Buscar:shadow movement

The man in the crowd is a wonderer with relaxed habits. In him the course of things and movement of the city is reproduced. The Düsseldorfer Detlef Weinrich is such a man in the crows. Some one who is constantly listening to future winds through rushes of the past. He loves the night for its free will. And his music tells stories about it. You might know him as a member of the band Kreidler. As a solo artist he goes under the name Tolouse Low Trax. And he's already got three Eps and two albums under his belt. His first solo album „Mask Talk“ thrives on a feathery beat frequency and cool new-wave-strength. His recently released piece „Corridor Plateau“, which appeared as a limited edition to accompany the exhibition „Corridor Plateau“ contains percussive electronics and Industrial sounding like its from the second industrial revolution. His third album „Jeidem Fall“, is also not from here. It sounds like music brought down to earth from the heavens. But its a dark cosmos in which there are only fleeting glimpses of light. All eight tracks were composed in a short space of time over the period of just a few months and fit together perfectly atmospherically. With a musical expressiveness that undoubtedly twists your emotions, „Jeidem Fall“ attacks the subconscious and clouds the mind. The drums have more movement that on „Mask Talk“. Along with the constant tapping of drumsticks goes melodical arpeggios dancing dark and dirty. At times longing vocals drift abstractly through the room, as on „Sa Seline“ or „Geo Scan“, without telling any obvious story.

To sound like stylistic cross references from the present and past is all just speculation for nothing on „Jeidem Fall“ really sounds like anything that has gone before. You could compare the dark minimal timbre of the drum computer aesthetic with Craig Leon's first reductive album „Nommos“. There is also a hint of the minimallist industrial of the Spanish band Esplendor Geometrico in the bubbly textures. But Tolouse Low Trax is still looking from the present into the future and filter and filters all his personal preferences through his MPC and his small synth setup to make them come alive here and now in a new way. Again Tolouse Low Trax has created a truly mysteriously vibrating drum computer music which offers hypnotic magic for the shadowy dance floor. Only a little light should illuminate the whole thing and the bodies that move above them should have no fear from threatening percussion which are displaced into a misty trance. A dark swaying shadowy mass, ideal for a journey at the end of the night and all those non-places where longing sleeps and the last romantics dance while getting drunk.

O YAMA O explores a certain domestic and democratic quality of everyday life, born through associations to folk music of Japan and a folding of myth, tradition, and routine; the non-spectacular and the sublime.

Formed of musician and artist Rie Nakajima and Cafe OTO co-founder Keiko Yamamoto, the group has performed since 2014 at venues and festivals such as noshowspace, Ikon Gallery, Wysing Arts Centre, Supernormal, Borealis Festival, Mayhem, and allEars Festival.

Nakajima’s performance often focuses on the use of found and kinetic objects, using modest items such as rice bowls, toys, clockwork, balloons and small motors as instruments to create a “micro orchestra”. Elements are layered into impressive and immersive atmospheres. Yamamoto alternatively floats and charges through this with body and voice; chanting, incanting, thundering, whispering, stamping on the floor.

Their debut album consolidates their musical conversations into keenly paced studio music, the duo working with additional instrumentation and a resolved focus on melody to provide vivid portraits of folkloric Japan in song.

They move between pop and the philosophical, defined by the overall space afforded to texture and movement. In small, delicate sound an intimate musical climate is established that reflects on life, telling stories of improvised clockwork, whispered dreams, small movements of the hand and the rhythm to be found in the shuffle of a deck of cards.
Grandly theatric and dramatic flourishes add solidity to these illustrations, operas driven by the swooping energy and power of Yamamoto’s voice can be playful or emotionally charged, particularly when the duo arrange themselves in ensemble with violinist Billy Steiger and percussionist Marie Roux. Production by David Cunningham creates the shadowy presence of a leftfield Flying Lizards dubwise depth that adds subtle strangeness to the atmosphere. The result is something raw, full-bodied; full of energy, grace and mystery.

As witnessed in the preceding decades of electronic music fragmentation, it is a bit of a phenomenon that entire threads of sound exist elusively between the tempos and syncopation of rhythm and percussion of each respective genre. just as dubstep was evolved into & somewhat stumbled upon it is somewhat certain that many more areas of illumination lurk in the echoes & shadows of sound.

