Suche:performance

"21" is the well-crafted, sharp and original first album by the duo HILA, composed by American cellist Artyom Manukyan (who already worked with Kamasi Washington, Daedalus, Flying Lotus, Run DMC, Gretchen Parlato, Raphael Saadiq, Clive Lowe Mark...) and french producer Dawatile.

The combination of jazz, Los Angeles beat-scene and the vibrations of 80s and 90s Soviet Armenia make it a striking and unprecedented fusion. These kind of nostalgic and unconventional references forcefully shake the codes of mainstream culture to create a sincere, raw and intimate expression.

"HILA" was born from a spontaneous and intense creative impulse between Artyom Manukyan, a Los Angeles-based Armenian celloist and his partner in crime, David Kiledjian aka Dawatile, a French multi-instrumentist of Armenian descent. This project is proving to be a true master stroke given that it only took 21 days for the duo to make it a reality.

"HILA" was made in less a moon cycle but captivates and electrifies audiences upon its first outings. "H.I.L.A" colors the warmth of the Californian "High" with Armenian vibes. The artists chose this name for their creation since both have a close and valuable connection to these locales. This journey began in 2007, on the day Dawatile went to Yerevan, the capital of this small country in the Caucasus mountain to realize a first fusion project centered around local folkloric music genres.

There he was introduced to local musicians including the Armenian Navy Band, one of the country's foremost groups in which Artyom played the bass and cello. In this context, he also met many musicians such as Tigran Hamasyan and Norayr Kartashyan. This will be the beginning of connections between Lyon, Yerevan and Los Angeles. The following year, the two artists will be be seen performing next to Taylor Mc Ferrin at the Jazz à Vienne festival. More recently, they partnered up again when the cellist, who had freshly relocated in California, invited Dawatile to produce his album. As soon as the studio’s threshold was crossed, they decided to postpone this record and create a joint project: Hay (as the Armenians call themselves) / High In Los Angeles. HILA was born at the end of these 21 days of intense creation. The association of Artyom Manukyan and Dawatile is the combination of two visions, two versions of Armenia, two personalities, the reunion of the Eastern and Western blocs.

One grew up nurtured by the sounds of hip-hop and jazz in Europe and the other by art music and Russian-influenced 1980s Armenian folkloric music before moving to L. A., Ca. The cornerstone of it all, the glue that unites everything : Armenia and music. They generate a new identity synthesizing two perceptions, their complicity transcending these cultural discrepencies. To achieve this, they will scour through images of Artyom’s childhood, within the popular culture of Soviet Armenia. Together, they revisit this decidedly retro vibe, based on the work of Caucasian groups inspired by African American music. This background is rehashed and fused with ancestral Armenian sounds. The DNA of the album "21" is molded by these dear influences.

We can also hear the ancestral sounds of Armenia, a country at the edges of both Europe and Asia. The presence on two tracks of Armenian music Master Norayr Kartashyan, infuses the languor of past melodies and traditions. These purposeful anachronistic sounds offer a fantastic depth to this powerful opus. Listening to the album, one can appreciate the successful fusion of styles and influences. Those combinations, however, manage to preserve individual identities only to enhance the art through an adamant musical dialogue.

Being driven by the urge to transpose Armenian musical traditions into a unique universe, the daring artists, offer an innovative combination by blending, for the first time, these ancestral sounds with the world of Los Angeles beat-scene and jazz. An invention largely fueled by the magic strings of Artyom and maestro Miguel Atwood-Ferguson, a pillar of the genre in Los Angeles combined. These associations resonate with a triumphant equilibrium. HILA is musical uncharted territory in which Artyom's cello strings intertwine to ignite the harmonies of keyboards, the machines, the vocals and electronic layers Dawatile pieced together. HILA plays the soundtrack of an adventure set between Armenia around the end of the Soviet era and a mysterious near future.

Artyom Manukyan grew up in Armenia in the 90s. At the time, he studied Russian classical music while learning jazz with assistance by his father, a music journalist. Being an unconditional music lover, he went on to sharpen his skills at the prestigious Berkelee College of Music. Subsequently, he’s been lucky enough to travel the world touring with numerous acts and mainly with the Armenian Navy Band. The group has fostered alacritous success honored by a BBC Award as a crowning achievement. He moved on 10 years ago and made his way to L.A. with his cello on his back. In the City of Angels, he quickly became a popular figure of the jazz and hip-hop scenes thanks to his first album "Citizen". He’s accompanied prestigious musicians such as Kamasi Washington, Melody Gardot, Daedalus, Flying Lotus, Run DMC, Gretchen Parlato, Raphael Saadiq, Clive Lowe Mark, or Vulfpeck. He released his solo album on the cello, "Alone" in October 2019.

Dawatile is a bold producer and multi-instrumentist as well as a passionate and resolute musician molded by jazz. As a versatile artist, he handles and juggles the saxophone, the keys, the bass and composition. Simultaneously, Dawatile produces cross-over projects and soundtracks for the movie industry. He, as well, has had the opportunity to be a part of many tours, including with his electro hip-hop band, Fowatile and more recently with the "Future Kreyol" trio, Dowdelin. Being the ever workaholic, he has under his belt a string of prestigious collaborations with the likes of Talib Kweli, Foreign Beggars, Roy Ayers, Tigran Hamasyan, Mathieu Boogaerts, Voodoo Game and Piers Faccini. His taste for developing new musical recipes and his know-how in production make him a much sought-after album producer. In concert, the HILA duo offers a sober, precise and rhythmic performance. "21" is an aerial and lively album taking the audience on an at times joyous and sometimes melancholic dreamlike journey. The magic of "HILA" operates at the speed of light and positions it already as an avoidable group.

Arandel's new opus, 'InBach', released 24th January 2020 by French label InFiné, pays a poetic, infinitely respectful and innovative homage to Bach's sacred workings.

Arandel was granted limitless access to the galerie of (sometime rare and ancient) instruments, as a well as a countless recordings of the prestigious Musée de la Musique in Paris with a view to sounddesign his brand new creation. He performed a few months after at Philharmonie Paris a hybrid live performance/DJ set 'Switched on Bach', named in acknowledgement to the legendary 1968 by American composer Wendy Carlos (Tron, A Clockwork Orange, The Shining).

From candles to LEDs, from DJ sets to museums, from historical instruments to machines, from Bach's themes that have entered the collective unconscious and inspired contemporary flesh and blood musicians… 'InBach' was a foregone conclusion.

In the immensity of Bach's oeuvre, in the company of his fellow wanderers, within the constraints of his-torical instruments, emboldened by the delightful, sometimes technically dangerous friction between acoustics and electronics: Without a net, Arandel walks a tightrope without a faux pas.

Vital Sales Points:

- Strong French environment including institutional support from Philharmonie / Musée de la Musique in Paris with a big shows' scheduled.
- A hybrid album with a mix of rare instrument sounds, synthesizers and innovative creative bias.

Alex Bradley's new reissue division at Utopia Records recovers the early works of Gianni Gebbia, a saxophonist and composer from Palermo, Sicily whose highly sought-after debut LP from 1987 is remastered with added unreleased material and updated art work by Gebbia himself.
A minimal and contemporary jazz album of the highest order, its beautiful sound, sentimental electronics and use of synthesisers - that were a precursor to the house and dance music scene of the early 90's - has made the album endure the years that have passed.

It will be sure to be a valuable addition to your home listening collection with stand out tracks like Cud evoking visions of a Sicilian beach stroll and the intense and brooding 'Vedersi Passare le Cose Attorno' with its Juno chords transports you to a Detroit night club in 1992 counterbalanced by Gebbia's soft saxophonic embrace...

The self taught Gebbia's works touches on the avant-garde whilst maintaining a musicality and fluidity with his technique of circular breathing adding an extra element to his playing, the ability to create Reichian like minimalism with a single breath whilst maintaining melodic structure.
The multi solo album artist is noted recently for working on the music score of Heiner Goebbels' music performance piece 'Everything that happened and would happen' at the Manchester international festival and for his curating of the "Anassimandro Festival of Music and Philosophy" in his home city of Palermo of which Bradley hosted last years after party.

