{"title":"Phantom Limb","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003ePhantom Limb is a music label based in Brighton, UK. Founded by James Vella, George Clift, Ken Li and Dean Wengrow, the label has become known for its diverse roster of talented artists and performers.\u003c\/p\u003e\n\n\u003cp\u003eWith a focus on quality and innovation, Phantom Limb strives to bring unique and captivating music to audiences worldwide. The label's dedication to nurturing emerging talent has led to the discovery of some of the most exciting acts in the industry.\u003c\/p\u003e\n\n\u003cp\u003eFrom indie rock to electronic beats, Phantom Limb offers a wide range of genres that cater to all musical tastes. With their finger on the pulse of cutting-edge sounds, they consistently deliver groundbreaking releases that push boundaries and defy expectations.\u003c\/p\u003e","products":[{"product_id":"dear-sudan","title":"Dear, Sudan","description":"\u003cp\u003eAfrican-born, Baltimore-based experimental hip-hop producer Infinity Knives joins Phantom Limb for the release of his unique debut album Dear, Sudan, a vibrant and polymathic labyrinth of moods and colours.\u003cbr\u003e \u003cbr\u003e Infinity Knives - aka producer and musician Tariq Ravelomanana - moved from Tanzania (via Kenya, South Africa and Madagascar) to Baltimore with his family as a teenager, soaking up the raw, vociferous hip hop culture around him, devouring Western classical music, and embedding himself with the city’s verdant music scene. This unique combination of life experiences and contrasting strands of musical education empowered and enabled him to create his Infinity Knives guise, allowing us a window into his singular energy with Dear, Sudan.\u003cbr\u003e \u003cbr\u003e Appropriately, Infinity Knives casts a wide and thrilling net. \u003ci\u003eDear, Sudan\u003c\/i\u003e runs like a masterful showreel of deftly balanced disparate elements, a late night channel-hopping between multiple, vital, powerful musics. \u003cbr\u003e\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black | LP.","offer_id":50383117386059,"sku":"1112474","price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/735e144d-b2b6-4ff0-b116-aaaadfca5bdb_thumbnail_4096.jpg?v=1726263505"},{"product_id":"becoming-a-beach-angel","title":"Becoming A Beach Angel","description":"\u003cp\u003eUK drummer and sound artist Cameron Graham dances between EDM, joyous calypso colour, cellular Glassian minimalism, and hyperrealist AI on debut album Becoming a Beach Angel, evoking a Snes world of blissful vibrancy. \u003c\/p\u003e\u003cp\u003eCreating his dizzying, dayglo MIDI explorations with drumkit triggers, UK musician Cameron Graham conjures a multitude of soundworlds from dense compositional structures. The music of debut album Becoming a Beach Angel touches on neon, videogame digitisation, the finessed, mechanical precision of IDM, even the rhythmic intensity of gamelan, whilst retaining a thrilling and wholly singular energy. The record is an electrifying experience, full of colour.\u003c\/p\u003e\u003cp\u003eBecoming a Beach Angel flips and trips through headspinning, hyperspeed effervescence, like an entire rave condensed into a moment. Instantly joyful, its textures - formed in wavetable synthesis triggered by live-performed percussion pads - thread and bob through hyperreal abstract space, millisecond snippets of organ chords and steel pans zooming like stars in a galaxy rocketed past at lightspeed. “It’s about grabbing and holding a close person going through depression or self-doubt, taking them out the door,” Cameron explains. “Dance music for that moment you need only to find a way to move forward.” \u003c\/p\u003e\u003cp\u003eWith both silken, intuitive deftness, and meticulously rehearsed ability, Graham reins control of multiple spinning melodic lines and frequency filters into a unique bridge between various electronic and minimalist musics, celebrating and rejoicing, joyously dancing long into the night. \u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"LP","offer_id":50393753780555,"sku":"2049931","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/dcb606b0-bf8f-9850-d344-5df3d8716660_1b24da46_thumbnail_4096.jpg?v=1726425695"},{"product_id":"saru-l-qamar","title":"Saru L-Qamar","description":"\u003cp\u003ePhantom Limb boss and musician James Vella - aka A Lily - releases his first release for the label \u003ci\u003eSaru l-Qamar\u003c\/i\u003e, setting archival Maltese home recordings to new music for an album of nostalgic quasi-ambience and cross-generational dialogue. \u003c\/p\u003e\u003cp\u003eFrom the 60’s until the modern era, it was common for Maltese families to receive reel tapes from relatives abroad. Maltese emigrés resettled in Australia, the UK, Canada etc. would record their news onto cassette - often in the form of għana, traditional Maltese song - and mail the tapes back home. Amazingly, through