“..slowly evolving compositions and sound meditations based around the palette of modern grime music minus the percussion. In the songs “Arbor Arco” and “He Loved Him Madly” the grime theme is most present, with droplets of synth and bass rising and melting to suggest invisible kick drums underneath. “Rendered” and “In A Silent Way” begin with simple arpeggios that build to intense climaxes, while closing track “Aa-m” is an almost ASMR-inducing meditation.”
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“Dies Irae (aka latin hymn sung in a mass for the dead) explores the themes of religion, sects, cults and judgement day. It unapologetically stitches together field recordings, sound generators, random loops and ‘unfinished’ compositions to accompany weird spoken word moments or uncorrectable views and opinions.
It kick started the self penned Gonzo collage style and wether you like or not he’s been at it ever since.
Featuring spiritual leaders, enlightened gurus, cult leaders and good old fashion lunatics.
Guest appearances by Jim Jones, David Koresh and Harold Camping among others. Iain Chambers plays guitars when you hear one.”
“SUGAI KEN is an electronic musician based in Kanagawa, Japan.
He combines synthesis with recordings of his daily surroundings to conjure the subtle and profound ambience of the Japanese nightscape. His music evokes a nocturnal peace, reflecting the intangible qualities of his memory and dreams.”
“Sea Urchin is the Berlin-based brainchild of the Italian Francesco Cavaliere and the Egyptian-Austrian Leila Hassan. Being core members of the underground, they already released a 7” in 2012 on D.A.S., a tape in 2014 on Stenze Quo, and Cavaliere recently released two solo-LP’s on Hundebiss.
Yaqaza is their long-awaited vinyl debut. The duo surprises with a multicoloured, mystic and intriguing collage of deconstructed pop hits, Italian music concrète, King Tubby-like dub and Algerian Rai.
It is no coincidence that Yaqaza is Arabic for ‘daydream, reverie’. The record is a virtual reality labyrinth in which you wander around sleepwalking, constantly opening new doors and sliding between tableaux vivants. The poetic vocals by Hassan, alternately in Arabic and English, is an absent guide that takes you to ethereal micro-cosmoses. Dubby baselines, a cold drum computer, analog electronics and subtle tape collages come together in an intriguing and wondrous web of unravelling side plots.”