On The Corner favourites Penya kick off the new year with a collaborative EP with legendary gogo musician Msafiri Zawose. The collaboration began in September 2017 when Penya's Magnus P.I spent a week in Tanyania, East Africa, recording material at Zawosi's studio.
Penya are a genre defying quartet that embody the energised sound of a cosmopolitan UK. A host of traditional folkloric rhythms, club culture motifs and DIY electronics mark the band's distinct sound. Drums, horn and vocals evoke Penya's live performance from a world of euphoric ritual and visceral dance scapes, ancient and future.

Pacific Express emerged from Cape Town, South Africa in the 1970s. The band were from the so called "Coloured" community and were ground breakers in both musical and political arenas. The founder members Paul Abrahams (Bass), Jack Momple (Drums) and Issy Ariefdien (Guitar) were joined by Chris Schilder (Piano), Vic Higgins (Pecussion), Barney Rachabane (Alto Sax), Stompie Manana (Trumpet) and Zayn Adams & Kitty Tshikana on vocals for their second album "On Time" in 1978.

On several occasions the group fell foul of Apartheid laws and discrimination by the state broadcaster, SABC. On one occasion they were asked to leave the stage of an international tour by Australian act John Paul Young, because the law forbade racially mixed performers on the same stage. The promoter, management and band members all resisted and once he incident made the Australian newspapers the authorities had little choice and turned a blind eye.

And so to the music. The most important thing. The LP opens up with the slick jazz-boogie funk of "We Got A Good Thing Going On", a perfect vehicle for the vocals of Zayn and the statement-of-intent, on-point musicianship of the band.

"I Hear Music" is the first of three smooth sweet string-laden ballads to feature on the LP. The majority of the songs on the LP were written by keyboard player Chris Schilder. As well as high-craft songwriting Chris also contributes layers of effortless musicality with his Rhodes and piano. "Good Old Days" (the only cover on the LP) is next and its smooth-rock grooves swing effortlessly to the fore. The A-Side of the vinyl closes with the instrumental jazz funk of "Saturday Night".

The flip side of the album opens with the bands biggest commercial success. A sweet soul ballad penned "Give a Little Love". Stepping outside their usual sound. This hit however was not without controversy as the video was removed from the TV airways after the South Africa Broadcasting Corp realised that the group were of mixed race, which was against rules for so called local artists in public performance at the time.

"Dream" follows on with the driving jazz rock and travelling keyboard solos. "Reaching Out For Love" is a power-pop boogie groover powered by guest vocalists Erica Lundy and Kitty.

"Say The Last Goodbye" is the last of the trio of ballads. A smooth style moment sounding all the bit like a 70's US TV drama closing theme. The LP features with a funky workout where the band show off their chops and slick level of musicianship.

Besides the success in southern Africa this album became a regional hit as a pirated music cassette in Nigeria. It was also released in France and Japan.

The band would go on to record one further LP in 1979 and a single in 1981. They carried on performing however well pass that. Throughout their years together the band acted as central hub for Jazz musicians within the Cape Town area. Players as Tony Cedras, Jonathan Butler and Alvin Dyers gaining experience alongside established names such as trumpeter Stompie Manana and alto saxman Barney Rachabane.

Here at World Seven we are ever so pleased to be re-releasing what we consider the bands finest album moment.

Black Truffle is pleased to present Realejo, the first vinyl release from Brazilian sound artist and composer Manuel Pessoa de Lima. Having composed works for diverse contexts including cinema, contemporary dance, theatre and television, Lima’s live appearances often take the form of self-reflexive lecture performances that combine electro-acoustic sound, red light, video and spoken text, moving unpredictably from the hilarious to the distressing.

Realejo consists of two side-long pieces of highly idiosyncratic electro-acoustic collage, beginning with recordings Lima made of himself playing the organ in the Schloss Solitude Chapel in Stuttgart. Exploring the peculiarities of the instrument’s mechanics, Lima made hours of recordings with the organ stops half-way open, moving from haunting gliding tones to oddly tuned fair-ground melodies reminiscent of the record’s namesake realejo, a hand-cranked organ traditionally found in Brazil as the musical accompaniment to the work of fortune-telling parrots.

To these organ sounds, Lima added recordings of a security guard made in São Paulo: ‘Just before coming to Stuttgart, I started making field recordings of a security guard in São Paulo. It's something pretty common in residential areas: they sit in a chair with a whistle, and use that to signal when people arrive, leave or pass by in the street. This particular security guard, Miguel Viana, works on the same street my parents live, and where I had my childhood, and he has worked there since I was a small child. He has watched the street at night, from 8PM to 6AM, every single day, except Sundays, for over 30 years’.

The poignant sounds of the security guard’s whistles punctuate Lima’s electro-acoustic environment, which also includes raw digital synthesis, recordings of his friends’ infant child, audio lifted from Youtube, and, on the LP’s second side, elements taken from an earlier work, ‘36 English to Portuguese Lessons’. Finely chiselled from dozens of hours of source material into a detail-rich, mercurial structure, Realejo is alternately jarring and seductive, introducing listeners to a young composer with a powerfully individual voice.

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

Tape / Cassette

Mark Gergis is a producer, musician and audiovisual archivist known for his radio and video productions, recordings and performances. His work has focused on regional folk-pop music from the Middle East and Southeast Asia, including choubi and dabke from Iraq and Syria. As an archivist, Gergis is currently working on the project Syrian Cassette Archives, for which he aims to restore, preserve, catalogue and share his large collection of Syrian media from what can be called Syria’s ‘cassette era’ (1970s–2010). As an artist, under his name and others (Porest) he has released music on the Sublime Frequencies, Discrepant and Nashazphone to name just a few. It’s a wonder that amongst this hectic schedule he still finds time to present us with a new (old) collection of early century recordings (1999-2013).

Locational recordings, radio and TV intercepts, cassette excerpts, environments and street music all expertly all expertly meshed up into a vivid sound journey from places that were (and might) never be again.

Musique de film imaginé (music for film imagined) is a soundtrack that pays homage to the great European film directors of the late 50's and 60's, such as François Truffaut & Jean-Luc Godard (to name but two), created by Anton Newcombe on behalf of the Brian Jonestown Massacre for an imaginary French film. Guests on this daring symphonic experience are French chanteuse and multi-instrumentalist SoKo and Italian actress, singer and director Asia Argento. SoKo is signed to Because Music and her track 'We Might Be Dead by Tomorrow' was featured in the viral video 'First Kiss', which has garnered over 63 million views and debuted at number 9 in the Billboard Hot 100 last year. Asia Argento, who has starred in music videos for Marilyn Manson, Placebo and Tim Burgess, recently wrote the storyline for ASAP Rocky's music video and short film 'Phoenix', which has had over 5.5 million hits. Both vocal performances are in French. Anton Newcombe recorded Musique de film imaginé in Berlin in August 2014, after a successful European tour for the Brian Jonestown Massacre.

Stripped down to the roots, these 13 contemporary new versions of classic Jamaican recordings, originally from the likes of the Trojan and Studio One studios, are triumphantly fresh and channel Jamaica’s rebel music history.
With Rastafari sewn into its sonic seams, Inna De Yard remind us of Jamaica’s vast contribution to popular music around the globe with a cast of golden-generation roots artists whilst introducing a new class of roots-enthused artists from the island.

Following the release of the album is a feature-length Inna De Yard documentary-film directed by Peter Webber (3 Oscar nominations for Girl with a Pearl Earring), set for its UK and international cinema release alongside European tour and summer festival dates including a special beach performance at the music industry Midem Festival in Cannes.

After a sell-out debut tour in France in 2017, the trailblazing quartet of Ken Boothe, Cedric “The Congos” Myton, Kiddus I and Winston McAnuff join forces to front a cross-generational super-group of roots-reggae visionaries, featuring Jamaican vocal trio The Viceroys and Bob Marley backing vocalist and artist Judy Mowatt, as well as Jah9, Var and Derajah, three of Jamaica’s most stirring and spiritually-connected artists on the scene today.

