contained within. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Artwork & design by Million Dollar Disco. Fully authorised.

Nach Dem Sensationellen Erfolg Des Ersten Albums - oracle Im Letzten Jahr, Erscheint Nun Das Zweite Album Der Deutschen Jazz-supergroup Web Web. - dance Of The Demons Ist Ein Furioser Tanz Mit Den Dämonen - Mal Im Positiven Spirit Soul Jazz Rausch Wie Bei - land Of The Arum Flower , Das Mit Seiner Ergreifenden Melodie An Ethopian Jazz Der 60er Jahre Erinnert, Oder Mal Verrückt, Entfesselt Wie Bei - sandia .

Web Web Spielt Nun Mittlerweile Seit 2 Jahren Intensiv Zusammen, Man Hat Duzende Konzerte Absolviert Und Man Spürt Förmlich Die Geschlossenheit, Intensität Und Kraft, Die Sich Als Homogener Organismus Aus Einem Guß Heraus Zu Einem Phantastischen Sound Zusammenbraut.

Als Einen Besonderen Glücksfall Konnte Die Band Den Berühmten Marrokanischen Sänger Und Gembri-spieler Majid Bekkas Gewinnen, Der In Rabat Beheimatet Ist. Tony Lakatos Arbeitete Mit Majid Und Joachim Kühn In Den Letzten Jahren Immer Wieder Zusammen, Ebenso Roberto Digioia In Zusammenhang Mit Klaus Doldinger. Insofern Lag Es Nahe, Diesen Brillianten Musiker Mit Seinen Nordafrikanischen Wurzeln Mit Dem Ungeschliffenen Konzept Von Web Web Zu Verbinden. In - maroc Blues , Einer Soloperformance Von Majid, Hört Man Den Warmen Klangkörper Der Gembri, Einem Kontrabassartig-klingendem Instrument (dreisaitige Langhalslaute), Sowie Auch Majids Wunderbare Stimme, In Der Sich Die Jahrhunderte Alte Tradition Der Berber Widerspiegelt. - safar Zeigt Ebenso Die Große Improvisatorische Klasse Von Web Web, Vor Allem Wie Sie Auf Allen Ebenen In Die Spirituelle Sprache Eintauchen.
Majid Bekkas Ist Einer Der Bedeutendsten Musiker Und Vertreter Der Gnawa-musik, Die In Der Südlichen Sahara Beheimatet Ist. Am Konservatorium Für Musik Und Tanz In Rabat Studierte Er Seit 1975 Klassische Gitarre Und Oud.
Nach Ersten Erfahrungen Mit Eigenen Bands In Den 80er Jahren Gründete Er 1990 Sein Trio Gnaoua Blues Band, In Dem Er Blues Mit Gnawa-musik Verband. In Den Darauffolgenden Jahren Interessierte Er Sich Zunehmends Für Jazz, Trat Schon Bald Mit Größen Wie Archie Shepp, Louis Sclavis, Peter Brötzmann Oder Hamid Drake Auf.

- dance Of The Demons- Wurde Wie Auch - oracle An Einem Wochenende Live In München Eingespielt
Toningenieur Ist Wie Auch Bei - oracle Jan Krause (beanfield, Poets Of Rhythm U.v.m.)
Das Nächste, Dritte Web Web Album Wird Im Winter 2018 Ebendort In München Aufgenommen, Und Es Werden Wíeder Ein Oder Zwei Hochkarätige Gäste Dazu Eingeladen.

Web Web Sind: Roberto Di Gioia (piano, Synth, Percussion), Tony Lakatos (tenor- Und Sopranosaxophone), Christian Von Kaphengst (upright Bass) Und Peter Gall (drums).