As has been hinted on sonically with Surface Tension I, Clubroot's previous release & first foray into the second decade of the new millennium, the elusive aforementioned producer from St. Albans has managed to alloy a new sound with the swing and BPM of uk garage, space, air and atmosphere of true dubstep, and with all the unparalleled virtuosity and unmistakable aural DNA of Clubroot, which we dare say is rarely equaled. in doing so, clubroot illuminates the realm of uk garage and electronic music in general towards a currently unforeseen future.

Surface Tension: II further explores these discoveries and further reinvents them in the process. starting with the expansive 'Infatuated'; with its gradual, intensifying movements towards the ultimate reveal, and supported by the equally singular 'Explorer' and 'For You', Surface Tension: II is as much an additional high watermark in clubroot's overall discography as it is a companion piece to Surface Tension: I in both its genre-straddling style and overall ethos, with the vinyl release being pressed on one-time 'solar flare' color vinyl featuring moving original art which stylistically continues the narrative through the as of yet not fully revealed tetraptych.

► One half of duo Lumisokea and persistent sonic explorer ANDREA TAEGGI (Opal Tapes, SM-LL, Type, Präsens Editionen) debuts on OOH-sounds with a new solo album under-the-influence of mushrooms.

► Recorded at Willem-Twee synthesis studios in Holland, Mycorrhiza is a lucid excursion into a new form of 'ritual-computer-music' — gamelan from the future.

►Master + Cut by Helmut Erler, D&M Berlin. Limited Edition of 200, 12" black vinyl housed in gold cardboard sleeve with 'ad-hoc' fluo sticker.

Of course this is not the first album born under-the-influence of mushrooms, but apparentlyTaeggi doesn't take them here as he rather observes the cognitive and intelligent behavior of mycorrhizal fungal roots—one of the great mysteries inhabiting the forest soil, and from which a network of beneficial underground relationships with plants sprouts. Known as Mycelium, this fascinating wood-wide-web very much resembles the intricacy of the human neural system—transporting carbon, water and nutrients from one tree to another. A mutualistic symbiosis that Taeggi similarly establishes with the rather rare arsenal of sound machineries he had access to at Willem-Twee synthesis studios in Holland—a center for experimentation inspired by Berio and Maderna's Studio di Fonologia RAI in 1950s Milan.

In the process of tweaking and feeding electric impulses and sound signals into instruments of the likes of the iconic ARP 2500/2600 and a number of testing/measuring units from the 50/60s—originallynot conceived as musical instruments—Taeggi engages into an exchange of nutrients and information, while abruptly sabotaging un-welcome elements, hence accelerating the sound superhighway towards spectral psychedelic tension—a process he seems to be extremely in control of. Taking a step aside from his usual minimal approach to address more complex structures and augmented mind-sets, Mycorrhiza sounds at times like gamelan from the future: a lucid excursion into a form of "ritual-computer-music" with a conspicuous penchant for detail,alluding to a continuitybetween pseudo-cerimonial and laboratory-like computer music, steering clear from any reference to a specific creed or religion—imagine Stockhausen drinking the Amazonian sacred brew Ayahuasca..

The swarming micro-movements of "Cuttleburrs" multiply in a series of crescendos marked by sudden falls, saturated drums incursions and tense sonic clusters, introducing the more explicit gamelan percussive tones and compositional forms of "Kodama" and "Icaro". Recorded on the ARP 2500, "Mycorrhiza" uses white noise generators, resonant bass and spring reverb to conjure up a magical fungal diorama, which expands into the spooky shadows of skeletons and demons of "Phantasmagoria" and the spectral mystics of "Oculus Cordis"—the Eye of the Spirit — in which Taeggi grapples with the same sine-wave generators that Stockhausen used in his seminal "Studie I" and "Studie II".

Collocutor enter a new decade with the timeless, introspective Continuation. Continuation is a remarkable work in which the interplay of emotional experience and life motion experienced by band leader Tamar Osborn AKA Tamar Collocutor is channelled and explored by Collocutor.
The band's third LP assuredly strides forward following the critical acclaim awarded to 'The Search' from 2017 from the likes of The Wire, Vinyl Factory and Gilles Peterson. Continuation is an album about coping with grief and loss/bereavement: The music charts the many (and sometimes surprising) emotional states encountered, moving from acknowledgement, trying to keep 'normal' life going, the need to sometimes put a pause button on the world/existence and let the waves of feelings crash and roll, sudden anger & confusion, finally to moving (perhaps with uncertainty) forward.
Tamar Osborn has led Collocutor through a line-up shift from septet to quintet for Continuation. The modified line-up creates space for the musicians to express themselves through the shadows of Continuation's movement. The quintet allows for more group improvisation, based on just a few motifs and thereby giving the musicians more space to converse. The tracks Lost & Found and in particular the album's title track, Continuation (the only piece with 3 horns) hark back to the intricate arrangements of 'The Search'. It's a deeply personal album, the writing of which acted as Tamar's way of processing and understanding experience and the need to channel feeling.
In listening truly 'Continuation' bares that rare and precious gift of a morsel of the human experience being illuminated by artistic genius.