A chance meeting in a New York club led to the conception of Mowgan’s debut album, in collaboration with renowned African Benin-born Nigeria raised singer and multi-instrumentalist, Kaleta (Leon Ligan-Majek) an ex Fela Kuti, Sunny Ade, Lauryn Hill cohort who also fronted Akoya Afrobeat Ensemble and presently heads up a 70s style afro funk band called Super Yamba based in NYC.

The Frenchman was working at Lina Frey when he overheard a Beninese salsa singer called Laurent Hounsavi channeling Afro-centric vibes through his performance. He approached the singer and was put in touch with Kaleta, who lives in the Big Apple, too. What happened next was pure magic, as the two men got to work in the studio to bring their two worlds together.

It’s the kind of mystical alchemy that only happens once in a blue moon; Kaleta was given carte blanche over Mowgan’s extensive collection of Africa-inspired electronic instrumentals.

He selected his favourites and performed on each one, delivering an original vocal, and his own guitar licks, over the top. To stir up even more electrifying vibes, Kaleta also invited several of his talented friends to join the recordings sessions - they included vocalists Shade Myers Emmanuel, Justin Masters and Gbenga Wise, Freddie Deboe on sax, Mic Dada assisting Mowgan on synth pads and Takuya Kuroda, the infamous Japanese trumpet player from Kobe who specialises in neo-soul, hip hop and electronica.

The result is ‘Karoussel’, a vibrant, dynamic, soul-enriching hybrid between electronica and deep African musicality that sets the standard for contemporary collaborations between western and African artists, and the first in a series of album projects from Mowgan on his fledgling label Mow Records...

With EXHIBITION's second performance, RICO PUESTEL proudly presents the new series-within-the-series "SOLLING", conceptually fulfilling the "triad of A" throughout the canvas of this record: Acid, analogicity and anachronisms.

After recently telling a vast and mesmerizing story on Adana Twins' TAU label, RICO PUESTEL now immerses into his defining habitat roots and creates the long-planned first soundtrack chapter of SOLLING: A central German uplands area in Lower Saxony, spreading into the North of Hesse, shaped by mixed forests, its rural imprinting, a widespread range of regionally varyiing cultural idiosyncrasies and a century-extending history, including the shattering throughout the welters of the Thirty Years' War.
Being the first of several planned chapters, pre-production mostly takes place there while the music is traversed by sound recorded in that area, leading to an existence irreversibly connected to its birthplace.

The impetuous opener "Tilly", characterizing the essence of Johann T'Serclaes von Tilly who commanded the Catholic League's forces in the Thirty Years' War, overrunning the SOLLING throughout 1624 and 1625, culminates in one retro-futuristic affair, building into a overwhelming storm of percussion tapestry and intertwining layers of acid.
The A2 follow-up "Clava" takes the initial impetus to a superior level, overriding itself with an unpredictable enigma-melody after laying the foundation of a high-density groove architecture - all of this representing the almost intangible chasms of a unicum street and its geographical expanse, filled with Rico's far-reaching primordial retrospections, seemingly connecting several contingent coordinates of mysterious happenings over two decades while anticipating the future.
Ultimately, the AA-flipside delivers the groundbreaking SOLLING composition "Pro Foreste Sulgo", presenting an ancient-like struggle of dark and light as told by the principles of nature with two melodic themes, circling around themselves, bound to collide and meld like atoms - all placed within the treetops, shaken by the wind, overlooking a future that might already has been...

“Lugar Alto presents their very first release: the incredibly rare and absolutely stunning “Homenagem”, by Leonardo V. Boccia. This is a forgotten gem from the eighties that examines traditional Brazilian themes such as choro, northeastern folk, and capoeira with touches of eighties electronics and new age.

Leonardo Boccia is a musician, multi-instrumentalist, composer, researcher and university professor of Culture and Society at the Federal University of Bahia, whose interests include sound studies, manipulation of sound media, audiosphere and aesthetics, musical theatre, audio culture and neuromusic.

Born in Italy, this respected academic studied music in Berlin, moved to Rio de Janeiro and established himself in Salvador where he was invited to research the northeastern music of Bahia. There he created the experimental group Macchina Naturale, an eclectic combo that performed regularly during his stay. In November 1980, Boccia participated in the first Instrumental Music Festival of Bahia as a soloist where he performed works of his own.

But it was in 1983 that Professor Boccia composed, directed and produced the LP Homenagem. With photos by renowned photographer and artist Mario Cravo Neto for the front and back cover of the booklet, the album presents new and original compositions for instrumental ensembles, such as: Choro Fantasia – for guitar and berimbau -, Canção para Iracema, Homenagem and Lenda do Sertão. The LP was originally released on January 3rd, 1984, with a live performance in the main hall of the Castro Alves Theatre under the title Tribute to Brazilian Music, with the participation of vocalist Sueli Sodré, who contributes to the album, instrumentalists Zeno Millet and Onias Camardelli, accompanied by choreography and visuals.

Much of Homenagem examines the genre of Brazilian music known as Choro, or Chorinho, a genre which appeared in Rio de Janeiro in the 19th century. Choro is regarded as the first typically Brazilian urban music and, over the years, it has come to be considered one of the most prestigious genres of national popular music. Stylistically, it originates from Lundu, a percussion-based rhythm of African inspiration but also influenced by European genres. The instrumental composition of choro was based on the trinca flute, guitar and cavaquinho. Over time, other wind and string instruments were incorporated.

Here, in Homenagem, Professor Boccia deliberately mixes the old and the new, the traditional and the innovative; the album is the environment of Chorinho reconsidered and recontextualized, and its melodies and harmonies still capable of surprises. Just listen to “Terra e Povo” – it has an almost proto-acid-house quality to it, while the synth washes on “Mãe Natureza” with the ethereal vocal stylings of Sueli Sodré ushering in the progressive quality of the album.

Too long out of print, new label Lugar Alto now offers you the chance to reappraise this fascinating reissue of yet another forgotten chapter in Brazilian music.”

Aviador Dro are without a doubt the most avant-garde and influential techno-pop band from Spain. They started in 1979 and this year are celebrating their 40th anniversary playing shows, re-releasing some old works, publishing a book and also a new album.

“Acción Contra El Pasado” was recorded in Madrid in December of 1980 and is one of the oldest live performances of which there is a recording evidence. This concert is legendary not only for its age, but also for including some unreleased songs, a couple of early covers by Kraftwerk and Sex Pistols and vintage versions of classics tracks.

“Aviador Dro y su Maquinaria Humana” (exactly as it was announced on the original flyer) was formed at that time by Biovac N, Fox Cicloide, Placa Tumbler, Derflex Tipo IARR, CTA 102, X, Metalina 2 and Cyberjet. A priceless piece of history restored and remastered from the original cassette recorded directly from the mixing desk.

Limited edition of 400 copies with a A2 size colour poster.
Drawings created by the Polish artist Michał Arkusiński.

Bathurst is pleased to announce the return of The Motion Orchestra with their new single Sonorous taken from their forthcoming album All One set for release in 2020.

Formed in 2017, this studio project consists of Alexander Bednasch on Double-Bass, Mark Matthes on Violins, Andy Sells on Drums and David Hanke on electronics and production. Though influenced heavily by Neo-Classical and Jazz sensibilities they occupy a musical space that sits in neither sphere, with a compositional style that deftly fuses the orchestral and electronic worlds.

Their debut single – All One was a gorgeous piece inspired by the notion that everything comes from the same source, the same starting point. And it was well received, garnering support from BBC 6Music and Bandcamp Weekly.

Second single Sonorous is just as elegant as their first offering and looks set to continue the upward trajectory the band are currently on. Starting witha repeated electronic motif, it incorporates piano chord harmonics, tasteful bass notes, and swirling jazz drum patterns that interplay wonderfully with beautiful string arrangements, altogether creating a truly captivating character.

The release is comprised of both the original version as well as a the arrangement without the drums. The Motion Orchestra is currently in the process of producing their live show for performances of the debut album.

The vitality you hear on Antique Blacks is a testament to the unique energy of the community around The Foxhole Cafe in Philadelphia, as Ra honed his unique brand of Afro-Futurism through the late 60';s and 70's. Cosmic theatre, spiritual chants, and experimental electronics make this record an essential document that was ahead of its time. Ancient to future! BIG TIP !

