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For \u003ci\u003eSlow Sky\u003c\/i\u003e, Hirose explains he \"went for a pointillism-like sound, and tried to express a scenery of awakening, where the portal of a heart is opening up\", while on Humming The Sea, he \"tried to compose a kind of music that expresses the daily, lazy life of child-like innocence in a summer vacation in some small town.\"\u003c\/p\u003e\u003cp\u003eThe bonus LP gathers four long unreleased pieces created around the same period of time for installations, described by Yutaka Hirose as \"not music per se but rather sound sculptures\", and including the haunting \u003ci\u003eShadow Of A Water Droplet\u003c\/i\u003e which was recorded for an Ikebana exhibition.\u003c\/p\u003e\u003cp\u003eAll in all, \u003ci\u003eNova + 4\u003c\/i\u003e is a transcendent experience of nature in the urban context, an oeuvre which, much like Midori Takada’s \u003ci\u003eThrough The Looking Glass\u003c\/i\u003e or Satoshi Ashikawa’s \u003ci\u003eStill Way\u003c\/i\u003e, holds the power to appeasethe soul in turbulent times. 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Sound Process Design was Satoshi Ashikawa's label, home of the Wave Notation trilogy (Hiroshi Yoshimura’s Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925 and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on these projects.\u003c\/p\u003e\u003cp\u003eRather than simply providing pre-recorded compositions, Hirose sought to create a \"sound scenery\". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers, using a multi-sound source, and following the concept of \"sculpturing time through sound\".\u003c\/p\u003e\u003cp\u003e\u003ci\u003eTrace: Sound Design Works 1986-1989\u003c\/i\u003e is divided into two parts. The Reflection segment is based on an ambient soundscape. It narrates \"a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness\" and feels like a natural and soothing progression of Nova. It was played in entrance halls, at events, in cafes and bars. The Voice from Past Technology segment expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers.\u003c\/p\u003e\u003cp\u003eAll in all, \u003ci\u003eTrace\u003c\/i\u003e is a crucial addition to every Japanese environmental music fan’s collection, alongside Midori Takada’s \u003ci\u003eThrough The Looking Glass\u003c\/i\u003e, Hiroshi Yoshimura’s \u003ci\u003eGreen\u003c\/i\u003e, Satoshi Ashikawa’s \u003ci\u003eStill Way\u003c\/i\u003e, Motohiko Hamase’s \u003ci\u003eNotes of Forestry\u003c\/i\u003e, Inoyamaland’s \u003ci\u003eDanzindan-Pojidon,\u003c\/i\u003e and Yutaka Hirose’s very own \u003ci\u003eNova\u003c\/i\u003e.\u003c\/p\u003e","brand":"We Release Whatever The Fuck We Want Records","offers":[{"title":"Black | LP | x2","offer_id":50476811256139,"sku":"1161499","price":39.99,"currency_code":"GBP","in_stock":false},{"title":"CD | x2","offer_id":50476811845963,"sku":"1161498","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ce3fd7b5-7085-49bb-86a3-e5c0392b6ed6_thumbnail_4096.jpg?v=1727464175"},{"product_id":"does-spring-hide-its-joy","title":"Does Spring Hide Its Joy","description":"\u003cp\u003eDoes Spring Hide Its Joy is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDoes Spring Hide Its Joy\u003c\/i\u003e follows Malone’s critically acclaimed records \u003ci\u003eThe Sacrificial Code\u003c\/i\u003e [Ideal Recordings, 2019] and \u003ci\u003eLiving Torch\u003c\/i\u003e [Portraits GRM, 2022]. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley and Lucy Railton in the creation and development of the piece. 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The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDoes Spring Hide Its Joy\u003c\/i\u003e was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus and MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton and Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. 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Her experimental soundscapes flow like a streamlined river, intertwining seamlessly with \u003cstrong\u003eShackleton\u003c\/strong\u003e's deep, textural production and intricate percussion.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eShackleton\u003c\/strong\u003e's percussive production ebbs and swells, conjuring a hypnotic, tripped-out atmosphere. At \u003cem\u003eThe Rising Wave\u003c\/em\u003e's core lies a sense of intention, a cleansing ritual designed to shift perception and inspire transformation.\u003c\/p\u003e","brand":"AD 93","offers":[{"title":"LP - Black","offer_id":51440436805963,"sku":"R1394-4421","price":26.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/unnamed-2025-03-13T170240.221_2a23add3-0393-4fcb-88e2-de644d380e15.jpg?v=1752282705"},{"product_id":"belidenisse-zw","title":"Belidenisse","description":"\u003cp\u003eMonnik (monk) is a very apt moniker for this Belgian based experimental one-man band. Monnik serves as a vessel for self-proclaimed hermit Thibaud Meiresone to explore the boundaries of spiritual isolation, making his musical drones almost ascetic meditations. Layer upon layer of sounds and textures try to evoke an almost shamanistic - if not religious - atmosphere, in order to captivate the audience in an introspective hold. \"Belidenisse\" (Confessions) takes its title straight from the seminal work of the same name from the early Christian theologian and philosopher Saint Augustine of Hippo. In his \"Confessions\" he writes from an autobiographical point of view, exploring in great detail the faultiness of his early life and his spiritual journey towards God. It is a deeply personal and vulnerable work, meant to serve as a spiritual guideline for all those who venture within. It evokes a meditative state of mind through its prayer-like qualities. \"The lecture of this book affected me on a deeply personal level and it served as a friend, a companion and a silent mentor throughout the many months during the recording of this album. I discovered many of the literary and philosophical themes found their way into my headspace when writing this and as such are also reflected in the music itself.