the superlative archival work of Malta’s nonprofit heritage foundation Magna Żmien, many of these tapes still exist. A Lily (Phantom Limb boss and musician James Vella, who is Maltese) was allowed access to Magna Żmien’s collection and in late 2022 began creating new musical works responding to these recordings. These works make up the oneiric bliss of new album \u003ci\u003eSaru l-Qamar\u003c\/i\u003e [Eng: They Became The Moon], his first release on his own label. \u003c\/p\u003e\u003cp\u003eArranged alongside hardware synthesis and “minimal DAW intervention”, the recordings take on ghostly, spiritual new qualities. Simple storytelling and news-sharing (“there was a burglar in the house yesterday”, “I can’t tell you how much I miss Malta”, “do your utmost to spend all your money at the feast”) become plaintive and evocative elegies for friends and family lost to time. “This is the meaning of the album title,” Vella writes. “Though these people have left us, they can never be truly forgotten, as without them we would not be here. They become part of the fabric of our lives, remaining forever and inexorably within the makeup of every subsequent generation. They have become the moon - always present, but always out of reach.” \u003c\/p\u003e\u003cp\u003eThe music and track titles of \u003ci\u003eSaru l-Qamar\u003c\/i\u003e (pronounced: sarool-’amar) fill in the gaps between the stories, with Vella’s background as a fiction writer readily evident. Though the archival recordings come as snippets - often powerfully and profoundly revealing but rarely longer than a few minutes - through subtle processing and effects (“and a lot of audio cleaning”), Vella gently moulds these generationally personal insights into musical artefacts for arrangement alongside his pulsing, organic, enlivening synthesis. The work of mastering engineer Sean McCann (Recital Records, etc.) elevates the album’s sonics to shimmering heights of carefully balanced light and dark.  \u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Grey LP","offer_id":50403612623179,"sku":"2176379","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/53fe59c8-e6b5-4c3e-7136-dec8849685d2_231bc0b2_thumbnail_4096.jpg?v=1726562236"},{"product_id":"hot-pot-totto","title":"Hot Pot Totto","description":"\u003cp\u003eAcclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg \/ Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.\u003c\/p\u003e\u003cp\u003e“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.\u003c\/p\u003e\u003cp\u003eThematically - despite its ostensibly celebratory impact - \u003ci\u003eHot Pot Totto\u003c\/i\u003e addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.\u003c\/p\u003e\u003cp\u003eOpening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage \/ good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.\u003c\/p\u003e\u003cp\u003eKiki Hitomi was formerly a member of Ninja Tune \/ Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world.  He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eHot Pot Totto \u003c\/i\u003eis WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"LP","offer_id":50409884385611,"sku":"2046898","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/PHNTM033_-_WaqWaq_Kingdom_-_Hot_Pot_Totto_ca797a03_thumbnail_4096.jpg?v=1726631193"},{"product_id":"when-you-gonna-tell-em-the-truth-aaron","title":"When You Gonna Tell 'Em The Truth, Aaron?","description":"\u003cp\u003eRising, enigmatic Brighton songwriter Milo Korbenski delivers his debut album proper \u003ci\u003eWhen You Gonna Tell ‘Em the Truth, Aaron?\u003c\/i\u003e, a stunning collection of haunted, heavy, unique art-dream-indie-pop earworms.\u003c\/p\u003e\u003cp\u003eMilo Korbenski is a shadowy, anonymous Brighton solo musician only publicly seen in a featureless white mask, Stetson and denim jacket. However, his deeply expressive take on lo-fi slacker indie invokes a heartfelt intimacy, singing straight from the soul. This new album - an official debut following a period of self-releasing - displays endless catchy-as-hell hooks, clever lyrical wordplay, and deceptively lean instrumentation that belies its own simplicity.\u003c\/p\u003e\u003cp\u003eThe music of WYGTETTA? (Milo’s own stylisation) crosses references points as broadly spread as Kurt Vile, Helado Negro, Black Sabbath, The xx, The Cocteau Twins, Siouxsie Sioux,  Jagwar Ma and Calvin Johnson while retaining a vitally singular energy. Milo’s underlying unreality is more haunted than the indie-leaning acts mentioned here, and the readymade homespun cassette sonics lend a charm beyond the prettified sheen of his pop influences.