The 1970s saw change in Sun Ra's recorded output, and as far as we can tell, the content of his live performances. By the middle of the decade, Sun Ra's music no longer seemed comprehensible as part of the jazz New Thing – quirkier, more idiosyncratic elements were more to the fore.

At this time, 1974, every Sun Ra record still surprised, and seemed radically different from everything else he had released up to then. The musical universe proposed by free jazz had never circumscribed Sun Ra. He had been part of the movement, but was able to use the possibilities it suggested without being limited by its conventions.

The Antique Blacks illustrates this well. Recorded as a radio broadcast in Philadelphia, according to Dale Williams, it has a well defined but oddball structure. Sun Ra was a master architect, very concerned to use the unfolding of an album, a broadcast or a live performance to create a satisfying structure.

Song No 1 starts on an upbeat note, it's a lively, tonal introduction, featuring John Gilmre on tenor saxophone, Sun Ra on roksichord, Dale Williams, then aged 15, on guitar, and Akh Tal Ebah on trumpet.

Sun Ra's poetry is featured on There Is Change In The Air, a track which has on occasion been used for the album title: in its original incarnation as a Saturn LP, there was no dedicated sleeve artwork, and this record appeared under many names. Ra's poetry is allusive, elusive and paradoxical, and this was its first major appearance on a record. During instrumental passages, Dale Williams' guitar is heard, along with the saxophones of Marshall Allen and Danny Davis.

The Antique Blacks is a similar setting for a Sun Ra poem, which encompasses "spiritual men", and Lucifer as a dark angel. The Arkestra is heard in conducted improvisational ensembles, in between the sections of the poem.

This Song Is Dedicated To Nature's God has Arkestral vocals, with John Gilmore's voice in th foreground. Williams' guitar is once again prominent in the instrumental passages.

Sun Ra's poetic declamations provide the structire for The Ridiculous I and The Cosmos Me, which also has a fine unaccompanied tenor solo by John Gilmore, keyboard improvisations by Sun Ra, and closes with bass clarient from Eloe Omoe.

Sun Ra's keyboards are heard with minimal Arkestra support on Would I For All That Were – a fine synthesiser improvisation, with electric piano left hand accompaniment.

Tension is resolved by Space Is The Place, which rounds the album out in an upbeat mood, with Akh Tal Ebah, James Jacson and Sun Ra prominent among the vocalists. The closing section includes the chant Sun Ra And His Band From Outer Space, often used at the close of live performances. This isn't strictly live, though: in one line the vocal is played backwards on tape!

Following a string of releases via his own bbbbbb recors, along with bodies of work on трип Recordings, February 2019 saw Bjarki debut on !K7 Records with the ‘Happy Earthday’ album.

With the album considered to be the Icelandic producers first full debut LP, ‘Happy Earthday’ offered a conceptual collection of music which Bjarki thought he would never release. Influenced by his home country of Iceland as well as the planet’s environmental issues, the album received support across the board from the likes of The Quietus, DJ Mag, Pitchfork, XLR8R, FACT and CLASH Music, along with being crowned Mixmag’s ‘Album of The Month’.

As part of the limited edition 200 copy box set version of ‘Happy Earthday’, a secret album of original music was available to hear unbeknown to listeners. Now receiving a full release this December on double vinyl and digital platforms, Bjarki will release his second full album of the year via !K7 Records. ‘Psychotic_Window’ is a further extension of the experimental artists creative vision whilst continuing to address environmental themes and nature.

Combining influences from techno, breakbeat, IDM, electronica and more across all of his studio output, ‘Psychotic_Window’ is Bjarki’s final signoff for 2019. The new 14-track album follows in line with one of his most significant years to date, highlighted by performances at major events including Dekmantel and DGTL Festival, along with pioneering eclectic new sounds via his bbbbbb recors label.

“After ‘Happy Earthday’, people have been asking me about the secret tracks and it made me feel that they deserve a proper release. Each track means a lot to me as I made them during a depressing phase in my life; I was pretty broke, working many shit jobs and also just being super lazy, uninterested in leaving my apartment.

Before I started touring, I had these periods where I could write so much music without thinking, pouring my heart out to comfort my thoughts and feelings without trying. I doubt that this kind of window will come back to me anytime soon, my way of music making has changed a lot after going on tour. At that time, I was listening to a lot of Coil, Chris Carter and Cosey Fanni Tutti. I think every struggling artist goes through these phases of being sleep deprived, staying up and making music all night. This was my psychotic window.” -
Bjarki

When acclaimed South African musician Guy Buttery first sought out Dr. Kanada Narahari in late 2016, it was as his patient.

“It was a dark time.” Buttery recalls, “I had been bedridden for months and had been suffering from debilitating bouts of fatigue which no diagnosis or medication could help me get to the bottom of. When I first met Kanada, I was at the stage where even picking up my guitar to make music had become a joyless and taxing exercise.”

As Buttery’s searched for a cure, a family member recommended he see Kanada an Ayurvedic doctor who had relocated to South Africa from India and set up a practice in Durban. It was during this consultation, that the musician first experienced how Narahari infused the healing properties of Indian Classical music into his practice. Rather than treating him with a smorgasbord of pharmaceuticals, Narahari played his sitar and set Buttery on a strict daily diet of Raga’s to fast track his recovery.

Buttery was not only struck by his doctor’s musical talents but by the powerful healing properties inherent in his sitar compositions. When he left Narahari’s doctors room that afternoon, he asserts he was feeling decidedly clearer, lighter and stronger.

“Diving into Kanada’s music was definitely one of the reasons I'm still here today.” he admits. “The consistent tonal centre at the heart of Indian Classical Music, literally became my support pillar over this period. A central core of sorts in which to fall back on, strengthen and discover.”

Narahari as it turned out, was not only a prominent music therapist (and one of the only Ayurvedic doctors practicing in South Africa) but like Buttery, a highly accomplished musician with a devoted following back in his homeland.

Born in a small village along the Western Ghats in Karnataka, India, Narahari, at the age of nine, had enrolled to study Carnatic classical vocal and developed an interest in Hindustani Classical music with a particular passion for the sitar. While Buttery had secured his reputation as one of South Africa’s musical treasures, a multi-instrumentalist who commands sold-out performances both locally and internationally and more recently had been awarded the prestigious 2018 Standard Bank Young Artist for Music.
From this consultation, a friendship developed between the two musicians with Buttery soon inviting Narahari to join him in his studio. But it wasn’t all plain sailing in the beginning. While Buttery and Narahari’s sensibilities were very much aligned, there were a range of cultural and musical influences, nuances and inflections that first needed to be navigated and understood.
“I suppose we had to find a common ground.” Buttery says, before adding, “Which in the end turned out to be pretty "uncommon ground" for the both of us.”
It was after a few intensive sessions together that something exhilarating began to emerge. What began as a few idle improvisations soon evolved into feverish and lengthier jams. Whenever time permitted, the musicians would meet, descending deeper into the emerging sounds, while reimagining the realms that existed between their African and Indian heritages.
Over the next few months, the duo would rack up over fifteen hours of recordings in studio, and it was up to Buttery to shape the material into an album which they collectively titled Nāḍī, which Narahari translates from the Sanskrit as "The Channel" or "An Internal River".

During this period, Narahari bestowed upon Buttery, the moniker Guruji while Guy would refer to him, in affectionate return, as Panditji. Each time the musicians would meet, the studio space would be cleared by an impromptu ritual, with Guruji burning African Imphepho while Panditji would chant a Sanskrit mantra dusting Indian Agarbatti clouds over their instruments.

Once the room had been made hazy with this aromatic alchemy (with the ancestors welcomed in) the musicians would pick up their instruments and plunge into shimmering tides of sound. Reflecting on these sessions, Narahari recalls the immense creative freedom he felt throughout: “Guy and I tried to wander as much as possible, without any speculative, preoccupied ideologies or limitations. Love remained at the forefront of our journey together.”

“Those evenings we spent together in the studio” adds Buttery, “felt incredibly rich with purpose and a profound sense of freedom. While improvising, anything could happen and mostly did.”

