Alessandro Pizzin's production work resonates far and wide throughout
the prolific music scene of 1980s Venice, Italy. His work as one half
of the influential experimental combo RUINS gave way to his later
productions as a founding member of the acclaimed ambient electronic
group Wind Project, whose whose complete works were recently reissued on
CD. Though Pizzin's sonic fingerprint is present throughout many
landmark recordings of the minimalist and experimental Venetian music
scene, his groundbreaking works as a solo producer were only quietly
released on his own EXPLORA label in the early 1990s - until now.
Beatrice Dillon's first solo album - a strong body of work referencing Caribbean music, with a strong mastery of the rhythms and prestigious guests: UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band's Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock's Untold and new music specialist Lucy Railton (cello); amongst others.
Recorded in March of 1958, Cannonball Adderley's SOMETHIN' ELSE was recording during the era when Adderley was part of the Miles Davis Sextet. Featured on the album are Adderley on alto sax along with Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass and Art Blakey on drums. Of note, this is one of the few post-1955 appearances of Miles Davis as a sideman. SOMETHIN' ELSE will be reissued on vinyl as part of an overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.
The official reissue of super-rare and fabled prog-rock/library/synth album L'Univers de la Mer by French composer Dominique Guiot. Written, composed and played by Dominique Guiot with his Mellotron, Minimoog, clavinet, organ, and guitar, L'Univers de la Mer draws it's inspiration from deep sea exploration, oceanic creatures, and underwater kingdoms. The 12-track album navigates organically through diverse mutations of the prog-rock and synth kind, from scenic meditation pieces ("Wind Surf Ballad"), to medieval electronica ("Une Ballade Pour Une Goélette"), spacey smooth jazz ("Les Deux Poissons"), funked-out fantasy folk ("L'Univers de la Mer"), or even incredible Sega Mega-CD vibes ("La Danse Des Méduses") - altogether painting a fascinating world of eerie magic and subaquatic sensuality. It's escapism at it's best with subtle overtones of Schicke Führs Fröhling, Mike Oldfield, and Claude Perraudin. The sound of the album is brilliantly captured by it's surreal cover art, the work of legendary artist Jacques Wyrs, whose memorable record sleeves include Klaus Schulze's Picture Music (1975), Eloy's Floating (1974), Ange's Le Cimetière Des Arlequins (1973), and the 1974 reissue of Larry Coryell's Spaces. Sourced from original masters. LP version comes in 350gsm sleeve; 140 gram vinyl; available on vinyl LP for the first time since 1978.
Ernest Hood's Neighborhoods was released some two decades after the Portland, Oregon born and raised musician's first forays into field recordings. These very recordings, and those captured over intervening years, define the universal sound and aural images of childhood, a theme memorialized by Hood's privately-pressed opus of 1975. Sprawling through a haze of zither, synthesizer melodies, and foraged pedestrian sound, Neighborhoods is both a score and documentary composed and directed by Hood to offer, in his words, joy in reminiscence. Hood's nostalgic impulse ran parallel to the developments of other artists, writers, and filmmakers of the 1970s who were looking back to the 1950s to convey a collective memory of childhood. Freedom to Spend has restored Ernest Hood's nostalgic masterpiece with the same care with which he viewed his source material, offering a remastered version of Neighborhoods transferred from the original tapes, expanded across four vinyl sides (the original version was crammed on two). The new edition reproduces Hood's celebratory liner notes in full, alongside new liner notes by Michael Klausman.
The much-anticipated official reissue of Japanese duo Inoyamaland's quintessential ambient/environmental/electronic album Danzindan-Pojidon, produced by Haruomi Hosono and originally released in 1983 on his Yen Records label. Available outside of Japan for the first time, the new age classic comes as a limited LP with liner notes by band member Makoto Inoue. With Danzindan-Pojidon, Yasushi Yamashita and Makoto Inoue created what they describe as "a special place where the kingdom of summer vacation never ended." Playful and magical, it's a sonic landscape defined by tinkling synths, floating minimalist melodies, pastoral excursions, and mythical overtones. The ten-track adventure takes the listener on a joyful audio exploration of unknown but friendly territories, like childhood memories of an imaginary island where everything is vibrantly alive and peaceful. The original recording sessions for the album took place in an apartment filled with Inoyamaland's "favorite things and friends" and the wonders that came out of them were handed to master Harry Hosono who added his undeniable genius touch. 350gsm sleeve with selected UV high gloss varnish.