\" For fans of CHVE, Innerwoud, Charnia\u003c\/p\u003e","brand":"Consouling Sounds","offers":[{"title":"CD","offer_id":51448316821835,"sku":"R4873-5775","price":15.99,"currency_code":"GBP","in_stock":false},{"title":"LP - Black","offer_id":51448316854603,"sku":"R4873-8442","price":29.99,"currency_code":"GBP","in_stock":false},{"title":"LP - Pink","offer_id":51448316887371,"sku":"R4873-9654","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/p_3fb4c4bb-b719-4560-a3aa-76ed8026ddb5.jpg?v=1741968287"},{"product_id":"interior-music","title":"Interior Music","description":"\u003cp\u003eAfter a collage tape collab with Bardo Todol back in 2022, Robert Millis finally gets his Discrepant debut proper, a much overdue entry in a wonderful catalogue of lost musical oddities.\u003c\/p\u003e\n\u003cp\u003eThe not so self explanatory title Interior Music explores Millis obsession with hidden sounds and its anomalies. An hermetic rearrangement of emptiness could be another more big headed title. But I leave the man to talk about his thing:\u003c\/p\u003e\n\u003cp\u003e‘’The phrase interior music occurred to me a few years ago as a way to describe some recent work. It’s about the resonances inside of hollow wooden chambers (and hollow heads) like gramophones and talking machines, music boxes, instruments, metal containers, and resonant rooms. It’s about exploring tiny audio fragments—single notes, vinyl and shellac surface noise, recording mishaps and anomalies—and arranging them into something meaningful. It is about my own interior mishaps and anomalies and attempts to arrange them into something meaningful. It also references “interior design” with the placement of sounds in specific locations, layers or in juxtapositions.\u003c\/p\u003e\n\u003cp\u003eInspirations include Steve Roden’s lowercase work, Toshiya Tsunoda’s field recordings, Eliane Radique’s slowly shifting ambiances, and the musique concrete of Pierre Schaeffer, as well as the dhrupad and kayal traditions of Indian classical music—especially Kesarbai Kerkar and the Dagar family who have a sublime way of stretching out individual notes and exploring their endless permutations, combinations and connotations.’’\u003cspan class=\"Apple-converted-space\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Discrepant","offers":[{"title":"LP - Black","offer_id":51450156613963,"sku":"R2016-4277","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/CREP116.jpg?v=1741983066"},{"product_id":"irma-an-opera-by-tom-phillips","title":"Irma an Opera by Tom Phillips","description":"\u003cp class=\"MsoNormal\" style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"font-family: Bookman Old Style;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 13.5pt; color: black;\"\u003eIn February and March of 1977, for Brian Eno’s Obscure Records, I made a version of \u003cem\u003eIrma\u003c\/em\u003e. The following notes on the piece arise out of that involvement and try to show how the piece can be made into a performance state.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"font-family: Bookman Old Style;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 13.5pt; color: black;\"\u003eIrma is a curious score – it is printed on a single sheet 50cms x 50cms. The notation consists of fragments from Tom’s continuing treatment of the victorian novel by W. H. Mallock, which he calls A Humument, and utilizes those short verbal fragments that refer to either ‘‘libretto’’, ‘‘decor and mise-en-scène’’ or ‘‘sounds’’. These 3 categories are arranged in separate sections on the square sheet with, at the bottom, a line of stave notation. At first sight it looks like a piece of indeterminate music – clearly there has to be some preparatory work done before it is performable and no-one would venture to perform directly from the score - but if it is approached in this spirit, like realizing a piece by John Cage or Morton Feldman written during the 1950’s, the sounding results are either largely of a documentary interest, or rely entirely on the gifted performer to make into a coherent sounding whole. True, one could say the same thing for a piece by Cage, such as Variations I, but there the performer is given a number of precise parameters of sound within which he should work, whereas Irma needs to be re-composed rather than realized.