On a first listen, the tracks on Nāḍī emerge as salty, humid invocations to the inscrutable depths and misty myths of the Indian ocean-- that vast body of water that stretches between, and laps the shorelines, of the artists’ respective homelands.

When asked to describe the sound him and Narahari refined, Buttery prefers to relay a series of evocative images.

“For me” he explains, “Nāḍī is a lighthouse, a beacon that resides at the bottom of the ocean.” As Buttery envisions it, “what once offered light to guide ships to safety, has been submerged and re-purposed by marine life as a coral-reef temple. Similarly, this sunken lighthouse exists as a concealed cenotaph, memorializing the ancient sea-routes and passages that once connected the two distant lands.”

On paper this may sound obscure but listening to the songs, it serves as an apt metaphor.

Across each meditative movement, listeners are able to relive the journey, immersing themselves in a series of incantations, replete with high dynamics, delicate African-Indian inflections and virtuoso string playing of an entirely new order. Further complimenting the fusion of musical dialects are a range of guest artists including Shane Cooper on bass, Thandi Ntuli on vocals, Chris Letcher on organ, Ronan Skillen on tabla and percussion and Julian Redpath on guitar, synth and backing vocals.

Now like the submerged lighthouse, the recordings stand as a monument, a marker and snapshot of this fortuitous meeting, a tribute to the healing gifts of Guruji and Panditji in performance. It’s a process that already, both musicians look back on with reverence and nostalgia.

Buttery ruminates in closing, that when he first met Kanada his illness correlated with the biggest drought South Africa had experienced in many years “…for whatever reason, whenever we would connect and make music together, the sky would tend to open. Even if it was just a few drops. This went on for months, until finally the drought dissipated and my health had been restored.”

By the time the heavens did open across the East Coast, a deep friendship had been forged and with it abundant musical offerings poured down. A treasured sample of which we able to share in every time we press play and immerse ourselves in the sacrosanct musical universe that is Nāḍī.

From the people who brought you Disques Sinthomme and Ghost Town comes a new imprint LESDK.

Bringing back that NYC Lower East Side grime, LESDK will feature edits as well as new work from Dennis Kane and his circle of proper low-lifes...

Ghost Town and Disques Sinthomme featured contributions from Brennan Green, Richard Sen, The Beat Broker, Bicep, Jose Manuel, and Cosmic Metal Mother, as well as edit monsters like Jeff 'The Drunk' Overton and Cazbee. Kane will be helming this label, curating work and providing his own productions and remixes.

LESDK

Starts off side A with 'Real' - A soulful disco romp that has a gospel force as well as a powerful vocal performance. The song grooves from its first beat, and pushes the energy as it builds. "Now it's time to be real..." Edit as manifesto - Pure heat! The edit work here comes from one of the OG's of serious digging, Senior Reyes aka Jersey Pete.

Side B brings 'Action' as its first track, complementing the A Side, this is some dirty late night Philadelphia bar nastiness, mentholated disco with a humid female vocal, "I like to party, I like to flirt..."

Side B closes out with 'Motion', a slice of cosmic funkiness that laments a love that is not happening while a thick bassline moves the proceedings along.
This song has heartbreak and the haze of an early morning on the dancefloor.

Three essential edits for the DJ to bless the party people with.

Dennis Kane is a DJ and producer based in NYC, he has run the Disques Sinthomme and Ghost Town labels and is also a partner in the recording group SIREN, (with Darshan Jesrani) on Compost records.
Kane has produced numerous tracks and done remix work for Cantoma, Liz Torres, The Phenomenal Handclap Band, and Hokis Pokis among others.
He has been a DJ in NYC since the mid 90's holding down numerous residencies and touring worldwide.

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Fehler Kuti
Munich, Autumn 2019

Music by Julian Warner, Markus Acher & Tobias Siegert
Saxophone on RINDERMARKT by Franz Brunner
Trombone on RINDERMARKT and IL by Matthias Götz
Recorded and mixed by Tobias Siegert in Munich.
SONTAGSFAVORIT mixed by Dario Albiez in Dusseldorf.
Mastered by Duphonic in Augsburg.
Artwork by Atelier Grande, Munich.

Emotional Rescue is delighted to present a collection of works by the founding father of the modern drum movement, Glen Velez. Collated from his first 3 solo albums from 1985 to 1989, Sweet Season is a snapshot in to the pioneering composing and performance of this four-time Grammy winner. Born in 1949, of Mexican American ancestry, Velez grew up in Texas before moving to New York in 1967. Playing jazz on the drums he soon gravitated to hand drums from around the world (frame drums in particular), seeking out teachers from many different musical traditions.

Among the many instruments Velez favours are the Irish bodhran, the Brazilian pandeiro, the Arabic riq, the North African bendir and the Azerbaijani ghaval. Although these instruments are similar in construction they have their own playing techniques that open new possibilities.

Sweet Season highlights this vocabulary, mixing and adapting techniques from various cultures to develop new ones. The music, often composed as cross-cultural ensembles, has a particular fondness for polyrhythms - superimposing different meters simultaneously - while incorporating Stepping Split-tone and Central Asian Overtone singing to complete the global horizons.

This new genre of contemporary drumming has been hugely influential and seen Velez work with the likes of John Cage and Steve Reich, as well as teaching his virtuosic combinations of hand movements and finger techniques to many emerging players.

First time available on 180 grm black 180 grm vinyl 2LP . Revelation is the first album that was fully recorded & produced at Anton's recording studio in Berlin . It is the 14th full length release from the Brian Jonestown Massacre recorded from late 2012 to early 2014. With Anton Newcombe refining the 13 tracks that appear on the album Featuring Ricky Maymi an original member of the band plays on this album. It also features Joachim Alhund (Les Big Byrds) , Constatine Karlis (Dimmer), & Ryan Van Kriedt (Asteroid #4) . Plus vocal performance in Swedish by Joachim Alhund (Les Big Byrds) on the opening track . This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years. Two dozen band members later and numerous ups and downs' (some have been famously sensationalized in the media ), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe

12"LP plus 7", ltd copies

ERUPTION is an outburst of creaking energies, unconventional ideas, arhythmic thoughts, cacophonous images and musical phantasms. ERUPTION is also the name of the second album by Kluster, a band project of the musician and video artist Conrad Schnitzler, who died in 2011, together with his colleagues Dieter Moebius and Hans-Joachim Roedelius. ERUPTION was also the name of a two-day festival that took place in July 2018 at the Golden Pudel Club in Hamburg. For two days, artists and musicians from different generations and working in various fields met here, who were in one way or the other inspired by the comprehensive oeuvre Conrad Schnitzlers’, as well as by his free-spirited thoughts and actions. The result was a multi-faceted programme of concerts, performances, sound and video installations, which resulted in the release of these two special records on Pudel Produkte, the house-own label of the Golden Pudel Club. The single features a previously unreleased piece by Conrad Schnitzler & Ken Montgomery as well as a story told by Asmus Tietchens about his father and Schnitzler, who unwittingly crossed the Atlantic together on the steamboat Bornhofen in the late 1950s, one as an engineer, the other as a heater. The LP brings together the festival's invited artists, Schnitzler‘s contemporaries

such as Ken Montgomery, Wolfgang Seidel and Asmus Tietchens, as well as young artists who developed works especially for ERUPTION. Among them are Lena Willikens & Sarah Szczesny with fragments from their performance Phantom Con Ballet, the DJ Phuong-Dan who composed a musical collage from the poem About Rhythmus and rhythm studies by Schnitzler, a piece from the performance of Felix Kubin, who uses a light scanner and his modular synthesizer to convert graphic notation into sound, a theatrical sound piece by Carl & Sohn (also known as Les Trucs), the producer and DJ RVDS, who interacted with the piece Tanz im Regen by Conrad Schnitzler and many more. Initiated and curated by Nika Son, a musician and artist based in Hamburg

After two compilations and a split EP, Oscillate Tracks present their first solo EP. Having played dynamic DJ performances at Oscillate events as well as releasing top-notch productions on Livity Sound and Man Band, Toma Kami seemed the perfect fit. With 3 tracks of percussive body music, sharp rhythms and precise arrangements which build to hard-drum energies as well as a confidently layered and commanding remix from atmospheric techno icon Forest Drive
West, this EP packs a patient yet satisfying punch.