Roberto Di Gioia Arbeitete Mit Zahlreichen Jazz-legenden Zusammen, Wie Z.b. Mit Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter U.v.m.
Anfang 1990 Wurde Er Mitglied In Klaus Doldingers Passport.
Als Pianist Machte Er U.a. Aufnahmen Mit Udo Lindenberg (mtv-unplugged,2011), Charlie Watts (- music Of The Rolling Stones , 2005), Console (- reset The Preset , 2003), The Notwist (- shrink 1998, - neon Golden , 2002).
Seit 2007 Arbeitet Er Zusammen Mit Samon Kawamura Und Max Herre Als Kahedi: Max Herre (- hallo Welt , 2012), Joy Denalane (- gleisdreieck , 2017), U.v.m.
Seine Eigene Band Marsmobil (produziert Von Peter Kruder) Wird Im Herbst Ihr 4.studioalbum Veröffentlichen.

Tony Lakatos Stammt Aus Der Berühmten Lakatos-familie Aus Budapest, Ungarn. Sein Vater War Ein Berühmter Geiger, Ebenso Sein Jüngerer Bruder Roby. Er Begann Mit Dem Saxofon-spiel Als Er 15 Jahre Alt War.
Tony Studierte Auf Dem Bela-bartok-konservatorium In Budapest, Machte Seinen Abschluß 1979 Und Spielte Seither Auf Über 350 Jazzproduktionen Weltweit Mit, U.a. Mit Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony War Mitglied Der Band Pili Pili Von Jasper Van´t Hof. Seit 1993 Ist Er Solist In Der Hr Radio-bigband.

Christian Von Kaphengst Bekam Mit 6 Jahren Klassischen Klavierunterricht Im Peter-cornelius-konservatorium In Mainz.
Von 1988 Bis 1995 Studierte Er Jazz-kontrabass Sowie Instrumentalpädagogik An Der Musikhochschule In Köln.
Sein Jazzquartett - cafe Du Sport Absolvierte Im Auftrag Des Goethe-instituts Tourneen Nach Pakistan, Indien, Türkei Und Westafrika. Seit 1999 Ist Er Regelmäßig Bassist Von Patti Austin Sowie Der New York Voices Für Europäische Konzerte.
Von Kaphengst Spielte U.a. Mit Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall Gewann Bereits In Jungen Jahren Erste Preise Bei Jugendjazzt Und Tourte Mit Dem Bundesjazzorchester Unter Leitung Von Peter Herbholzheimer. Er Studierte An Der Berliner Universität Der Künste Und Am Jazz Institut Berlin Bei John Hollenbeck. Gall Absolvierte Sein Masterstudium An Der Manhattan School Of Music Bei John Riley.
Er Arbeitete U.a. Mit Kurt Rosenwinkel, Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Feedback - Web Web - oracle :

"oracle Ist Nicht Nur Ungemein Packend, Sondern Klingt Auch Absolut International, Bewegt Sich Auf Einer Ebene Mit Leuten Wie Kamasi Washington Oder Shabaka Hutchings." - Jazzthetik

"ein Wirklich Erstaunliches Erstes Album" - Süddeutsche Zeitung

"sun Ra Wäre Stolz Gewesen Auf Web Web Und Ihr Erstes Album Oracle." - Soultrainonline.de

"...the Album Is Engaging And Fascinating In Equal Measures. ... Sonically, The Album Embraces The Various Late 1960s And '70s Jazz Aesthetics Of Modal, Fusion And Spiritual Jazz Soundscapes, But 'oracle' Isn't A Strata East Or Black Jazz Tribute Record. This Is Very Much A Contemporary Affair With Its Richness Emanating From The Group's Varied Musical Tastes And Sensibilities And It Favours An Entire Listening Experience." - Ukvibe.org

"raise A Glass And Toast This Supremely Enjoyable Recording." - Birdistheworm
"oracle Contains 13 Tracks Of Pure Retro Sounding Perfection. This Is Like A Long Forgotten Treasure. It's Certainly An Album Serious Lovers Of The Genre Will Embrace." - Reviewgraveyard
"wonderful Album!!" - Simon Harrison / Basic Soul