\u003c\/p\u003e\u003cp\u003eQuickly becoming a formidable live act, Milo Korbenski performs live (in mask and Stetson) with a full band, and has played alongside acts such as Babii, Jeffrey Lewis, Art d’Ecco and others with a flourishing stage presence. A true auteur, and inexhaustibly prolific, Milo home-recorded, designed and self-released a number of albums on streaming platforms (and enjoyed staggering listening figures) without any backing, and only recently signed his first record deal. The fruits of this self-releasing period are collected on Vol. 1, released by Phantom Limb as a limited cassette in May 2023 - a record that sold out in minutes.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Red LP | Rough Trade Exclusive","offer_id":50413849641291,"sku":"2179205","price":18.99,"currency_code":"GBP","in_stock":false},{"title":"Black LP","offer_id":50413849477451,"sku":"2179204","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/PHNTM043_-_Milo_Korbenski_-_When_You_Gonna_Tell_Em_the_2c73b84d_thumbnail_40.jpg?v=1726678469"},{"product_id":"luzzu-original-soundtrack","title":"Luzzu Original Soundtrack","description":"\u003cp\u003eLA composer and musician Jon Natchez (The War On Drugs, Beirut, David Byrne, St. Vincent) scores stunning, award-winning Maltese independent movie Luzzu for Phantom Limb’s Geist im Kino soundtrack imprint. Maltese screenwriter and director Alex Camilleri’s glorious Luzzu sits at 100% on Rotten Tomatoes. “All submerged,” writes Carlos Aguilar for the Los Angeles Times, “in Jon Natchez’s enrapturing score.” Composed for strings, flutes, clarinets, brass, synthesiser and the masterful harp of acclaimed artist Mary Lattimore, Natchez’s work for Luzzu celebrates, reflects, and glues together the gritty, loving agony of Camilleri’s staggering directorial debut.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"LP","offer_id":50417182605643,"sku":"1149497","price":11.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/cf603a1e-f62e-4e4f-9f98-889974d40bf1_thumbnail_4096.jpg?v=1726720292"},{"product_id":"harmonybalance","title":"Harmony\/Balance","description":"\u003cp\u003eNigerian electronic musician and violist Ibukun Sunday debuts on Phantom Limb with \u003ci\u003eHarmony \/ Balance\u003c\/i\u003e, a brooding, introspective take on Afro-ambient music that follows two acclaimed digital-only albums for Phantom Limb imprint Spirituals.\u003c\/p\u003e\u003cp\u003eBased in Lagos, Ibukun Sunday has expertly positioned himself between the rarely-married cultures of ambient and West African musics. He entwines his compositions with field recordings from his native Nigeria and deeply considered philosophies of existence, humanity, and society. The themes of \u003ci\u003eHarmony \/ Balance\u003c\/i\u003e derive from Swami and Hare Krishna founder A. C. Bhaktivedanta and his work Bhagavad-Gita [Eng: “As It Is”], a script on the duality of human nature.  In Bhaktivedanta’s text, two cousins - warriors from the sacred Hindu text the Mahābhārata - and their armies are pitted against each other. The humility, self control, and devotion of one cousin against the arrogance, envy, and pursuit of power of the other. Bhaktivedanta writes that from this battle we see the necessity to cultivate and nurture our love and faith, but to simultaneously understand our selfishness and hubris. Appropriately, in Ibukun Sunday’s music, a heavy, apocalyptic dread contrasts fascinatingly with passages of light. The static-spiked, corrosive sound design of Harmony \/ Balance conjures darkness, but its skipping rhythmic patterns and melodic contours are made of beautifully vibrant colours.\u003c\/p\u003e\u003cp\u003eThough Sunday excels in the kind of drawn-out elegance also found in the work of Kali Malone, William Basinski or Fennesz, and also in a magisterial repetition akin to Terry Riley or Manuel Göttsching, his unique practice, classical training, and core culture shine through in a pure and singular way. Scattered throughout \u003ci\u003eHarmony \/ Balance\u003c\/i\u003e are unexpected melodic antiphonies closely aligned with African music, interspersed between huge, spacious drones and field recordings.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black LP","offer_id":50426420756811,"sku":"2212651","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/click_eddabf3d_thumbnail_4096.jpg?v=1726809627"},{"product_id":"disconnect-2","title":"Disconnect","description":"\u003cp\u003eTwin heavyweights Kevin Richard Martin (The Bug) and Joseph Kamaru (KMRU) unite for \u003ci\u003eDisconnect\u003c\/i\u003e, a powerful study of dread, hope, and profound sonics that marries depth-trawling dub with Kamaru’s voice, ambient sensibilities, and negative space. \u003c\/p\u003e\u003cp\u003eKevin Martin first became aware of Kenyan ambient musician KMRU “watching the short 2020 documentary Under The Bridge,” he tells us. “Which, aside from immediately finding Joseph's approach to sound and music so instantly impressive, I also found his spoken voice possessed a captivating, lilting, tonal quality, with his soft-spoken accent.” Following this, Martin dug into Kamaru’s records, and found not only a kindred spirit in skilful exploration of sonic space, but also a fan of The Bug. So began a mutually respectful relationship, initially held in Instagram DMs and reciprocal admiration for each other’s work and eventually blossoming into an invitation sent by Kevin to Joseph to collaborate on a new album.