The music of Chel White is celebrated in Automaton, a collection of mostly unreleased recordings from 1985 to 1991, by this innovative animator, film maker and visual artist.

Having studied music theory in grade school, White taught himself drumming and played in a new wave band until, in 1981, together with Dan Gediman, they formed the minimal wave duo Process Blue (Alternative Funk, 1985 / Dark Entries, 2018). Here their experimentation went way beyond playing drums.

His interest in industrial music, fostered in the late '70s and early '80s while working in factories as a way to put himself through college, informed his use of electronic instruments, tape manipulation, noise and unconventional percussion.

By 1985, as a now solo artist buoyed by newly affordable audio sampling technology, White tapped into his earlier teenage fascination with the art and films of both the Surrealist and Dada movements - in particular their disparate and fragmented imagery and sound - as a means to create striking new sonic palettes.

Science & Industry - a track largely influenced by Balinese monkey chanting and the consumer excess of American in the 1980's - is a clear example of "music collage". Photocopy Cha Cha, made for the short animation film Choreography for Copy Machine (Berlin International Film Festival, 1992 / Sundance Film Festival, 2001) moved his music into the realm of early multi-media.

Experimenting further, tracks like Liquid Shadows and Pensive provide minimalist moments, before the drone-like Dream #630 and Forest Song point to a future that included music video works (David Lynch/Thom Yorke).

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.

Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.

Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.

Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.

Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.

This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.

Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included.

- Sean McCann

The best thing about trends is often their counter-movement. In times of digital hysteria, the
contradiction lies unsurprisingly in deceleration, in turning away from algorithms. The search
for the diffusely concrete, a kind of musical memory from the infinite ocean of sounds and
acoustic figures, is at the centre of a dark glowing cloud called Mantra Mantra.
Between Techno and Toto, drop shadows and ethereal patterns, Sam Irl and Daniel Helmer
simmer their hypnotic sounds.
The music whispers with every note: we are only two interconnected home studios,
quietly eloquent through the night as an anti-hysterical mantra to all the recipients of this
universe.

Suha's "Hora EP" consists of organic bodies composed by an electronic mind.
On his first release on The Magic Movement, the emerging electronic musician from Istanbul imagines a three-track story: The mythical figures - Hermes and Hezarfen - are in search of a unified space named Hora above variant timelines.

Under the arabesque shadow of occidental chords and oriental strings, the EPs multi-layered tracks take you on a cosmic flight: Folkloric dance elements build up progressively over a driving rhythm while Suha's ethereal vocals flow alongside old chants. Massive brass and gritty 70's synths accompany ancestral lyrics that herald of unknown realities soon to be realised.

The EP is produced and mixed by label head-honcho Noema, whose magical touch reflects through well-thought arrangements of Suha's compositions and their powerful sound.
In this EP, you'll be witnessing a harmonic gathering of two figures on the obscure mountain of Hora.

It wasn’t really a movement, barely even a moment, but the Daisy Age was an ethos that permeated pop, R&B and hip hop at the turn of the 90s. Playfulness and good humour were central to De La Soul’s 1989 debut album, “3 Feet High And Rising”, which would go on to cast a long, multi-coloured shadow over rap.

In Britain, the timing for “3 Feet High And Rising” couldn’t have been better. The acid house explosion of 1988 would lead to a radical breaking down of musical barriers in 1989, and its associated look – loose clothing, dayglo colours, smiley faces – chimed with the positivity of De La Soul and rising New York rap acts the Jungle Brothers and A Tribe Called Quest, all at the heart of a growing collective called Native Tongues.