"this Is Amazing. Going To Have To Grab A Vinyl Copy For The Collection" - Kev Beadle

"fantastic Record ! Love It ! We Need More Music Like This !!" - Peter Kruder

Originally from West Yorkshire, but now resident in Manchester, composer, bassist and producer Phil France is probably best known as a key collaborator alongside Jason Swinscoe in the Cinematic Orchestra, where he co-wrote, arranged and produced on classic albums including Everyday, Man With The Movie Camera, Ma Fleur and also the triple award winning soundtrack for The Crimson Wing nature documentary. In 2013 France released his debut solo album, The Swimmer (GOND016), an emotive, epic record influenced by the great second wave of film composers including John Carpenter and Vangelis, as well as minimalist composers such as Steve Reich and Philip Glass

Five years later, France presents the follow up, the enigmatically titled, Circle, which again represents a very personal journey for the artist. For France the album is an extension of work he began on The Swimmer. A process he has described as: " blocks of sound containing intricate minimal arpeggiated patterns and electronic textures that develop and shift in subtle, original and melodic ways. The trancelike quality, mood and electronic character of title track Circle led France to think of the circular patterns which eventually became a potent concept for the album. "Ideas and fashions repeat themselves in cycles. Events are said to travel 'full circle' and this is important to me because it represents my own recent personal and musical journey after 15 years touring as bassist and composer with The Cinematic Orchestra. I consider circles to be a strong symbol of unity, strength and inclusiveness and ultimately I've aspired to make something beautiful with those values at its heart".

The album opens with the title track, Circle, built on a minimal looped pattern with melodic embellishment and shifting additional harmonic textures. Bells was developed from the arpeggiator and offers a nod to the melodicism and atmosphere of French electronic music. The Jackal features an idea originally developed for The Crimson Wing score but which finally bears fruit here. Cathedrals features an improvised intro, Philip Glass inspired organ and vocal textures inspired by the work of Colin Stetson. Finally, the album ends with a reprise of Circle this time featuring layered pianos. But it isn't the conclusion of the journey, for France: "The Circle is infinite - During the process of making this record, I have been constantly reminded that nothing ever stays the same and that all is in constant flux. The challenge for me is always to respond positively, be aware of and seize the opportunity for progression constant change provides" And it is that sense of movement and flow, but also calm and beauty that permeates Circle and make it such a worthy successor to The Swimmer.

Patterns Of Consciousness is the powerful second full length from analog synth composer Caterina Barbieri. Highly recommended to fans of Alessandro Cortini and Eleh, Barbieri can be seen/heard/felt live at major electronic music events across Europe and beyond.Gorgeous high resolution analog textures and algorithmic melodies unfold under Barbieri's careful control, exploring the basic nature of sound and consciousness. These pieces are minimal in arrangement but maximal in presence asserting Barbieri as a unique voice in contemporary electronic music composition."Patterns Of Consciousness finds Caterina Barbieri at her best, elegantly moving between melodically pleasant yet twisted sequences and comforting, reassuring sonic spaces. Every piece, while given a singular identity, is part of the bigger picture: a work of art that will push you, pull you, and then eventually leave you with your back against the wall once you get to the last track. " Alessandro Cortini (Nine Inch Nails)"A pattern creates a certain state of consciousness. Once it is created, the pattern stands as an object exactly like the sound waves which generate it. We are at the same time inside and outside of the object. While being it, we observe it. Over time we become familiar with the inner structure of the pattern. We decode its gravitational centres, where our psychomotor attentionis attracted, where everything seems to be drawn. When a change in the pattern occurs it causes a perturbation of the previously established field of forces. This causes consciousness to fracture, potentially unfolding layers of perceptions we weren't aware of or simply suggesting that we access only a fraction of our psychic potential.The layered nature of consciousness and the relativity of perception are some of the biggest secrets we can experience through sound." Caterina Barbieri

Hive Mind Records are delighted to present Congo, the debut album from Brazilian guitarist and composer Rodrigo Tavares.