All Music Written & Recorded by David Drucker at The Skinny Apartment in Ridgewood, Queens, 2017
Featuring Mike Green (Mezzanine Swimmers) on guitars on "I Took Too Much Acid in 7th Grade," Cop Funeral on
electronics on "Seafood Special," Chris “Mr Transylvania” Shields on background vocals on "Massachusetts Is a Magical
Place," Eva “Nighttime” Goodman on violin & backing vocals on "The Ridgewood Ripper"
Painted Faces is the long (strange/trip) running voyage of weirdo David Drucker, began in Florida in 2009 and decamped
to NYC in 2011. It has sometimes been a loose band in the past with a revolving lineup of outsiders and interlopers
(known as The Freak Band), but is usually a solo endeavor, and the bulk of the recordings have been done as such. PF
has always been a home recording solo project, one-man-band style heavy on psychOdelic/outsider
folk/noise/experimental vibes. He started self releasing CD-Rs in the early days and quickly jumped to tapes on a variety
of labels including Already Dead, Lava Church, J&C, Null Zone, Tall Tapes. A "legendary" CD compilation on Gulcher
Records and an LP from Already Dead and Almost Halloween Time in Italy brings us to the here and now. Tales from the
Skinny Apartment is somewhere around the 20th or so Painted Faces release...he has long lost count.
Drucker runs/curates gigs (and records at) the Skinny Apartment, his dwelling place in Ridgewood Queens,
which some folks have called the "realest DIY zone in NYC." He also rips in Dead River Company, Big Hiatus, Shecky,
Canyon River Blues and countless other unknown subterranean improv zoner outfits. "Ripping" involves keeping it
freaky and weird and ripping sets wherever/whenever, i.e. always being down to perform whether in a kitchen or a
packed ballroom....no diva bullshit, just plugging in (or going sans electricity) and playing...always giving it your
all...Ridgewood Rippers are the crew of artists that populate Ridgewood and the loose "scene" around the Skinny
Apartment...much of it is in jest, a self-inflated mythology of nonsense which is pervasive in all rock and roll "scene"
histories. As a student of rock/pop history, Drucker is fascinated by the loose associations that connect folks from
various zones together...i.e. Miles Davis and The Grateful Dead...it's all the same though, the labels and genre
distinctions are completely arbitrary. We're all in this together, now more than ever...to be a "ripper" is simply to
"rip"...no nonsense!
Painted Faces has toured all over the USA and Canada numerous times, spreading the ripper gospels, and is
gearing up for their second European tour. He is known for falling apart on "stage," with performances heavy on humor,
horror, stoned digressions, and cathartic bouts of therapy, part performance art/part standup comedy, eradicating the
lines between performer, performance, and audience one show at a time

Analog Fluids of Sonic Black Holes is a new full-length by Philadelphiabased artist, poet, and musician, Camae Ayewa, who performs under the name Moor Mother.
A sonic black hole is a place where fluid moves so fast that it traps all sound.
To be entangled in its gravity is to feel the pressure of an unjust system -- corruption so powerful that it drowns out whatever you throw at it. Analog fluids are resistance -- individuals who work to create and preserve community in the face of immense darkness and cosmic pressure.
Begun in 2017 as a sonic counterpart to Ayewa’s art show at New York performance space, The Kitchen, Analog Fluids was refined through exhaustive touring. It tracks Ayewa’s emergence into an expanded artistic ecosystem, with contributions from a distinctive set of friends and collaborators like Justin Broadrick (Godflesh, Zonal), King Britt, Saul Williams, Giant Swan, and Bookworms

In 2015 Superpitcher was invited to go on a safari in South Africa. He stayed at the breathtaking Tanda Tula camp in Timbavati adjacent to the Kruger National Park.

Apart from being stunned by the untouched nature of the area, he was also blown away one evening by a performance of the Tanda Tula staff choir. He was so touched by their folk songs and beautiful Shangaan language that he decided to record and produce a CD for them to sell in the camp's shop, free of charge with all proceeds going to the choir members. This recording has since enabled guests from around the world to take the captivating voices of the Tanda Tula Choir home with them.

Not much later, Superpitcher approached Autonomous Africa with the idea of us putting out a remix EP. It contains four very different but somehow complementary remixes from Superpitcher, LAPS, Red Axes and Esa.

All profits from this release will be split between Tanda Tula choir and the International Library of African Music. Founded by ethnomusicologist Hugh Tracey in 1954, ILAM is an an organisation dedicated to the preservation and study of African music.

“Mohammad Reza Mortazavi is a virtuoso percussionist known for playing traditional Persian instruments such as the tombak and daf. After developing more than thirty new striking techniques and progressing to be one of the most prominent players in Iran, Mortazavi travelled to Germany, eventually settling in Berlin to record and perform regular concerts the world over. His acclaimed performances have taken in venues such as Berlin Philharmonie and Sydney Opera House. In recent years, he has been embraced by the experimental electronic music community, collaborating with Burnt Friedman, Fis and Mark Fell.

Ritme Jaavdanegi is Mortazavi’s sixth LP, and his first one available on vinyl. The album came together from recordings made in Berlin in June 2019, inspired by Mortazavi’s vivid reminiscence about profound experiences he had listening to music as a child. As he drifted in this time-slipping reverie, the phrase ‘ritme jaavdanegi’ or ‘rhythm of eternity’ came to mind, and he found the phrase itself to match the 11/8 metre he was striving for. As such, all eight pieces on this album adhere to this time signature, which in itself harks back to the Aksak, a rhythmic pattern based on the alteration of binary and ternary quantities executed in a fast tempo, intrinsic to traditional music from Iran, Turkey, Afghanistan and the Balkans.

In the same way these non-standard folk rhythms started to impact on Western music in the early 20th Century, so now you can hear an ever-increasing embrace of polyrhythms and metres that break away from the dominant 4/4 ideology. What’s most striking about Ritme Jaavdanegi, perceived through a lens of modern Western experimental music, is how Mortazavi’s virtuosic playing rivals the intensely programmed dynamics of electronica. His rapid, needlepoint drum hits bend their tonality in incredibly musical ways, but there is still an underlying focus on cyclical repetition that encourages the same ancient transcendental quality that so many contemporary artists strive for.”

This split release unites two female underground acts, both of whom have recently become pivotal parts of the contemporary electronic musical landscape in Japan. Hot on the heels of the acclaimed PAREDO EP compilation (TAL12), which has been released in May 2019 (and also includes contributions from Lena Willikens and Miki Yui), the SUPER MILD split album is the second outing by KOPY and TENTENKO on TAL. Their newest works punctuate their highly individual approaches to contemporary experimental dance music.

TENTENKO is a Tokyo-based electronic music producer. Her career began in 2013 when she joined the mainstream idol group BIS. Immediately after her departure from BIS in 2014 she commenced work on her solo project under her artist name TENTENKO. Since then she has radically reinvented her music away from glossy J-POP towards weird and industrial rooted dancefloor. TENTENKO first made a name for herself on the alternative Japanese music scene with a steady flow of live performances as well as collaborations with members of the legendary Japanese noise band HIJOKAIDAN.

For a few years now KOPY has been an unpredictable and charismatic part of the vital electronic music scene of Osaka. She has quickly garnered a reputation for creating her live sets exclusively with borrowed electronic equipment. Her name KOPY very much originates from this "concept". Apart from a few performances at Düsseldorfs famous nightspot SALON DES AMATEURS, she has been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018. Her sinister dancefloor mystique is heavily steeped in the free spirited noise and rhythm cultures of her hometown.

Seefeel, Peel Session, 27/05/94: Eine Liveband-Session von Seefeel aus der Phase ihres "Succour" Albums (1995) mit den exklusiven Tracks "Rough For Radio" und "Phazemaze", die nirgendwo sonst zu finden sind.

