{"title":"Cascine","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eCascine is a music label based in New York and London, specializing in experimental pop. Founded in early 2011 by Sandra Croft and Jeff Bratton, Cascine has quickly become known for its unique roster of talented artists.\u003c\/p\u003e\n\n\u003cp\u003eWith a focus on pushing the boundaries of pop music, Cascine seeks out innovative and forward-thinking musicians who are not afraid to take risks. The label prides itself on discovering new talent and providing them with a platform to share their art with the world.\u003c\/p\u003e\n\n\u003cp\u003eFrom dreamy synth-pop to atmospheric electronic beats, Cascine's diverse range of artists offers something for every music lover. Whether you're looking for *Yumi Zouma*'s infectious melodies or *Chad Valley*'s ethereal soundscapes, Cascine has it all.\u003c\/p\u003e","products":[{"product_id":"til-i-start-speaking","title":"'Til I Start Speaking","description":"\u003cp\u003eVisual artist and singer-songwriter Morly (aka Katy Morley) readies her heartfelt debut album \u003ci\u003e'Til I Start Speaking\u003c\/i\u003e. After performing as a member of Gayngs, she established her singular style as a solo artist with a series of EPs: \u003ci\u003eIn Defense of My Muse\u003c\/i\u003e (2015), \u003ci\u003eSomething More Holy \u003c\/i\u003e(2016) and \u003ci\u003eSleeping In My Own Bed\u003c\/i\u003e (2017). Over the past three years, she took some necessary time away from the public eye as she battled chronic illness, but returns now with newfound strength.\u003ci\u003e 'Til I Start Speaking \u003c\/i\u003erepresents a stylistic shift towards the more organic instrumentation that she hinted at in her most recent EP, and as a result, the album blends her love of classic acoustic songwriting with her interest in minimal electronic music.\u003c\/p\u003e","brand":"Cascine","offers":[{"title":"Blue | LP.","offer_id":50390039560523,"sku":"1125956","price":21.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1cda2632-4657-44f9-92bc-6cfcbe81bb5b_thumbnail_4096.jpg?v=1726380564"},{"product_id":"statues-4","title":"Statues","description":"\u003cp\u003eSpencer Zahn's latest collection is a return to the hushed palette of solo piano lyricism. This focused sparseness comes after the sprawling, lushness of his critically acclaimed 2022 album, Pigments with Dawn Richard. Living life centered around composition, Zahn sets aside a window each day to commune with the piano, to find beauty in details. Statues | is the first chapter of an ambitious double-album. The second instalment, Statues Il, will follow this fall and be accompanied by a gatefold vinyl, designed by longtime collaborator Hana Tajima. Certain pieces were conceived in advance, while others were born from improvising along with various favorite recordings, finding “compositions in the holes of music I love!” Zahn cites the instrument itself as a central muse - “upright piano conjures a certain mood. The results are delicate, nimble silhouettes of melody and reverie, set adrift on a crisp breeze. Aside from “Lawns” an interpretation of a tune by California pianist Carla Bley the collection’s other eight tracks are all originals, yet they share a sense of soft-lensed classicism that feels uniquely out of time. Nothing dates the contemplative beauty of “Snow Fields” or “Lullaby For My Dog;” their watercolor landscapes of piano, resonance, and room tone could pass for a lost gem from the ECM catalog anytime in the past four decades. Zahn's touch skews neither showy nor retrograde, conjuring instead the ageless elegance of Satie, Jarrett, Sakamoto, and beyond. This is music of clarity and craft, unpolluted by passing fads or distractions, guided by the quest for poignancy and a deep purity of motive: \"When composing solo, | always ask myself, \"Would | want to listen to this? Does it move me? Does the emotion come through?” The second half of Spencer Zahn's contemporary opus, Statues, was actually completed before the first, working out of his home studio in Kingston, New York. Recording voice memos of his Yamaha CP-70 electric piano, Zahn collaborated with Tyler Gilmore AKA BlankFor.ms in capturing vignettes of the material as tape