\u003c\/p\u003e\u003cp\u003eThe results - debut collaboration album \u003ci\u003eDisconnect\u003c\/i\u003e - collect a back-and-forth creative dialogue that started life in Martin’s studio. “I think I surprised Joseph by suggesting he contributes vocals,” Martin tells us. This ability to identify, isolate and exploit the nonstandard is a trait shared by both musicians and employed to devastating effect on Disconnect. Its vocals, sitting somewhere between intonation and spoken word, capture the ear and fizz with simmering power. They are indeed a surprise, coming from a musician specialising in instrumental, field recording-laced ambient musics, but tell intensely evocative stories, weaving poetry into the pair’s grandiose greyscale musical architecture.\u003c\/p\u003e\u003cp\u003eThe record opens with “Differences”, setting out key themes, motifs, and soundworlds with reverberous and shivering potency. Depthcharge bass hits punctuate the space as Kamaru’s voice textures the tapestry. It is just as deep, intense, and arresting as we can expect from Kevin Richard Martin, following his acclaimed rescore of Solaris (released in 2021 on Phantom Limb) and a handful of self-released solo albums that explore a sound just as heavy as The Bug but at a menacingly slower pace. And it is just as evocative and unique as Kamaru’s KMRU canon, each object delicately and purposefully placed so the timbral mosaic builds with shimmering and hypnotic beauty. \u003c\/p\u003e\u003cp\u003eKey track “Differ” (the project is built from three core ‘moments’, pushed and pulled into divergent reconstructions to make up the wider body of work) hits like the shattering of galaxy-sized panes of glass. Shards tumble and collide, spinning off into itinerant orbits across an immeasurable void. Again, Kamaru’s voice makes up part of a larger whole, found here in snippets and artefacts rather than leadlines. It is a chill-inducing experience, a succinct picture of Martin and Kamaru - two immensely talented solo musicians - together opening up an irresistible beyond.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eDisconnect\u003c\/i\u003e is the first collaboration record by Joseph Kamaru and Kevin Richard Martin, released on Phantom Limb. It will be followed by an EP titled Otherness, created in the same sessions and exploring the same themes. \u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black LPx2","offer_id":50445058507083,"sku":"2202504","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/click_ca13e8c1_thumbnail_4096.jpg?v=1727032732"},{"product_id":"xiuxiuejar","title":"Xiuxiuejar","description":"\u003cp\u003eIcelandic theremin musician Hekla offers her second album of haunting, spectral soundscape-songwriting Xiuxiuejar, a sonic black hole of corrosive beauty and mesmerising darkness. \u003cbr\u003e\u003cbr\u003e“I grew up mostly in Barcelona, but after being so long now back in Iceland I have really come to love the Catalan language,” Hekla writes. “The word Xiuxiuejar felt right for the album. It means to whisper.” This sense of understatement, of quietude, of intentionality permeates her new album. Tiny, single artefacts are delicately placed about a desolate negative space, creating a textural structure built on and around silence. And while the album is constructed from songs, the sheer, dense gravity of Hekla’s sonics aligns Xiuxiuejar with avant-garde, musique concréte and sound-art, yielding an album to mimic Iceland’s barren rocky landscapes, permanight and folkloric Magick. \u003cbr\u003e\u003cbr\u003eHekla is a rare virtuosic player of the theremin, a notoriously difficult electronic instrument, joining a miniscule group of musicians in mastery of its esoteric, light-controlled frequencies. Classically informed, her playing covers an enormous range, from skittering birdsong of chirrups and chirps to tectonic sub-bass. Her fans in the wider music community - PJ Harvey, for example - describe her alongside musicians such as Colleen, Julia Holter or the late Jóhann Jóhannsson. \u003cbr\u003e\u003cbr\u003eThe album also sees Hekla employ the cello, her second instrument. She combines a grindingly heavy bowing technique with blistering distortion and sparse, thumping bass hits to craft a soundworld beyond her usual timbres but totally in keeping with her key themes and imagery. A neat progression and compositional development from her previous works that preserves an exciting ongoing mythology. \u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black | LP","offer_id":50453219180875,"sku":"1163108","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/dfe5f5d9-263c-440a-b6c1-b30a307fe833_thumbnail_4096.jpg?v=1727169773"},{"product_id":"these-charms-may-be-sung-over-a-wound","title":"These Charms May be Sung Over a Wound","description":"\u003cp\u003eSeminal British experimental musician Richard Skelton joins Phantom Limb for the release of stunning new album\u003ci\u003e These Charms May Be Sung Over A Wound\u003c\/i\u003e, his first for the label, first on vinyl in over a decade, and a standout record in his own catalogue.