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"font-family: Bookman Old Style;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 13.5pt; color: black;\"\u003eIf the distinction between ‘‘composing’’ and ‘‘realising’’ is overlooked, and if only the materials present in the notation are used, then the result is likely to be impoverished and it is clear that, looked at in isolation as a self-contained work, the score is notationally very\u003cspan\u003e  \u003c\/span\u003ethin. So one either produces an impoverished piece of sounding music, or one takes the responsibility to look further. Tom does not say explicitly that one must go beyond Irma into the rest of his work, but he does say that one has to go outside the piece. On the score he writes: ‘‘Perhaps to treat the indications here given as if they were the only surviving fragments of an ancient opera, or fragments of eye and ear witnesses’ accounts of such, and given no knowledge of performance tradition of the time, to reconstruct a hypothetical whole which would accommodate them economically, would be an appropriate basis of approach to a production.’’ So, try to put it back together and try to fill in all the gaps between these fragments. This approach, which, incidentally coincides with an interest in such procedures within my own work, seems to be the most suitable. If the ‘‘composer’’ uses the sorts of methods that Tom evidently uses in producing pictures, in making A Humument (of which Irma is a part), and if he uses the notations of Irma as clues to lead him into whatever area seems likely to yield rich results, then a much more satisfactory outcome is likely – satisfactory both in terms of the quality of the sounding material and in terms of consistency with the rest of Tom’s oeuvre.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Dialogo","offers":[{"title":"LP - Black","offer_id":51461015011659,"sku":"R5289-2284","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8018344399348.jpg?v=1742217470"},{"product_id":"machine-music","title":"Machine Music","description":"\u003cp class=\"MsoNormal\" style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"font-family: Bookman Old Style;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 13.5pt; color: black;\"\u003eThe Machines, which date from the period 1967-1972 represent a departure from the more traditionally “narrative” nature of the rest of my pieces. I use the word Machine to define a consistent process governing a series of musical actions within a particular sound world and, by extension, the listener’s perception thereof. One might thus regard the Welsh Rarebit as a Machine in which a process is applied to the conditioning and perception of the world of bread and cheese.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"font-family: Bookman Old Style;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 13.5pt; color: black;\"\u003eAutumn Countdown Machine presents the guaranteed dis-simultaneity of six pairs of bass melody instruments, each conducted by a percussionist playing in time with, and making minor adjustments to the setting of a bell-metronome. Son of Gothic Chord presents four keyboard players’ mobilization of a sequential chord progression rising through the span of an octave. Jews Harp Machine presents various permutations of the articulations “Ging, Gang, Gong,Gung, Ho!” Drinking and Hooting Machine presents some observations on the world of bottles and their non-percussive musical potential. The effect of this piece has been compared to that of a large aviary full of owls all practicing very slow descending scales.Tracklist:\u003c\/span\u003e\u003cspan lang=\"EN-US\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Dialogo","offers":[{"title":"LP - Black","offer_id":51461038539083,"sku":"R1255-5355","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8018344399331.jpg?v=1742217602"},{"product_id":"ensemble-piece","title":"Ensemble Piece","description":"\u003cp class=\"MsoNormal\" style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"font-family: Bookman Old Style;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 13.5pt; color: black;\"\u003e‘Aran’’ and ‘‘McCrimmon Will Never Return’’ date from the period 1970-72, and were written for the Promenade Theatre Orchestra, a group started by White, consisting of 4 performers; White, Hobbs, Hugh Shrapnel and Alec Hill. ‘‘Aran’’was written at a time when the PTO was beginning to combine the sounds of reed organs and toy pianos, the original instruments of the group, with some newly-acquired percussion instruments. The note-to-note procedure of the piece was determined by random means, in the hope of producing a gentle unpredictability in the final result. It was hoped that the whole would be grittily resonant. This recorded version, for 12 performers, is generally more soft-centred than the original.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\" style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"font-family: Bookman Old Style;\"\u003e\u003cspan lang=\"EN-US\" style=\"font-size: 13.5pt; color: black;\"\u003eAmerican Standard Although the instrumentation of the piece is not specified, an ideal group would be similar to that which performed this version, recorded at the first performance of the piece in March 1973. It is played by the New Music Ensemble of the San Francisco Conservatory of Music, directed by John Adams, the composer, and the instruments used here are: Flute, clarinet, clarinet (doubling bass-clarinet), clarinet (doubling bass-drum), tuba, percussion (trap set), violin, 2 violas, cello, double-bass, and harp. A conductor is not necessary for performance, since the arrangement and distribution of parts depends on what instruments are available, and ensemble problems that arise are ‘‘to be worked out in standard American fashion: proposal, debate and vote’’. Extra materials, that anyone making a version considers appropriate, may be used in performance in various forms whether film, tape, video, speech, mime, dance etc. Each section of this performance has at least one example of the use of ‘‘extra materials’’.