The Native Tongues’ charismatic, summery aura quickly spread west to the Bay Area’s similarly-minded Hieroglyphics crew (Del Tha Funky Homosapien’s ‘Mistadobalina’); Canada’s Dream Warriors (‘My Definition Of A Boombastic Jazz Style’) used “3 Feet High”’s colour palette and borrowed Count Basie and Quincy Jones riffs; Naughty By Nature (OPP) were mentored by Native Tongues heroine Queen Latifah, while Londoner Monie Love was also adopted by the collective, resulting in her Grammy-nominated ‘It’s A Shame (My Sister)’.

It wasn’t built to last, but the Daisy Age reintroduced Multiplication Rock, bubble writing and the gently psychedelic into the charts. It was a brief, but extraordinarily warm and optimistic moment. The songs on this collection promised that the 90s would be a lot more easy-going than the 80s.

Available on CD and double LP.

Having burst onto the scene with his stunning debut release on Influence back in July, and with Aaron Jay’s label continuing to fly the flag for this exciting producer, Easy returns and this time with partner in crime – Geeks. This Belgium duo are beginning to create a stir in the dnb scene with heavy support from Fabio, who played three of the forthcoming tracks from this ep on his Rinse FM Show in October 2018. Also getting support from LTJ Bukem and radio play/premiere of Steady from Skank and Bass plus Big Bud and Stunna were showcasing some of the tracks at this year’s Sun and Bass Festival in Sardinia. The future is looking bright for these two talented producers!

elected DJ feedback:

Fabio – ‘Wkd tunes’
LTJ Bukem – ‘Feelin Natural and Shadows’
Doc Scott – ‘Thanks for the beats’
Random Movement – ‘Wow these tracks are fire’
Ben Soundscape – ‘Nice EP, fav track is Shadows’

In the previous reissues we talked so much about this fantastic piece and "Marie", a very cinematic and supportive song, that now it is appropriate to dwell on the re-visited version of Danilo Braca that extends beautifully on the AA side of this new remastered reprint. Danilo who lives in the big apple often frequents Ibiza, perhaps also for this he has been able to exalt the most rhythmic elements of "Shadows from Nowhere", putting the beautiful falsetto beats to excessive movements, just like the waves that wash themselves on the sandy beaches of the White Island. His teacher Mario Gentili from Layer Bows added a beautiful arrangement for the strings and his Italian-New York collaborator Alvise Marino spread some fragments of guitar powder on top. That's it. 9 minutes of pure bliss, but also of catchy rhythm!

Identity Theft is the solo electronic music pseudonym of Michael Buchanan, who is one half of the project Abandoned Footwear, and also a founding member of Nommo Ogo. Utilizing an arsenal of analog and digital synthesizers alongside rhythm machines and effects, he continues to explore themes of paranoia, surveillance and shadow psychology; prevalent in Identity Theft's catalog since the release of his first effort, 'Night Workers' in 2010. He has previously released music on various European labels such as Oráculo Records and Treue Um Treue, as well as domestically via the Record Label Records and Katabatik imprints.


Chem Club's fifth EP, The Wrong Side of History, builds on Identity Theft's divergent production style, showcasing a mix of heavy sub frequencies, plucked modulars, tight delay, broken percussion and chuggy basslines. The A side, with tracks Johari Window, Climate Denial and No Response demonstrate the record's more rhythmic leanings. A1 and A2 use a forward moving sound palette rooted in heavy kicks, modular stabs and sequenced bass. A3 cleverly chops it's drums up while a throbbing sub and sharp synths create movement. The B Side with tracks Say Something and Vault7 opens the door to a darker room. B1 uses a fragmented arpeggiated bass that coincides with an array of plucks and melodies to create something uniquely catchy. B2 is the real low end face melter on this record where the drawn out bass notes, sonar like synth work and metallic pads conjure up thoughts of a lost submarine never making it home

After many releases under various aliases on labels such as Nervous, Trax, 124 Recordings, Luv Dancin, Vicky Rodriguez emerges from the shadows to defend the music that is close to his heart: the Latin House, raw with Nuyorican accents, as evidenced by his new release Latin Tools EP.

Founder of MLH, Victor is a Franco-Venezuelan-Polish living in Paris and influenced by the 90's Latin House movement and artists like Armand Van Helden, Juzt 2 Brothers, NortyCotto, Ralphi Rosario, El General, Erick Morillo, ProyectoUno ...