\u003c\/p\u003e\u003cp\u003eOver the past sixteen years, Richard Skelton has developed a signature sound, often comprised of strings, piano and other acoustic instrumentation. Since 2013 he has increasingly buried these organic sources in layers of detritus and static. The process, as he articulates it, is to use signal-degradation as a means of reflecting the processes of decay and transformation in the natural world. His music has been placed alongside giants of experimental music, such as Brian Eno, Harold Budd, Stars Of The Lid, William Basinski.\u003cbr\u003e\u003cbr\u003eWith new album \u003ci\u003eThese Charms May Be Sung Over A Wound,\u003c\/i\u003e however, Skelton has abandoned acoustic instrumentation altogether to map out a new territory of buzzing sine tones and square waves, immersed in shimmering clouds of distortion and suspended over landscapes of thrumming bass. The result is a new and transcendental experience: while the key themes of Skelton’s music remain - stark and lonely geographies, ancient myths buried deep within the land, slow-moving glacial evolution - we are transported to a darker and more mechanical place. The intensity and sound design here are more akin to quasi-industrial, abandoned-factory sonics than to earthy, organic tones of earlier Richard Skelton albums. Abul Mogard and Alessandro Cortini could be considered peers now, just as much as Eno and Basinski had been before.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black | LP | x2","offer_id":50453300805963,"sku":"1098088","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/14bb02af-7792-4002-9300-35b99b192e85_thumbnail_4096.jpg?v=1727170726"},{"product_id":"building-something-beautiful-for-me","title":"Building Something Beautiful For Me","description":"\u003cp\u003eCelebrated UK producer Loraine James joins Phantom Limb for breathtaking homage to vital NYC composer Julius Eastman, reinterpreting, reimagining and responding to key works for a brand new album.\u003c\/p\u003e\u003cp\u003eIn 1990, the composer Julius Eastman quietly passed away, out of the spotlight, a young man. By his death substance-addicted, homeless and broke, he was unforgivably overlooked in his lifetime. Still, the legacy of creative work he leaves is far more befitting to celebration than destitution. Only a portion of his music remains - a deeply regrettable sidenote to an already heartbreaking story - but this work represents a glorious and beautifully hued depiction of a composer totally in step with any modern great we could name.\u003c\/p\u003e\u003cp\u003ePhantom Limb are long-term fans of both Eastman and Loraine James. Using their rare, fortuitous connection with Julius’ surviving brother Gerry, the label began this new project in summer 2021, hoping to continue the current tide of efforts to reinstate Eastman’s rightful place in 20th-century composition. Loraine was offered a zip drive of Eastman originals (courtesy of Gerry Eastman), Renee Levine-Packer \u0026amp; Mary Jane Leach’s illuminating biography Gay Guerilla (University of Rochester Press, 2015), and transcribed MIDI stems (courtesy of Phantom Limb A\u0026amp;R James Vella), and the resulting album \u003ci\u003eBuilding Something Beautiful For Me\u003c\/i\u003e carries the Eastman torch with finesse and sensitivity. Loraine employs samples, melodic motifs, themes and imagery, and inspiration from Eastman’s canon, slicing, editing, pulling apart and playing samples like instruments to craft a stunning album that venerates Eastman’s genius while adhering to her own.\u003c\/p\u003e\u003cp\u003eSpeaking in similar tongues as young, gay, Black, independent creatives in a challenging environment, the two musicians are bound closely together, despite a six-year gap between their lives ever intersecting. James includes the original Eastman title in many of her tracks, appending the source material in parentheses to mark the lineage of the work - a clear, traceable thread from the heavenly to the sublime.\u003c\/p\u003e\u003cp\u003eAlbum opener “Maybe If I” riffs on Eastman staple Stay On It. Its arrestingly pretty central melody is reshaped into a living, undulating canvas on which James’ IDM-inspired beat production flickers and swirls. A repeated vocal line pulls Eastman’s towering work of modern minimalism towards reclassification as a “song”. Next follows “The Perception of Me (Crazy N–)”, channelling Eastman’s righteous anger and knowing reclamation of the brutally charged N-word into a quasi-ambient exploration of Eastman piano samples set to skittering beats. Elsewhere, opening side B, “Enfield, Always” acts as a creative response to our past master. While Eastman purposefully, slyly intermingled Uptown NY’s stuffy professionalism with Downtown’s loose fervour, Loraine is a London artist, bound into her locale with the same honour and justified sentimentality as Eastman was with his. 