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Dialogo","offers":[{"title":"LP - Black","offer_id":51461066785099,"sku":"R7410-3770","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8018344399270.jpg?v=1742217915"},{"product_id":"on-fractured-ground-skin-resonance","title":"On Fractured Ground \/ Skin Resonance","description":"\u003cp\u003eLegendary New Zealand-born experimental composer and sound art pioneer Annea Lockwood returns to Black Truffle with On Fractured Ground \/ Skin Resonance, her third release for the label. Having recently celebrated her 85th birthday, Lockwood shows no sign of slowing down in her exploration of new sound sources and collaborations with an ever-growing intergenerational pool of performers – here with Vanessa Tomlinson. Her creative vibrancy is alive as ever on the two recent works presented here, which demonstrate both her engagement with the social dimensions of sound and the deeply reflective, meditative aspect of her art.\u003c\/p\u003e\n\u003cp\u003eOn Fractured Ground derives from material recorded with Pedro Rebelo and Georgios Varoutsos for the soundtrack of Maria Fusco and Margaret Salmon’s opera-film, History of the Present (2023). Working together in Belfast, Lockwood, Rebelo and Varoutsos made extensive recordings of the city’s ‘peace lines’, the dozens of walls erected since the beginning of the Troubles in the late 1960s to separate Catholic and Protestant areas of the city. Struck by the immensity of these barriers, ‘the brutal way they sever neighbourhoods’, Lockwood and her collaborators focused not on the sound environment of the city, but on the walls themselves, playing them as gigantic resonant instruments, using their hands and objects such as stones and leaves. Continuing to work in her studio with the material collected for the soundtrack after its completion, Lockwood composed the work presented here, occupying a space somewhere between her own extended-technique percussion music and the Cagean tradition of hyper-amplified small sounds. From deep, gong-like metallic tolling to dry scrapes and uneasy groans, the piece’s sustained attention to single sounds derived from unorthodox sources draws a line all the way back to Lockwood’s classic Glass World (1967-1970). Its spaciousness and delicacy are at odds with the dark historical background of the Troubles, creating a moving listening experience somehow haunted by the shadow of violence and conflict.\u003cbr\u003e \u003cbr\u003eSkin Resonance is a collaboration with Australian composer and percussionist Vanessa Tomlinson. Developed through conversations in which the two discussed the idea of ‘sonic attraction’, the piece focuses on Tomlinson’s relationship to the bass drum, reflecting on the complex web of connections embodied in this seemingly simply instrument, which is at once ‘animal, wood, and metal’. Approaching the instrument in a suitably elemental fashion, Tomlinson’s performance strips away conventional technique to explore the resonance and timbral properties of skin, drum, and metal hardware, producing overlapping waves of texture that at times seem closer to wind swishing through leaves or the ocean than anything usually associated with a drum. Emphasising the symbiotic relationship between performer and instrument, Tomlinson’s voice is heard at times, exploring the field of associations and connections the bass drum suggests to her: ‘Maybe the bass drum skin is an ear as well?’\u003cbr\u003e \u003cbr\u003eAccompanied by insightful liner notes on both pieces and photographs documenting the recording of On Fractured Ground and a performance of Skin Resonance, this LP is a moving testament to the engagement, generosity, and openness that sustain Annea Lockwood’s work, still finding new directions after more than fifty years of activity.\u003c\/p\u003e","brand":"Black Truffle","offers":[{"title":"Black LP","offer_id":51461669880139,"sku":"R5640-1759","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/blacktruffle128-on_fractured_ground_skin_resonance.jpg?v=1742227132"},{"product_id":"vol-3","title":"Vol 2","description":"\u003cp\u003e\u003cspan style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003ePhil Mison returns with a second album under his Ambala-moniker, presenting a generous set of aquatic beats and moonlit synth-grooves of the highest quality.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eA true architect of the Balearic sound, Mison has released music under several monikers, among them Ambala, Reverso 68 and Cantoma, whose debut has been canonized as an all-time chill-out great.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eOn this sophomore Ambala LP, Mison continues to elaborate and seek new avenues for the chill-out sound, layering solid digital grooves with organic instrumentations and dreamy synth leads.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eSeveral instrumentalists from the Music For Dreams roster guest the album. Guitarist Santino Surfers (Jonas Krag) serves up a number of exquisite solos throughout the album, ranging from smoky twang to Mediterranean romance. 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