Zur Sommersonnenwende 2019 nahm Warp den Onlineradiosender NTS für ein ganzes Wochenende in Beschlag, um die Feiern zu seinem 30-jährigen Jubiläum zu eröffnen. Über 100 Stunden Programm mit Mixsets, Dokus, Live-Performances und Sessions des gesamten Warp-Artistrosters von Aphex Twin über Brian Eno bis Kelela samt Gästen wie Ryuichi Sakamoto wurden von hunderttausenden Fans weltweit live verfolgt. Jetzt knüpft Warp mit der Veröffentlichung der "WXAXRXP Sessions" an diesen Event an, einer Serie aus zehn 12" Vinylen mit Radiosessions aus 30 Jahren Labelgeschichte, von frühen Peel Sessions bis zum diesjährigen WXAXRXP x NTS Wochenende, allesamt in höchster Audio- und Design-Qualität. Feat. Boards Of Canada, Aphex Twin, Flying Lotus, Bibio, Oneohtrix Point Never, Mount Kimbie, u.v.a.

12" + 7"

In 2009 Mocky made a radical decision: after having become one of the cult figures of the leftfield Berlin electronic music scene of the early 2000s, Mocky retired his sampler and travelled to Paris to embark on an all acoustic journey with the producer Renaud Letang in the vintage Studio Ferber, previously inhabited by the likes of Nina Simone and Serge Gainsbourg.

Named after a song he made up when he was 7, using imaginary words, "Saskamodie" was an instant new future/retro classic: a return to pure musical expression by a cutting edge artist who was no longer bound by the electronic music scene. "Saskamodie" was a brave step into unchartered waters, the sound of a musician exploring where his talent can take him with rare confidence and authority. At different points you could hear a vintage soundtrack suite, a debonair jazz record (minus the solos) or a golden era '60s soul ballad recording ... yet, as if all these charming stylistic sorties weren't loveable enough, cut "Saskamodie" through the middle and you'll find that sweet, inescapably infectious melody is the lifeblood trickling through its core.

Mocky is listed as playing drums, bass, rhodes, piano, guitar, percussion, bells, recorder, vocals, whistle, organ and toys as well as writing string arrangements. Taylor Savvy, Gonzales, Jamie Lidell and Feist contribute additional instrumental and backing vocal performances that make this record sound more like a live performance than a studio creation.

"Saskamodie" has definitely stood the test of time and Mocky still successfully follows the path he started with this recording - be it on his series of digital Moxtapes, his album "Key Change", his recent "recorded-in-one-day" jazz album "A Day At United", his score for the japanese Netflix anime "Carole & Tuesday" or his writing and production work for the likes of Feist or Kelela.

Originally only released as CD/Digital Download, this 10 years anniversary limited vinyl edition brings us "Saskamodie" in it's original form, re-mastered for deluxe 180g vinyl and accompanied by an exclusive bonus 7" with a new single edit of the album's hit "Birds Of A Feather", a solo piano version of "Guiding Light" by Chilly Gonzales, the recent coverversion of "Birds Of A Feather" by LA's underground funk sensation Vulfpeck and a remix featuring a collaboration with noone less than the Wu Tang's GZA.

"An exceptionally musical album – there’s no other word for it – that could fail to seduce only the hardest of hearing, or the hardest of hearts" (Pitchfork, 8.0 review)

"An amazing record…a big hit for me" (Gilles Peterson)

"If Saskamodie was a film, it would undoubtedly be The Science of Sleep by Michel Gondry. Please take that as a wholehearted endorsement" (BBC)

MA comes from the Tokyo rap & hiphop scene, and throughout the years he evolved into a more noisy and experimental beat making. He blends ritualistic ancient Japanese lyrics and vocal methods, on music that he creates using also his voice or field recordings. The result is alienating, weird and haunting but at the same time fascinating and futuristic. MA's Beehayden is being remixed by Sugai Ken, another outstanding artist and performer from Japan. MA made his first short live performance at Dommune Tokyo in may 2019, revealing his craft and performative side.

Mount Kimbie, WXAXRXP Session, 21/06/2019: Das erweiterte Live-Lineup von Mount Kimbie demonstriert hier hervorragend, wie sehr sich ihr Material 'on the road' weiter entwickelt hat. Aufgenommen für den WXAXRXP x NTS Event. Inklusive eines Gastauftritts von Mica Levi.

Zur Sommersonnenwende 2019 nahm Warp den Onlineradiosender NTS für ein ganzes Wochenende in Beschlag, um die Feiern zu seinem 30-jährigen Jubiläum zu eröffnen. Über 100 Stunden Programm mit Mixsets, Dokus, Live-Performances und Sessions des gesamten Warp-Artistrosters von Aphex Twin über Brian Eno bis Kelela samt Gästen wie Ryuichi Sakamoto wurden von hunderttausenden Fans weltweit live verfolgt. Jetzt knüpft Warp mit der Veröffentlichung der "WXAXRXP Sessions" an diesen Event an, einer Serie aus zehn 12" Vinylen mit Radiosessions aus 30 Jahren Labelgeschichte, von frühen Peel Sessions bis zum diesjährigen WXAXRXP x NTS Wochenende, allesamt in höchster Audio- und Design-Qualität. Feat. Boards Of Canada, Aphex Twin, Flying Lotus, Bibio, Oneohtrix Point Never, Mount Kimbie, u.v.a.

In the 1960s and ‘70s, unbeknownst to most, Saigon (today named “Ho Chi Minh City”) had become a fertile environment for a flourishing music industry which produced countless recordings of beautifully crafted songs.

Ho Chi Minh City based band, Saigon Soul Revival has been bringing alternative pre 1975 music from Saigon back to the stage since 2016 with their live performances. Honoring the original composers, singers and the golden era from which this music (Nhạc Vàng) came, while applying new arrangements and interpretations of old Vietnamese songs. With tight grooves, psychedelic textures and a powerful unique sound, SSR has performed countless shows at a variety of venues across Vietnam, and accompanied live the two release tours to the Saigon Supersound Compilation releases.

While spending the last three years studying and playing this music, Saigon Soul Revival teamed up with producer Jan Hagenkötter (Saigon Supersound / INFRACom!) and finally in January 2019, they started to create own compositions in the same vein for their debut album Họa Âm Xưa. The album was recorded in Vietnam with additional guests during one week in May this year.

The album focuses on compositions that fuse Vietnamese lyrics and sounds with influences of western rock, soul, bolero, tango and other popular genres of this time period, most of which was banned after the war. This project strives to revive this beautiful musical heritage of Vietnam which represents an important cultural bridge between east and west.

Sam went into an almost psychotic state when making music. He wasn’t himself. He was immersed in the creativity to such an extent that it was almost like a psychotic trance. Here’s an example. He found all this giant kelp down at Western Port bay and he would bathe himself in it for weeks. He would replenish the water and put salt in the bath, but leave the kelp in there. I used to ask Julie, his partner and wife, “How’s everything going?” and she’d say, “Just go and have a look at the bath.” - Tony Rogers

Sam Mallet could have pursued a career as a French literature professor in Paris, but decided his true calling was to remain in Australia, dedicate himself to his music and find the plateau; a word he used to describe the sensory worlds residing in music. Under the influence of Eno, Jon Hassell, Arvo Pärt, John Coltrane and Robert Fripp, Sam explored a wide variety of musical styles and put them to service soundtracking the time based works of his peers. He crafted spatial ambience, somber jazz, and drum computer driven rockers for short films and experimental video works, television shows (including the original Australian Wilfred series), feature films and live theatre. The avant garde Anthill Theatre, known for its departure from conventional staging practices and having a keen eye for talent, enlisted Mallet to provide soundtracks for approximately 40 productions throughout the 1980s and early 1990s.

Sadly, Sam passed away in 2014. A crucial piece of his legacy is undoubtedly the body of work he produced during his life, and the archive of recorded works is vast and deep. Sam seemingly saved everything, from fragments to finished pieces; and often repurposed previously released tracks by collaging them into new pieces. He self released a small number of cassettes and CDs from the mid 1980s onward, the contents of which were culled from soundtrack work and original pieces, but the majority of his music was experienced only within the ephemeral live performances.