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Having been long inspired by pioneering Soviet filmmaker Andrei Tarkovsky, Martin tells us that his 1972 masterpiece \u003ci\u003eSolaris\u003c\/i\u003e was the “natural choice”. The film is an unattested giant, not only of science fiction and Soviet film, but also in the annals cinematic history. And its original score, composed by regular Tarkovsky collaborator and early Soviet electronic musician Eduard Artemyev, is a magnificent work of haunting majesty, a key element to the film’s brilliance. Martin’s challenge was great: “it was with a certain amount of trepidation I stepped into such large footprints,” he writes. \u003c\/p\u003e\u003cp\u003eThe results - an all new score entitled \u003ci\u003eReturn to Solaris \u003c\/i\u003e- are breathtaking. The film is intense, psychologically devastating and bleakly compelling. Interweaving themes of love, horror, sorrow, nostalgia, memory and dystopia, Martin’s score expertly mirrors this expansive breadth of psychic weight, from existential dread to heartbreaking poignancy, with immense emotional gravity. Drawn to its “narrative struggle between organic, pastoral memories of a lost past, and the harsh, dystopian realities of a futuristic hell,” Martin employs atonal noise, simmering waves of distorted synthesis, undulating drones and otherworldly, astronomic sound-design to crushing effect. Subtly submerged recurring motifs - reflections of individual characters - rise and fall amidst the fog, occasionally illuminating the doom like motes of starlight, before settling back into the density of space. \u003cbr\u003e\u003cbr\u003eAlbum opener “Theme for Kris'' begins with a shimmering, alien tone, mimicking a disembodied, metallic choralsong that creeps and snakes about an unsettling frequency range. Ghosts aboard a deserted space station. The hissing, technological dystopia of subsequent track “Solaris'' sends evaporating torrents of steam through bulging, clanging, echoing chords, while later on the record, “In Love With A Ghost” revisits these same passages of seething doom, but now refocused into billowing, droning clouds of noise. \u003cbr\u003e\u003cbr\u003eDetermined that his score should retain the eerie, dreamlike mood of the film and authenticity to its era and origin, Kevin mined his analogue lab for suitable instruments and recording equipment, favouring antiquated, hands-on hardware over computer-based production techniques. With Voorhuit’s help, he acquired an original Pulsar 23 drum machine, created by cult Russian synth builders SOMA Laboratory. Appropriately, much of his rescore is centred around its spectral, strung-out sounds. \u003cbr\u003e\u003cbr\u003eThe project represents many firsts for Kevin: his first commissioned soundtrack; his first composition to picture; his first work in his new Belgian home after a move from Berlin; his first live performance to film screening. On completion, he performed \u003ci\u003eReturn to Solaris\u003c\/i\u003e to picture over sold out two nights in October 2020, in the beautiful Voorhuit concert theatre of Gent, Belgium. And, with huge personal significance, this was his first public performance of the Covid era. He performed to a socially distanced crowd, many of whom unaware of his existing profile, “which made the rapturous reception and incredible feedback to the performance all the more memorable,” he writes. \u003cbr\u003e\u003cbr\u003eTarkovsky’s Solaris won the Grand Prix Spécial du Jury at the 1972 Cannes Film Festival and was screened for an incredible fifteen years uninterrupted in the Soviet Union. It is placed highly in “greatest movies of all time” lists published by Empire and the BBC, among others. 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Norman McLaren was once described by composer, music theorist, and mathematician Milton Babbitt as “the first electronic musician.” In addition to his pioneering work in animation, the electronic soundtracks McLaren created for his own films employ astonishing foresight and a characteristically precise methodology. They also crystallise boundless creativity, wit and whimsy, and illuminative brilliance into a unique insight to his remarkable mind, with or without visual accompaniment.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black LP","offer_id":50465261683019,"sku":"2224385","price":29.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50465261224267,"sku":"2224384","price":11.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a2695071771_10_c6975408_thumbnail_4096.jpg?v=1727284239"},{"product_id":"fossil-cocoon-the-music-of-k-yoshimatsu","title":"Fossil Cocoon: The Music of K. 