Maintaining a meditative mood across it's nine instrumental pieces, Congo blends composition and improvisation with subtly experimental yet sophisticated arrangements that evoke the mood and rhythms of classic Brazilian artists such as João Gilberto, Dorival Caymmi, Tom Jobim, Milton Nascimento and Caetano Veloso.

Rodrigo's work draws on elements of jazz, post rock, minimalist composition and disparate global sounds to create a deep listening experience that falls between genres and wilfully defies categorisation. Congo is a lush soundworld that rewards exploration and will appeal to fans of music as diverse as Joshua Abrams and Natural Information Society, Collocutor, BadBadNotGood, Slint or late Talk Talk, as much as it does to lovers of classic Brazilian music.

Hive Mind Records are proud to be releasing Congo on vinyl in gatefold sleeve designed by Brazilian graphic artist, Andrea Gomes, and featuring the original painting of celebrated Brazilian artist, Cristiano Lenhardt.

Nny Records Is Back With A Compilation That Includes Four Songs Loaded With High Quality, An Ep That Is Like A Swiss Army Knife And That It Will Serve To Animate Any Kind Of Party. On The A Side We Can Listen To Nicson (flumo Recordings) Who Delivers An Excellent "straight To Heaven" In A Deep-house 90's Mood, Full Of Energy And Class; After Him F. Vinuesa (solid Tapes) Approaches Lo-fi And Acid Paths With "highlands", A Tune That Is Is Capable Of Transporting You To Another Dimension. On The B Side Mateis E. Aqir (jungle Gym Records) Presents "natural Sense", A Track That Also Takes You To A Different Dimension, This Time More Oriented To Open Spaces, In A Balearic And New Age Mood Fused With A Leftfield Touch Which Is A Delight; And To Close The Compilation We Have The Great Work Of I See You In The Plants, The New Aka By Pablo Diskko For Productions In An Ambient Techno-dub Wave That Absorbs You And Catches You. A Superb And An Essential Work.

At first, it's difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio's music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn't jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with 'Stranger Today', a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.

Since forming in Nathan and Tyler's Brighton home four years ago - Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and 'Stranger Today''s opener - Our Girl's members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself ('He did stuff neither me or Soph had ever seen anyone do before,' Tyler remarks), and he became an unofficial fourth member of the group.

'Stranger Today' is a special debut for several reasons: First, because it's the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio's hunger to finally get in the same room and put to tape years' worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. 'What band isn't itching to make their debut But it's quite frightening, knowing you're about to do it,' Wilson remembers.

The real clincher, however, is Our Girl's dynamic, and how it plays out across 'Stranger Today'. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan's visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson's rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love ('I Really Like It'), she's backed by a major-key afterglow. When the subject turns on its head ('Josephine'), out steps a wall of taut, earth-shaking noise. They each 'serve the song,' in Wilson's words, moving in sync but with their own personal slant. Not least on the closer 'Boring', where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.

Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, 'I was finally in the band I wanted to be in.' Almost half a decade later, and this eureka moment is sewn up on 'Stranger Today'. It's the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it's like to be young, invigorated and amongst people who feel the same.

Mateis e. aqir is an artist currently based in Catalonia, living by the sea. Shortly after releasing his debut 12" he's back to share a 10-track LP recorded sometime during 2017. Psychedelic cuts from different moments and places, precisely reflecting his state of mind and inquisitive nature. Mateis develops an original technique based on the usage of subtle synthesis, drum-machines, field recordings and acoustic instruments, including his own percussion and bass guitar. Hope you enjoy : )

The Caribbean House Is A New Billy Bogus Project. It's The Perfect Meld Of Creepy Atmospheres, Sunset Grooves, Analog Sensibilities And Incessant Rhythms. Bogus Leads This Collective Formed By Federico Bologna (ohmega Tribe, Technogod) And Cristiano Santini (disciplinatha, Dish-is-nein,). This Triumvirate Of 90's Underground Italian Masterminds Come From The World Of Electronica, Noise Rock And Psychedelia. Here They All Combine To Rise Again Rise And Unite To Create Something Entirely New.