loops, then sharing them with a network of musicians to explore further. The resulting arrangements are rich, restless, and reflective, inspired by the transportive productions of Jon Hassell and Harold Budd. Echoing the spirit of their work, these seven compositions unfold in hybrid tapestries of performance and post-production, texture and movement, form and freedom, forever in flux. Zahn encouraged his collaborators to maintain their own voice while improvising on the recordings. With nothing set in stone, a healthy amount of editing to the improvisations shaped the compositions. Hints of synthesizer seep between silences; fragments of different sessions emerge and overlap; horns are reharmonized, then set aloft like paper lanterns; tunings wobble up or down an octave, embracing the malleable, the liquid, the hope springing eternal. Zahn's vision is fluid, but grounded by heart: \"Emotionally, this music is a longing of sorts”. Construction-wise, Statues Il is a puzzle, pieced together from fluctuating moments, minds, and tonal centers, accruing a sum far greater than its parts. Its title, too, mirrors a fascination with the sculpted, with the fleeting made permanent: “A statue is a monument to a thing that was. As a musician, you're always seeking a new sound. 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Though the project has since grown considerably in profile (in 2020 year the band released their third full-length album Truth or Consequences), their winsome allure remains. \u003c\/p\u003e","brand":"Cascine","offers":[{"title":"Blue | 10\"","offer_id":50457464373579,"sku":"1111827","price":18.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/cc9fca60-da5e-4a9a-adc8-20e4992161b8_thumbnail_4096.jpg?v=1727205638"},{"product_id":"interior-1","title":"Interior","description":"\u003cp\u003eFor fans of: Com Truise, Toro Y Moi, Tycho, Tourist. \u003c\/p\u003e\u003cp\u003eBritish Columbia producer Jamison Isaak didn’t anticipate an adulthood of globe-trotting song-craft, but teenage exposure to iconic French house music videos cast a spell on him that still holds: “I knew then that this is what I wanted to do.\"\u003c\/p\u003e\u003cp\u003eCatalysed by synthetic sights and sounds from oceans away, he patiently taught himself primitive software and recording programs, reverse engineering the heady, swooning horizons of the dance music that had permanently bewitched him. A decade later, having amassed an expansive discography of soft-focus synth pop and romantic electronic a crisscrossing the planet many times in the process the subtext of his project’s journey rings clear: “Teen Daze is dream fulfilment'’ \u003c\/p\u003e\u003cp\u003eEnter \u003ci\u003eInterior\u003c\/i\u003e. An ode to electric futures glimpsed in ecstatic heights, from bedrooms to big rooms, it’s an album of first loves refracted through prisms of wisdom, wounds, and wonder. Filter house and flashing lights; soft acid and vaporous neon; bumping clubs in spiral towers: “Like what the teenagers in Akira might be listening to.\"\u003c\/p\u003e\u003cp\u003eCollaborative cameos by multi-instrumentalist Joseph Shabason (on sublime fantasia opener “Last Time In This Place”) and vocalist Cecile Believe (on the glitch-glamorous anthem “2AM (Real Love)”) evocatively expand the record’s palette but otherwise \u003ci\u003eInterior\u003c\/i\u003e is Izaak’s love letter to his own artistic awakening, to the paradigm shifts inherent in youthful discovery and remote dreaming — your world exploded, your life forever changed. \u003c\/p\u003e\u003cp\u003eYears of devotion and divergence have honed his craft radically; tracks like “Nite Rune “Nowhere and“Translation”are among the most supreme bangers in the entire Teen Daze canon, a delirious fusion of textural finesse and emotional transcendence. It’s music of skylines, escape, and sensual energy, forever cresting through nights that never end. \u003c\/p\u003e","brand":"Cascine","offers":[{"title":"LP","offer_id":50466352103755,"sku":"1137087","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/21654a44-67d3-419f-b156-ca47a32a3969_thumbnail_4096.jpg?v=1727311899"},{"product_id":"ep-i","title":"EP I","description":"\u003cp\u003eRepress of Yumi Zouma’s debut ​EP​. Originally released in 2014, ​EP ​represents the world’s introduction to the New Zealand dream-pop band Yumi Zouma. Though the project has since grown considerably in profile, releasing their 2020 album ​Truth or Consequences​, their winsome allure remains. ​EP​ features early favorites from the band’s catalogue including “The Brae” and “Salka Gets Her Hopes Up.” \u003c\/p\u003e","brand":"Cascine","offers":[{"title":"Green | 10\"","offer_id":50481113694539,"sku":"1111829","price":18.99,"currency_code":"GBP","in_stock":false},{"title":"Blue | 10\"","offer_id":50481114218827,"sku":"1112357","price":13.