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Deeper still, “Pastel Nostalgia”, from the 1983 album of the same name, marries childlike piano with a wailing siren tone and dripping tap percussion. It is significantly creepier, more acerbic and disembodying than the ambient or New Age music of the era, despite a similarity in raw materials.\u003c\/p\u003e\u003cp\u003eYoshimatsu’s substantial catalogue now happily, newly sits in a neat collection as \u003ci\u003eFossil Cocoon\u003c\/i\u003e, compressing his enormous abilities into single moments. Koshiro himself was an invaluable lighthouse throughout the curation process, a guide through the depths and annals of his recording career, now forty years hence, shining light onto forgotten music rescued from home-recorded tapes. The result may be an expressly varied album, but it is held magically together by Yoshimatsu’s profoundly singular creative alchemy.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black LP","offer_id":50474861166923,"sku":"2205067","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Fossil_Cocoon_The_Music_of_K._Yoshimatsu_73588bb5_thumbnail_4096.jpg?v=1727439335"},{"product_id":"vol-1-38","title":"Vol 1","description":"\u003cp\u003eRising enigmatic Brighton songwriter Milo Korbenski precedes his full debut for Phantom Limb with \u003ci\u003eVol. 1\u003c\/i\u003e, a collection of key tracks taken from previous self-releases, exemplifying his trademark haunted, heavy, unique art-dream-indie-pop earworms. \u003c\/p\u003e\u003cp\u003e Milo Korbenski is a shadowy, anonymous Brighton solo musician only publicly seen in a featureless white mask, Stetson and denim jacket. However, his deeply expressive take on lo-fi slacker indie invokes a heartfelt intimacy, singing straight from the soul. A true auteur, and inexhaustibly prolific, Milo recorded, designed and self-released a number of albums on streaming platforms (and enjoyed staggering listening figures) without any backing, and only recently signed his first record deal. The fruits of this self-releasing period are collected on \u003ci\u003eVol. 1\u003c\/i\u003e, in celebration not only of his first initiation into a label roster, but also of the thrilling deftness of his songcraft. The collection explores a multitude of catchy-as-hell hooks, clever lyrical wordplay, and deceptively lean instrumentation that belies its own simplicity. \u003c\/p\u003e\u003cp\u003e The music of \u003ci\u003eVol 1\u003c\/i\u003e. 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Milo’s underlying unreality is more haunted than the indie-leaning acts mentioned here, and the readymade homespun cassette sonics lend a charm beyond the prettified sheen of his pop influences.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Tape","offer_id":50486805987659,"sku":"2024331","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/PHNTM034_-_Milo_Korbenski_-_Vol._1_92c11bcc_thumbnail_4096.jpg?v=1727615843"},{"product_id":"zigoku-di-yu","title":"Zigoku \/","description":"\u003cp\u003eAcclaimed Japanese musician 99Letters joins Phantom Limb for new album \u003ci\u003eZigoku \/ 地獄\u003c\/i\u003e, seamlessly processing traditional Japanese instrumentation into pitch-black techno and quasi-industrial sound design.  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WaqWaq Kingdom's endless range of stylistic adventures sees them uniquely draw lines between traditional Japanese and contemporary electronic, between Jamaican dancehall and 8-bit techno, African polyrhythms and experimental music, with plenty more helping to colour a powerful, vibrant palette. \u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black LP","offer_id":50506843554123,"sku":"2029660","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e25b2f20-b918-421a-91e4-840dde81db4c_thumbnail_4096.jpg?v=1727831430"},{"product_id":"dokkoisho","title":"Dokkoisho","description":"\u003cp\u003eIn Japanese, the word “dokkoisho” is like a heavy sigh lifted from the lungs after hard but energising work, and an encouragement to keep the good work going. Released at the height of the 2020 lockdown, WaqWaq Kingdom’s \u003ci\u003eDokkoisho\u003c\/i\u003e is exactly the breath of fresh air they needed, a necessary reminder to persevere when times are tough.\u003c\/p\u003e\u003cp\u003eFollowing up the intense highs of their second album \u003ci\u003eEssaka Hoisa\u003c\/i\u003e is hard work indeed, but on \u003ci\u003eDokkoisho\u003c\/i\u003e, Kiki Hitomi and Shigeru Ishihara come back for more with an even fiercer inferno of tracks. Combining their experience and many talents, from King Midas Sound and Seefeel as well as Ishihara’s DJ Scotch Egg alias, the two serve up a melting pot of genres and influences, putting the listener in a headlock for a hyperpop, hypermodern, hyper addictive EP of convulsive techno beats and electrified tribal Japanese rhythms.