And So To The Music. Their Debut Lp Opens Up With The Dark And Haunting "night Drive". Recent Single "gong Bong" Is Next. It Is One Part Slo-mo Disco, One Part Psychedelic Moondance And One Part Sci-fi Horror Movie. If The First Two Thirds Of The Track Is A Caterpillar Then The Last Third Is A Butterfly As Uplifting Riffs And Swirls Of Layered Keys Bring Things To A Crescendo. "lonely Man" Is A Quirky Detuned Monster Tour-de-force Which Leads Nicely Into "love By Proxy". Layered Keys And Intertwined Arpeggios Mingle To Create The Closest Thing To A Love Song Possible From This Trio.

Flip The Vinyl Over For A Hippy Drive With "jesus Freaks" And Its Groovy Guitar Licks And White Noise Synth Blasts. "nature Nature" Is All About The Pulsing Bass Guitar And Sample Like Guitar Stabs Before Heading Completely Off-piste For A Synth-bass Ending. "africa Addio" Presents Us With Meandering Synth Lines Before Layering On A Waft Of Sound Effects And Spooky Keys. Movie Territory. We Close Off The Lp With The "streets Like Noodles". New Wave Nyc Chic Meets Underground Italy Psych.

Ground is an Osaka native, but his soul is truly that of a nomad, traversing the planet, befriending kindred spirits found in humans, animals and plants. He is exceptionally receptive to the beauty in everything that surrounds him—the incidental music of a city street, the orchestral chaos of a scrambling radio, the syncopated grace of migrating birds, the simplicity of an isolated hand clap—and as his roadmap continuously unfolds, he accumulates a vast catalogue of visceral tools to musically recount his experiences. Sunizm is a cross section of the artist's process—an array of complex microcosms overlapping to comprise a thematic whole—gathering field recordings, found instruments, jagged electronics, synthesized chanting, and weaving all into a dense narrative that appears obsessively constructed yet divinely improvised. Logos is the first of two singles surrounding the album and is complimented with a monster remix by Bartellow (a fellow ESP artist, collaborator and good friend of Ground) as well as a secret weapon b-side entitled Discopazzle, which is exclusive to this single release. Attention all humans, animals and plants, Ground and the ESP Institute present, Sunizm.

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin's Always Coming Home In the novel, the story of Stone Telling, a young woman of the Kesh, is woven within a larger anthropological folklore and fantasy. The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet (Le Guin's conlang, so she could write non-English lyrics), and with early editions, a cassette of field recordings' and indigenous song. Le Guin wanted to hear the people she'd imagined, she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition.

For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist (the two worked together previously on public radio projects). But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. For instance, The River Song' description reads, The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.' According to writer and long-time friend of LeGuin, Moe Bowstern (who pens the liners for the Freedom To Spend edition of Kesh), Barton built and then taught himself to play several instruments of Le Guin's design, among them the seven-foot horn known to the Kesh as the Houmbúta and the Wéosai Medoud Teyahi bone flute.' Barton's crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders Bobby Brown and Lonnie Holley. Bowstern notes, Other musician / makers have crafted their own Kesh instruments after encountering the earlier cassette recordings that accompanied some editions of the book.' Both Barton and Le Guin are sensitive to the sovereignty of indigenous Californians and were careful not to trample the traditions of the Tolowa people who lived in the valley long before the Kesh. You research deeply, and then you bring your own voice to the table,' said Barton. Within the Kesh culture, the numbers four and five shape the lives, society and rituals. Barton composed loosely around these numbers, patiently listening to the land of Napa Valley for signs and audio signals from the natural elements. Todd incorporated ambient sounds of the creek by Le Guin's house and a campfire they built together. The songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. Heron Dance' is an uplifting first track, featuring a Wéosai Medoud Teyahi (made from a deer or lamb thigh bone with a cattail reed) and the great Houmbúta (used for theatre and ceremony). A Music of the Eighth House' sends gossamer waves of the faintest sounds to float on the wind.' Like the languages invented in the vocal work of Anna Homler, Meredith Monk, and Elizabeth Fraser, the Kesh songs and poems play with the shape of voice.