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

Drama were the Canadian duo of Eric Simpson (Vocals, Bass Guitar, Guitar) and Don Stagg (Keyboards). Formed in in Mississauga, Ontario in 1978, the pair had previously played together in progressive psych bands Majik and VIIth Temple. Almost every Saturday, Eric and Don would record one song on a TEAC 4 track tape recorder after a couple of takes with very little over dubbing. The pair were influenced by what was playing on the radio during the recording sessions. Everyone else at that time was in a rock or pop band yet Drama were making electronic music. The pair released their debut LP 'Loneliness' on Psycho Records in 1979. There were 500 albums made and about 200 ended up in the garbage as band members shuffled from apartment to apartment. This was followed by a 4-track 7' later that year featuring live drums and additional guitar.
Seance Centre says it best, 'On Loneliness, the pair traded in their velvet and chord charts for thin ties and a cheap drum-machine. The LP still carries a whiff of patchouli, but the sound stings of solder and electricity, and inhabits a nascent zone somewhere between krautrock and new-wave. The vocal cuts are all clustered on the A-side, starting with an ode to the inefficiency of the Toronto Transit Commission - some things never change! The dystopian sci-fi themes are par for the League, and highlights are the love ballad 'Anna King' and the charming 'Feable'. The instrumentals on the B-side feel decidedly more Teutonic, and have a certain CBC charm that sounds like JP Decerf recording for Parry Music. It even opens with a slinky stoned Pink Panther.' For this first time vinyl reissue we've expanded to a double LP with a bonus album of the 4 songs from Old Hollywood 7' and 9 previously unreleased tracks and demo versions. All songs are remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket with original photo by Don Stagg taken from his apartment rooftop overlooking Toronto of a young teenager sniffing glue and includes an insert with photos and liner notes by Drama.

Bastard Jazz is proud to present the next installment of our long running Tempo Dreams compilation series. As with previous volumes of the compilation, we've tapped an established artist that we're big fans of to shine a light on their personal favorite producers, and compile an album up of all unreleased music from emerging & underrated young talent. And with Volume 5, we're happy to welcome in the Los Angeles based but globetrotting selection of Free The Robots.

Rooted in Santa Ana, CA, Chris Alfaro aka Free the Robots has spent over a decade taking his craft to audiences around the globe. Known as one of the pioneering artists to come out of LA's infamous beat movement, the energy and technical skill behind his live performances have landed him among the greats, sharing stages with Dj Shadow, Prefuse 73, Flying Lotus, to Afrika Bambaataa. Crafting stories to tell with his ever-evolving solo project Free the Robots, he has always had the ability to jump in and out of other worlds inspiring a unique signature sound that hints at jazz, psych, electronic, and hip hop, while remaining un-genre-fiable.

Staying almost permanently on the road, Chris has come across an array of artists and scenes around the world. Different tours and temporary living situations have landed him in the middle of both the DIY underground and more mainstream clubs and stages. Some artists he's connected with have either kept it proudly local or breached international borders. Underrated, unknown, or already on the brink; these are just a few of the people that have crossed paths with Free The Robots. He's chosen these songs as a representation of some of the vibes that inspire his music: Jazz, Psychedelia, Dirtwave, Beats, and a little bit of Future Funk make up Volume 5 of his Tempo Dreams series.

As with all previous volumes, the compiler has produced a track exclusively for the album, which Chris delivers in the bass heavy, South East Asian vibes of "Nasi Goreng" (also available on a limited edition 7" with another unreleased FTR track). Other producers included on the album include Mophono, Never Ending Echo, Kuromoji, RSI-MSK, The Breathing Effect, Cazal Organism, Lefto, Chubby Boss, Caliph8, TITLE, Nois IV, The Heavy Twelves, Mu. and Markey Funk.

Hot on the heels of Rapid Eye Movement's journey of discovery and growth comes the EP 'Split: Remixes' featuring reworks of the quartet of cuts originally signed by label founders Memorial Home and VII Circle.

Invited to apply their own reflections onto the material are rising producers Nur Jaber and Wrong Assessment as well as renowned artists on the underground experimental scene Edit Select and Reggy Van Oers.

First up is Nur Jaber's take on VII Circle's 'Metaphysical Functions' showing how the young Berlin-based Lebanese artist is as much inspired on remix duties than in crafting her already much acclaimed productions. The perfect mixture of dark and intense driving techno beat with haunting ambient-driven melodic motifs and dramatic breakdowns encompasses much of what her sophisticated sense of sonic exploration is about.