Felis Catus and Silence is a breakthrough release for Tokyo composer-guitarist Leo Takami, following the milestone albums Children's Song (2012) and Tree of Life (2017). Takami counterpoints the soothing aesthetics of prime-era Windham Hill New Age guitar-heroism with meditative, intellectual compositions comprised of ambitious, process-oriented arrangements. While Takami largely wears his genre
influences on his sleeve - jazz, classical, Japanese gagaku - the influence of ambient music is a tacit foundation of his work. Working diligently outside of any established communities for fringe musics, Takami conjures this association through a patient focus on generous musical intervals. Steady, kaleidoscopic unfolding of his compositions reflect Takami's creative intent to "become aware of precisely the time and place I am living." The unabashedly sweet, tuneful virtues of his music in concert with this reflective form provide an artistic relief of Takami's thematic harmony. "Each song is based on birth and death, and moving onto the next stage..." Leo Takami, born 1970, studied guitar under Hideaki Tsumura (aka Kamekichi Tsumura) and performs regularly in Tokyo.
A seamless mix of the organic and inorganic, the
recent past and distant future, and the possible and impossible,
Japanese multi-media artist Masumi Hara's sophomore album arrived like a
fish on the moon in 1984. An album filled with contradiction and
purpose, 4 X A Dream is both Balearic acid folk and damaged steel drum
dub, hi-tech new wave balladry and ambient synth pop. Classical and
neo-impressionist vibes haunt and entrance. Quite possibly the most
unique LP you'll ever add to your collection.
Can music be classic and contemporary at the same time? Can it contain a secret genetic code in which the summary of the past, the present pulse, and the future view are hidden? Be ahead of it's time and not lose relevance along the way? Let's Call It A Day, the first album collaboration of German authors Move D (David Moufang) and Benjamin Brunn, proves it is not only possible hypothetically, but can also live amongst us. First appearing on a CD via Bine Music in 2006, it is now remastered here by Calyx and on vinyl for the first time ever. This is a complete piece built from seven sections, each one is a microcosm of unique textures, depth, ambience, emotions, programming, looping, and melodic rules; together they are a homogenous creation, a symphony that culminate in dance music experiencing elevation. Let's Call It A Day, which in a way is the big brother of Songs From The Beehive (SMALL 001CD/LP) - their exhilarating installment for Smallville from 2008 - is an album above the Zeitgeist. The way Moufang and Brunn fuse different genres together without committing to any musical doctrine, makes them appear prophetic. However, it is in no sense a retrospect feeling; even at the time it was clear that the perceptions, experience, vision, and delicacy of this album were outstanding. Every element here, every frequency, rhythm, turnaround or keyboard tapping, is the material from which masterpieces are made of. From the opening meditative, ever-evolving loops of "On The Magic Bus" to the abstract drones of "Grains" with it's almost nonexistent bass drum - like it was aimed to hit the ambient-house craze; through the mesmerizing dubbiness of "A", which sounds like a rave ending in an echo chamber and the constant micro-movement of the arpeggios in the title track; "Ω", which sounds like a soundtrack for a sinking submarine footage and the ambient downbeat of "C-Sick", which melts your heart from within; and finally the closer - the fragile and elegant beauty of "Magnetically Leviated Train". More than 76 minutes of diving constantly deeper and deeper. This new remastered version will feature a brand new and extra glossy Stefan Marx gatefold cover, that will give the perfect visual expression of the album's timeless music. And If there was ever a downside to Let's Call It A Day, it would be it's lack of a vinyl edition. Well, this is exactly what's being sorted out now, isn't it? Gatefold cover.