The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin's illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures. A line from the Sun Dance poem reminds us, We are nothing much without one another.' Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of Music and Poetry of the Kesh, out on LP, and digital formats on March 23, 2018. The LP will include a deluxe spot printed jacket with illustrations from Always Coming Home, a facsimile of the original lyric sheet, liner notes by Moe Bowstern, multi-format digital download code and a limited edition bookmark letter pressed by Stumptown Printers in Portland, OR.

This past Monday, January 22, Ursula passed from this realm to another leaving a life spent building and exploring other worlds while challenging social concepts of the real word she inhabited.

Freedom To Spend had been working under Ursula's enthusiastic endorsement and with Todd Barton, her musical collaborator on Kesh, to give the music that accompanied her 1985 epoch a new life. With the Le Guin family's encouragement to move forward with our planned release, we are humbled to play this small role in sharing Ursula's work.

As Pete Swanson, one third of Freedom To Spend, stated, Ursula's legacy is her work which transformed the world, and this is another piece of the universe that her imagination birthed becoming real.' Listen to A Teaching Poem / Heron Dance' below.

For the last decade, Argentina has become the epicenter of a musical explosion that characteristically blends folk music from the surrounding Andes and electronic beats. The artist arguably responsible for its emergence on a global platform is one named Chancha Via Circuito- a Buenos Aires native named Pedro Canale whose first album Rodante (2008) opened the floodgates by pushing the borders of Cumbia listeners weren't even aware existed. He's gone on to release other highly acclaimed albums such as Rio Arriba (2010), which Resident Advisor described as 'aural magical realism', and Amansara (2014), which catapulted him onto acclaimed international stages and received praises from Pitchfork to the New York Times.

Four years later, in the midst of some very notable global turbulence, Chancha Via Circuito brings us his highly anticipated new album Bienaventuranza- a word that essentially means bliss. Replete with his signature touches of Andean instruments (think lots of flute and charango), the folkloric elements on this album blend fluidly with danceable and digestible electronic beats. He's been cooking this record slowly, with unprecedented amounts of care and in a much more collaborative manner than his past albums.

Appearing on the album are heavy hitters in the digital cumbia scene, including Mateo Kingman, Kaleema, and Lido Pimienta, all of whom contribute their highly distinguishable sounds to the natural flow of the album. Most of these collaborations came about almost effortlessly. La Victoria is a track that blends cumbia, dancehall, and a bit of mysticism- carried by Lido Pimienta's luminous voice, Colombian Dancehall wizard Manu Ranks happened to be in town and slipped into the song naturally. Kawa Kawa came from an improv jam during rehearsal one day with Kaleema (Heidi Lewandowski) and Federico Estevez (percussionist in Chancha Via Circuito). Niño Hermoso, which is lyrically a fable, sounds the way it does because Pedro saw a video of Gianluz (Gianluca Zonzini), who he knows from dance classes, singing a Pocahontas song on Youtube.

As dancefloor-friendly as it is mystical, Bienaventuranza is as Chancha as it gets- with elements from Cumbia to Dancehall to Andean Folk to Global house, crystal clear production, and collaborations that are evidently natural and genuine, the record holds true to the sound that Canale has played such a huge part in creating. Since the release of his last album, the digital folk scene has also grown exponentially. From a new generation of producers to more listeners in unassuming parts of the globe, Pedro has been humbled to see the sound develop- and proves with this album that he's grown swiftly alongside it.