Up next on a heavier kicking note is 'Dogma' refashioned by Milanese fellow Wrong Assessment who transmits his vision of both minimal and hard pounding techno by merging a strait rugged beat with undulating synth lines and bouncy cymbals that will drive the audience to an insane rave-spirited dance floor venture.

Following the path, Tony Scott a.k.a Edit Select's interpretation of Memorial Home's 'Second Floor' is a clear example of the unique and forward-thinking sound that the Scottish techno scene 'veteran' has developed throughout the years. Deftly combining a tension-building drum and bassline work with layers of hypnotic synth textures that makes the track both suggestive and trippy-hitting in equal measure.

Concluding the journey is Reggy Van Oers (RVO)'s rework of Memorial Home's 'Ampere' which evinces this quest for organic and mental techno soundscapes inspired by classical and cinematic music, characterising the both complex and powerful crafting signature of Dutch Telemorph label's owner.

Between dark shadows and brightness, REM confirms with this new release that quality and free-minded artistry are the key pillars of the platform's curation philosophy.

The sun does not move. The sun has never seen a shadow. - Leonardo da Vinci
Paul and Alessio of Possible Futures believe that some essential fractions in the history of music need to be transmitted in new ways to budding generations. As we seek to bring together a new educational system around contemporary music, we urge anyone with homologous intentions to get in touch.
Over the last 15 years, Possible Futures have been witnesses to the wildest fauna and flora the great nocturnal jungle has to o er.
Possible Futures source their inspiration from the many shades of color that co-exist between black and white on the great designer's palette.
It is through their open and eclectic selections that Possible Futures turn the dancefloor into spaces of self-discovery and musical trance-en-dance.
Possible Futures believe that the eternal act of dancing is one of the most active form of contemplation. Facing our own selves in the mirror of movement, we realize that we indeed are reflections of one another at all times. Compassion forms and in turns gives way to kindness and love.
For this third record, Argentinean expert producer Leonel returns with two long pieces of poetry. Releasing on June 15th, this third edition in the Possible Futures catalog bridge spring into summer in a most gracious manner.
We Cherish Harmony, PF