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/7cce7cab-6799-4be7-855c-4c3937a04a6b_thumbnail_4096.jpg?v=1727533767"},{"product_id":"the-golden-ass","title":"The Golden Ass","description":"\u003cp\u003eFor fans of: Tirzah, Caroline Polachek, Erika de Casier, Oklou, Smerz.\u003c\/p\u003e\u003cp\u003eBetween the ages of 2 and 18, Cora Gilroy-Ware lived in a haunted place. On the outside, this small edge of Connecticut coastline was a quintessential New England town. Yet beneath its quaint surface was a netherworld that got steadily darker over the course of those sixteen years. From a serious drug problem to environmental pollution leading to deadly illnesses, frequent suicides and an above average number of fatal accidents, something about this place was cursed. Amid this world Cora was an outsider, someone who preferred pop and RnB to the music of her peers, who mostly subscribed to the dregs of a Deadhead culture that was more nihilistic than utopian. Still, she found herself on weekends drinking in the woods with the rest of them, playing along until it was time to leave. \u003c\/p\u003e\u003cp\u003eChristmas breaks and summer months were spent across the Atlantic in a completely antithetical environment. In London, the city of her birth, Cora spent her teen years taking the bus home at dawn after raves under the railroad arches, or riding the tube to her cousin’s house in Camden. For a long time, Cora’s life was composed of these two strands ghostly East Coast suburbia and inner-city London which she was forced to fold in and out of one another like a two-strand French braid. She quickly learned to adapt and be whoever the particular moment demanded. Her outsider status was intensified by the fact that, being of mixed Afro-Caribbean and European descent, her family didn’t look like the others in Connecticut. In the 2000s, this meant Cora had to contend with a deeply ingrained kind of folk-racism, both conscious and unconsciously expressed. Nobody talked about these things back then, and she internalized a lot of shame.\u003c\/p\u003e\u003cp\u003eThe ability to shape-shift became integral to Cora’s artistic practice. Her survival mechanism at school was to carve out her own worlds through visual art and dance. Music was less of a creative outlet than a way of life, something like a form of religion for her family, who all played instruments and saw music as the form to which all art aspires. She studied violin and learned enough guitar chords to write her first songs. Cora always wanted to be a performer, but, having moved around constantly, craved stability and independence. Eager to make her own way in the world, she began to write about painting and sculpture, which eventually led to time spent working in Naples, Italy and a day job teaching the History of Art at university level. \u003c\/p\u003e\u003cp\u003eIt wasn’t until 2018 that Cora first shared her first songs with the wider world. Having collaborated and played live with Jam City (Jack Latham, who has co-produced each of her releases), she finally embarked on a solo career, which for her felt inevitable, only a matter of time. Following four acclaimed Eps Toxic Femininity (2018), Lashes in a Landfill (2019), Dreamcatcher (2020) and Maiden No More (2021), this year will see the release of her debut album The Golden Ass. For her artist name she chose, “Fauness”: a play on the Latin faunus, a woodland god with the body of a man and the horns, ears, and legs of a goat. The feminine equivalent fauness is a modern invention, made up by rococo sculptors in 18th century France. 