A Typical Night in the Pit is a collection of new music by Los Angeles' Nick Malkin. It is an album that finds the artist absorbed in the density and chaos of the urban complex. It is unquestionably an "LA album", but not the LA of hi-fi listening bars and twinkling, Instagram-ready new age. Rather, Malkin navigates something more akin to the LA found in the films of Robert Altman or Alan Rudolph - overheated, tense, hazy, frayed - with blue-lit, nocturnal compositions that at times recall Mark Isham's noirish scores for those subversive (anti-)Hollywood pictures.
Enlisting a revolving cast of LA experimentalists, Malkin has assembled a record that is as chameleonic as it is cohesive, offering up vignettes ranging from the skewed MIDI-jazz of "Sixth Street Conversation" to the skulking menace of "Estacionamiento Privado", before giving way to the wide-eyed, cloudy closer "View From Two Perspectives". C'mon, let's go in here and get outta this heat. Artwork by Alex McCullough and Niall Wynne Lewis. Malkin released as Afterhours on Not Not Fun and is part of the LA Vampires. A Typical Night in the Pit follows Malkin's tape on Geographic North (2018). Mastered by Kassian Troyer at Dubplates & Mastering. First edition of 300 copies; artwork with gloss laminate finish.
LP version. 350gsm sleeve with selected UV high gloss varnish. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond. WRWTFWW Records announce the reissue of Satoshi Ashikawa's Still Way (Wave Notation 2). Initially released in 1982 as part of the Wave Notation series (which includes Hiroshi Yoshimura's Music For Nine Postcards), Still Way is, without a doubt, a seminal Japanese environmental/ambient/minimalism album, often mentioned alongside Midori Takada's Through The Looking Glass (1983) (WRWTFWW 018LP, WRWTFWW 019CD/LP) and Hiroshi Yoshimura's Green (1986) as one of the genre's most important pieces. "Like the moment of stillness, after the wind passes through the garden, when the rain stops for a brief second..." Notably inspired by Erik Satie's Furniture Music and Brian Eno's ambient work, Satoshi Ashikawa aimed to compose music "intended to be listened to in a casual manner, as a musical landscape or a sound object - not something that would stimulate listeners but music that should drift like smoke and become part of the environment." The result is simply phenomenal, subtle minimalism and emotional elegance exquisitely orchestrated by Satoshi Ishikawa and his team consisting of his wife Masami Ashikawa (on flute), Midori Takada (on vibraphone), Yuko Utsumi (on harp), Tomoko Sono (on piano), and Junko Arase (on vibraphone). In conjunction with Still Way, WRWTFWW Records is releasing Laistigh den Ghleo (WRWTFWW 039CD/LP), a companion album by Irish ambient/minimalist composer Gareth Quinn Redmond, inspired by Ashikawa's approach. Liner notes by Midori Takada, Satoshi Ashikawa, and Gareth Quinn Redmond.
Jon Tye and Pete Fowler have been making music as Seahawks for a
decade now. Given the sounds they've been exploring over those ten years
it was a cosmic inevitability that they would be asked to contribute to
the catalogue of the legendary library label KPM.
They replied with Island Visions, an exploration of sound for vision
where they construct "audio micro-worlds to explore and inhabit". A way
to transport the listener away from the everyday without the bother of
getting on an aeroplane. Mind travel is space travel after all, and much
better for the environment.
This is the first time Be With has worked with Seahawks, but
individually Jon and Pete have been members of the extended Be With
family since forever (Pete did those posters for our Ned Doheny tour and
we worked with Jon on the vinyl version of Hatchback's Colors Of The
Sun). Of course we were going to put this out on vinyl.
Mastered by balearic engineer of choice (and Be With's regular audio
co-pilot) Simon Francis, cut by the legendary Pete Norman and pressed in
the Netherlands by Record Industry, the sonic frequencies of these
Island Visions have been precision tuned and encoded for optimum
traveling conditions. Take the trip.