Alien Ensemble's trombone man Mathias Goetz caused quite a splash when he released his eponymous debut LP under his Le Millipede moniker back in 2015: The multi-instrumentalist's initial offering was clearly something else, impossible to grasp, a musical vessel beyond genre, beyond style or era, seemingly beyond space and time even, a vessel that carried an almost cosmic kind of song-craft - music with no fixed stamp of origin, though it did somehow feel like an Alien Transistor release. Followed by remix album Mirror Mirror, which comprised reworks by 1115, Protein, LeRoy, Olaf Opal, and Saroos, to name a few, it's now time for album #2: The Sun Has No Money.Let's face it: There's nothing as majestic as the sun. At least not in our world. If it runs out of juice one day, it's game over: The End. Light's out. For everyone. At that point, it wouldn't even matter if you're rich or poor. We're all equal under the sun. Same level. And yeah, this might not be major news, but then again... we're talking about the sun. The sun! Guess it's about time to acknowledge its power and superiority, right In fact, you can feel it on your bicycle: pedaling at night, when it's on duty in other hemispheres, and you're working hard at the dynamo, sweating, you can actually feel how powerful it is. In the end you get off the bike all recharged, a tune on your lips - and somehow feeling like a miniature version of the sun yourself. And whenever you feel like that, that's exactly the right moment to grab a melodica and get to work.Following an initial warm-up round sans electricity, this new album soon begins to glow: Mathias Goetz aka Le Millipede doesn't need pedals, he boosts circulation by single-handedly* playing tons and tons of different instruments - it actually feels like thousands, easily. And thus begins a show that has countless levels to it: There are various sonic illusions... and yet Le Millipede doesn't hide anything: He's also willing to show the inner workings, the actual recording process and everything else. In short: he goes meta. Makes songs about making songs. That's right: why not use all these beautiful means to address the issue of money It's not the sun that casts shadows, all it does is recharge, fuel: growth & thriving, that's the sun's area of responsibility. And yet there came a man whose plan was simple: steal the fruit from your garden, only to sell it right back to you, for money. We can hear the sea gulls crying in the distance, as somebody is throwing breadcrumbs up into the wind that carries their voices...It's not the sun that casts shadows - all it does is radiate light. And yet there came a time when someone blocked those rays of light. Now if you're some kind of Diogenes, you'll simply say, Move at least a little out of the sun.' But if you're a teacher, you'll maybe light up your pipe and use that to lighten up. What matters is that the percussion parts, in this case, resemble some serious musique concréte. The sun doesn't know shadows - all it knows, is itself. And yet somebody entered the picture and built an entire city. A city full of streets, so that houses can cast shadows into these avenues. Plus, there's music in the streets, music originally written inside the walls of said houses.One of those streets is known as the Tin Pan Alley: a place that got its name from a music writer who compared the sound of so many pianos to the banging of tin pans. That sound: that's one side of the road that is this album. Some of these melodies appear to be shadows of earlier tunes, dating back to, say, 1898 or even before that, melodies that were first registered in the Tin Pan Alley publishers' offices back in 1912 or 1917. We actually get to see this Alley at that point in time. We see the ropes, the workings. How things come together, the actual act of creation. Suddenly, we can hear the shadows!
Okay, so one side of this street is America. The US of A. The opposite side: Russia. And smack dab in the middle: Europe. A pothole in the center. All the back-and-forth that occurs between these two poles ultimately depends on the movement of the sun. Night and day, taking turns, commuting in and out of sight. We get to meet Prokofiew's and Scriabin's ghost, among other spirits, reframed and published by Le Millipede's own imaginary label imprint on the historic Tin Pan Alley. Indeed there are moments on this album when Le Millipede seems to be playing Scriabin's clavier a` lumie`res (tastiera per luce), when his performance seems to be based on synesthesia, a wild cross-pollination of colors and sounds. In case you didn't know this: In the States, Prokofiew goes by the name Brian Wilson, and Scriabin's also known as Sun Ra - yet another guy who's usually broke, but gets to spend a lot of time out in the sun. Together, these assorted protagonists ask the people of the Antilles for Mutabor dance-tokens and send postcards to Moondog in Germany, right back into the darkness. On the postcards you can see people dancing the Biguine...Firing foreign fossil fuels from all pipes (Brennelementsteuer!), Le Millipede controls the very center of this hustle and bustle: going as far as to employ some southern Chopped & Screwed styles, he's 100% current and zeitgeisty! Houston, we've got a problem: there's some kind of myriapod, centi- or millipede on the loose! Well, give me another sip of lean, sizzurp, dirty Sprite, and on goes the journey in the Pullman coach. Let's follow the sun! Keep on moving, keep things motorik! Here comes the Trans-Eureka-Express. Cherish the backpacking days! A piercing rhapsody of sound (bohrende Rhapsodie), we'll remember them fondly! And thus things move on, the sun, the days, the earth: rise, set, action, round and round... onwards eternally. The sun: the biggest loop known to mankind. As if it was some kind of sonic Rube Goldberg contraption, time seems to be stretching out while listening to that hmmm. After all: time is a lot (a lot!) more than just money. And yeah, the sun is the real big shot on (or rather: above) Planet Earth. Le Millipede's live line-up also includes Markus & Micha Acher (The Notwist etc.), Nico Sierig (Joasihno), and Manuela Rzytki (G. Rag & die Landlergschwister, Kamerakino etc.).
*sole exception: Evi Keglmaier (Zwirbeldirn, Hochzeitskapelle) plays the viola. Words/sun worship: Pico Be

A1, "Capitulo 4". We find Gregor surprisingly accepting of his new reality: far from going crazy, he has serenely discovered in his new self everything he didn't know and didn't perceive as a human being. "Capitulo 4" is an incredibly precise description of the awakening of the new Gregor. Shadows, fog, sinuous silhouettes that are impossible to identify. In one word: confusion.
B1, "Capitulo 5". Vertigo starts to ease, we can hardly feel the anguish and the heartbeat is gone. We are in a new reality and although it seems a done deal, every movement he makes tells Gregor that understanding this new world and his perception of it will not be easy. Chapter 5 demands our everything while we listen: our full dedication and attention to the last minute detail that reveals a new horizon and its new colour, or lack of it. A horizon that, nevertheless, is more perceptible for Gregor, because he can now capture all sorts of colours and emanations.
B2, "Capitulo 6". Light. Gregor still ignores that most domestic insects have a strong aversion to intense light, but his human conscience is still intact and it will take him a long time to reprogramme certain habits, instincts and automatic behaviours, like a preference for lit environments. The painfully intense sensation that his antennae convey to his tiny brain when faced with light is an effective path to learning: little shocks that Reeko reproduces in this track, surrounded by an oscillating and changing ambience that redefines itself each time we listen to it.