Wetlands is the product of countless hours spent with this archive by Rowan Mason (Sanpo Disco/Recurring Dream) and Tony Remple (Musique Plastique), offering a dynamic survey of Sam’s work, and housed in a jacket evoking the minimal design and colour palette of his earliest cassette releases. Two selections of Sam Mallet’s music were featured on the compilation Midday Moon (also produced by Rowan), released last year by Bedroom Suck Records. Along with Left Ear Records’ Antipodean Anomalies, Midday Moon has served to highlight outlier musics and scenes from Australia and New Zealand, and Wetlands plunges deeper into the catalog of this obscure yet groundbreaking artist.

RUMPELN
Pumping proto-rhythms disrupting a wall of distortion building up from unintelligible screams, broadcasts of gadgets on the brink of destruction, DIY instruments made of springs, shards of metal and trash, all hardly held together by a skinny, long-haired figure jumping in the flicker of glitched out AV loops – there’s a deep understanding to be found in Anton Kaun’s performances that we, as animals, will never really get along with our electronics.

DANIEL DOOR
With his latest setup, „wallwart scales“, Daniel Door explores the sonic depths of a bundle of wallwart power outlets. Disconnected from the machines (like smartphones, external hard drives and old Casio keyboards) they once fed with electricity, their distinctive inner wiring becomes the base of a microtonal scale made audible by an EMF microphone (the Elektrosluch made by LOM, Batrislava, Slovakia) and mangled in a constantly re-sampling arrangement by an Elektron Octatrack sampler.

Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Andrew Ashong, Pie Eye Collective and Alexa Harley.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

"This album has been a real labour of love. I spent the most part of a year trying to make music I thought would be fitting to follow my last album, whilst not actually knowing what that might sound like. 'Sunshine' had been received way more positively than I had anticipated and although praise is a lovely thing, it was the cause of much anxiety when the time came to start on this record. I put a lot of pressure on myself to produce music and kept going down routes that felt forced or just didn’t click for me, in hindsight I realise this was me making music not for myself, but for what I imagined other people might want to hear. In a way 'Next to Nothing' is my first real album, 'Sunshine' was more like a collection of four to five years worth of music compiled into the shape of one. This is my first dedicated attempt at creating a cohesive project, something that shows who I am right now and what got me here."
- Hector Plimmer

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

The avant-garde composer and conductor Pierre Boulez was a titan of post-War experimental classical music. Born in the small cheesemaking town of Montrbrison in central France in 1925, Boulez studied at the Paris Conservatoire with the composer and organist Charles Messiaen and received private tuition from pianist Andrée Vaurabourg; after moving to the Marais district in 1945, he briefly studied with Schoenberg disciple, René Leibowitz, and further influence came from immersion in Balinese gamelan, Japanese classical music and African drumming, among other sources. Earning money by playing an early electronic keyboard called the ondes Martenot on theatre productions, Boulez soon became music director of the Renaud-Barrault theatre company (led by actor/direction Jean-Louis Barrault and his actor wife, Madeleine Renaud), leading to tours of Belgium, Switzerland, Britain and both North and South America. American composer John Cage became an ally, though they subsequently clashed over Cage’s commitment to the role of chance in his compositions, paving the way for an intense and lasting friendship with the German composer, Karlheinz Stockhausen, who arrived in Paris in 1952 to study with Messiaen. In July of that year, the pair attended the International Summer Course for New Music in Darmstadt, leading to contact with Italian composer Luciano Berio and other noteworthy figures. Then, in 1954, with backing from Barrault and Renaud, Boulez began staging a series of concerts of experimental music at the Petit Marigny theatre, titled Le Domaine musical. The pieces collected on this album are all taken from performances staged for the 1957 Domaine musical season, beginning with Berio’s “Serenata I,” conducted by Boulez, which debuted in Paris in March of that year; arranged for flute and fourteen instruments, Berio said that the idea behind the piece was for the solo flute to be confronted by continuously interchanging elements, rather than mere accompaniments or oppositions. Boulez’s own “Sonatine,” composed in 1946 for flute and piano, is a 12-tone piece that evidences Messiaen’s influence, with shades of Asian classical music in places; then, Stockhausen’s monumental “Zeitmasze” or “Time Measures,” a serial composition for five woodwinds, played in different combinations of tempos and speed, was partly inspired by Webern’s principles of homogenous and harmonic textures. Finally, Messiaen’s 1949 work “Cantéyodjayâ,” delivered by pianist Yvonne Loriod, takes it shape from the classical Hindu rhythms of ancient India, as with much of the composer’s oeuvre.

I felt totally unrestrained making this album” says Lindstrøm about his 6th solo album On A Clear Day I Can See You Forever (a title inspired by the 1970’s musical On A Clear Day You Can See Forever starring Barbra Streisand). “I’ve listened to Robert Wyatt’s solo albums and his Matching Mole’s debutalbum a lot lately. It so effortless, fearless and free. And not insisting. I was very inspired by this” In the autumn of 2018, Lindstrøm composed a commissioned piece for Norway’s premiere art centre Henie Onstad Kunstsenter. Sketches from the three sold-out performances became the foundation for the new tracks. “I decided to keep some of the initial ideas and develop them further. All the songs are based on long one-take recordings”, says Lindstrøm “Also I’ve been very conscious about the music on the album not exceeding the length of the physical limitations of the vinyl-format, finding that 2 long tracks on each side were the perfect balance for this album” This is also the first time ever Lindstrøm has made an album entirely with hardware instead of computer-plugins. He utilised thirty plus synthesizers and drum-machines during his performance at Henie Onstad Kunstsenter. The experience inspired him to embrace a similar set-up when making the album. “The joy of making music on actual physical objects and devices makes a lot of sense to me now. After working on a computer for over 15 years, I don’t think I’ll ever look back” he says with an almost childlike excitement. It was the accessibility to his enviable collection of music gear – largely consisting of sought after synthesizers – that allowed Lindstrøm to experiment so freely with ideas and soundscapes. “The title track is a 10-minutes improvisation on the Moog Memorymoog. I liked the loose feel so I decided to keep everything unedited. The other tracks were written and arranged prior to the recordings. I then set up the instruments needed for my sessions, then recorded more or less everything in a single take. I’m really happy with the way this album came together.” Lindstrøm has cited classical music as an inspiration the last couple of years “I used to study classical music at school. Back then I was listening to a lot of Opera, orchestral music and solo music on the piano. Listening to classical music again has been a revisit to my childhood days, just like I did when I embraced the 80s in the early 2000s”
Once embracing the freedom and the joy of making music without inhibitions, immersing himself in to the physical realm of making music with hardware, Lindstrøm learned something new not only about music – but about himself.
“I guess I've been trying to re-educate myself”

For over half a century, Takehisa Kosugi was one of the most unique and enduring figures in the Japanese underground. As an art student in Tokyo in the early 1960s, he joined the Fluxus-styled performance unit Hi Re Centre and then founded the improvisational ensemble Group Ongaku, but his most legendary project was The Taj-Mahal Travelers – a multicellular organism that included Kosugi, Ryo Koike, Yukio Tsuchiya, Seiji Nagai, Michihiro Kimura, Tokio Hasegawa and sound engineer Kinji Hayashi.

With a penchant for long psychedelic jams (some lasting 12 hours or more) The Taj-Mahal Travelers lived up to their name. Touring in a Volkswagen van across Europe and Asia in the early '70s, they eventually reached the actual Taj Mahal in India. Upon their return to Japan, they held a concert to raise more touring funds and released their very first recordings. Their debut album, July 15, 1972, would extend the band's matter-of-fact titling: all the tracks were named precisely for the times they began and ended.

With a grab bag of instrumentation (electric violin, double bass, santoor, vibraphone, harmonica, radio oscillators, sheet iron, etc.), The Taj-Mahal Travelers weave together mesmerizing waves of sonic texture. Featuring longtone concepts that Kosugi discovered while working with sound generators in New York in the mid-'60s, July 15, 1972 remains just as much a collective tone poem as psych workout. These leader-less sounds coalesce into a unified whole that feels both subconscious and sublime, as if the waveforms bypass the listener's ears and land directly inside one's synapses.