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Zahn accompanied himself on upright bass, finessing each piece without cluttering it, focusing on the notion of \"the instrument in a room. \u003c\/p\u003e\u003cp\u003eRecruiting long-time collaborator Andy Highmore for piano duties, the duo booked time at Figure 8 Recording in Prospect Heights to craft the lulling, lyrical 12-track suite of \u003ci\u003ePale Horizon\u003c\/i\u003e. The tonality of the instruments was central to Zahn's vision, fusing them to feel like a single entity, with upright bass blending in an elegant gradient with the low strings on the piano. An air of Keith Jarrett and Ryuichi Sakamoto hangs over the collection, acoustic and unhurried, stately but subdued, ruminative daydream melodies heard on the breeze in a quiet garden. Zahn ascribes the album's heightened sense of longing to a recent romantic relationship, infusing the music with newfound intimacy and tenderness. 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Helmed by perennial co-captains Jon Tye (founder of Lo Recordings) and Pete Fowler (acclaimed Welsh visual artist), their latest collection emerged from a series of scraps and vignettes informed by a breadth of eclectic chillness (mid-80's digital new age in the Higher Octave vein, Michael McDonald remixed by Oneohtrix Point Never, etc.), then fleshed out withLyra Pramuk's Siren Songs app and Holly Herndon’s Holly+ software, rendering it choral, otherworldly, and “emotional in a new kind ofway.” The results sound elevated and ineffable, like music heard at the edge of dreams, hinting at worlds yet to come.\u003c\/p\u003e","brand":"Cascine","offers":[{"title":"Purple | LP","offer_id":50521951568203,"sku":"1169062","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/abe1d100-0efe-461a-a985-743a88eea71e_thumbnail_4096.jpg?v=1727997114"},{"product_id":"time-enough-for-love","title":"Time Enough For Love","description":"\u003cp\u003eIn the fall of 2022, legendary UK chill-out institution Seahawks – aka Jon Tye and Pete Fowler - landed in Los Angeles for the first time in their 15-year history, with plans to record a sweeping new age downtempo “exploration of visionary California.” Instead, they immediately fell ill with flu (Fowler collapsed next to a taco truck; 911 was called), and were bedridden for the better part of a week. Upon recovering, they resituated at the synthesizer sanctuary of Brian Foote (Peak Oil, Kranky, Leech), channelling their post-sickness psychedelia into one of the band’s lushest and most elevated creations to date: Time Enough For Love. Inspired by the “groove and mood” of Harry Nilsson demos, as well as its wider 70's wavelength - Rhodes, Wurlitzer, wood panelling - Tye and Fowler transposed their classic post-rave ambient exotica onto a warm and woozy Golden State palette. Buoyed by the liquid touch of English maestro Kenny Dickenson on keys, the results rank high among the duo’s smoothest and most multi-sensory voyages. “Sail Across The Moon” delivers on its title, a simmering, phaser-smeared cruise through the beauty of the night. “Messengers” echoes the cosmic lounge of Air’s Moon Safari, shuffling, weightless, and ethereal, while “Falling Deep” reaches for the stars, pure cascading bliss, the ecstatic moment writ large. The album skews steadily more astral as it progresses, drifting towards jazzy, galactic outer reaches. “Like A Grain Of Sand” opens with a spoken sample by the celebrated late American poet Rachel Sherwood (“The children watch, breathless \/ with the birds \/ They feel an emanation \/ from this shuddering place”), before taking flight on a Balearic trip through island house, PM Dawn gold dust, upright bass meditation, and kaleidoscopic light. A remix of the title track by Chicago trio Purelink closes the record in a suitably subdued and skittery state of mind. Across its 45 minutes, Time Enough For Love radiates color, complexity, and positivity, infused by the “life enhancing” nature of Tye and Fowler's time in Los Angeles - sunsets, sound systems, and sativa, framed by coastlines and cloudbanks, the city’s mystic sprawl glittering beneath purple dusk. Tye’s takeaway is appropriately beatific: “The songs soaked up that feeling | received, and | wanted to give it back. 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