\u003c\/p\u003e\u003cp\u003eFar from evoking the slumped shoulders of a deep sigh, ‘Don’t Be A Zombie’ kicks off with stormy drums and adrenaline infused lasers. Kiki Hitomi’s helium-filled voice sings, “If my life is predictable I’ll become zombie,” in an anti-boredom anthem that segues into the propulsive and bouncing club track ‘Positive Sound’. Plasma-powered bass builds on ‘Mr Two Face’, breaking down into a serenely ambient second half with an oasis of glittering synths before the ebullient chiptune of ‘Relax In Chaos’ chirps and pulses, racing against shredded vocals.\u003c\/p\u003e\u003cp\u003eWaqWaq Kingdom show off their strength on \u003ci\u003eDokkoisho\u003c\/i\u003e with their unique and explosive material.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black CD","offer_id":50506845290827,"sku":"2029659","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Dokkoisho_-_EP_89a135f3_thumbnail_4096.jpg?v=1727831471"},{"product_id":"beyond-the-uncanny-valley","title":"Beyond The Uncanny Valley","description":"\u003cp\u003eCrucial Toronto rapper \/ producer \/ DJ myst milano. returns with thrilling new album \u003ci\u003eBeyond the Uncanny Valley\u003c\/i\u003e, an exhilarating ride through hedonistic experimental hip-hop and house music that reinterprets the breadth of Black electronic music with addictive singular energy. \u003c\/p\u003e\u003cp\u003e“I offer Beyond the Uncanny Valley as a working anthology of Black electronic music across generational, geographical and genre lines,” myst milano. writes. “I thought a lot about staples of Black art across the world that can be traced back to Africa, and that link the diaspora regardless of where our people end up and throughout all eras.”  \u003c\/p\u003e\u003cp\u003eA mighty example of this omnivorous and multifaceted awareness of Black creativity, \u003ci\u003eBeyond the Uncanny Valley\u003c\/i\u003e is a tidal wave, swallowing up Canadian House, Detroit Electro, Chicago Footwork, UK Jungle and Dubstep, Jersey \/ Baltimore \/ Philly Club, Southern Hip-Hop and West Coast Funk into the trail of euphoric destruction left by myst milano.’s trademark grimy, sweaty, lusty neo-R\u0026amp;B take on contemporary hip-hop. \u003c\/p\u003e\u003cp\u003eOpening with “Thirteen”, the album hits with punch and immediacy. The track’s thumping kick and swirling, haunted synthesis represent myst milano.’s keen ability to nurture perfect symbiosis between production, arrangement and lyrical theme. It is equal parts dreamy, provocative, sexy and powerful, and, together, entirely unique to myst’s creative voice. As with Beyond the Uncanny Valley as a whole, it is evocatively storytelling, mixing vivid imagery with slick wordplay. We are introduced to myst’s groupie (formerly “a hater”), as their crew “causes damage you can’t afford”, while witty threats and erudite posturing flow out over a steadily expanding instrumentation that mimics myst’s breathless, sweatbox DJ sets.  \u003c\/p\u003e\u003cp\u003e“Ring Ring” is another key track. Glitching nuclear alarms give way to a bulldozing kick drum and in-the-red distortion on myst’s voice. The vocals hit at breakneck speed while the production retains a dirty, dirging stomp. It is formidable, intense, fun, and intimidating in all the right ways. \u003c\/p\u003e\u003cp\u003eUnderpinning the album is a mechanised female voice that has possessed the record like a replicant ghost. “When we go beyond the uncanny valley, we reach a state of perfect harmony where the robot has mimicked the human to the point of being indistinguishable,” myst says. “Who are we when we become perfect imitations of what the world wants instead of who we really are, which is imperfect and flawed and a little uncanny, anyway?” While the music of \u003ci\u003eBeyond the Uncanny Valley\u003c\/i\u003e is human, with real emotion and expression, it occasionally flirts with the beyond, reaching into a near future where reality and technology bleed into one. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eBeyond the Uncanny Valley\u003c\/i\u003e is myst milano.’s second full length, following 2021’s rapturously received debut \u003ci\u003eShapeshyfter\u003c\/i\u003e, and a monstrously successful accompanying house remix on the UK’s legendary Defected Records. \u003cbr\u003e\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"LP","offer_id":50509610090827,"sku":"2027989","price":9.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/62e7d156-309b-c4dd-62de-d202ff89d38d_b9360f8d_thumbnail_4096.jpg?v=1727866742"},{"product_id":"king-cobra","title":"King Cobra","description":"\u003cp\u003eBaltimore hip-hop experimentalists Infinity Knives and Brian Ennals return with vital new album \u003ci\u003eKing Cobra\u003c\/i\u003e, a mighty, omnivorous record that pushes the duo to unstoppable creative heights. \u003c\/p\u003e\u003cp\u003enfinity Knives and Brian Ennals’ inexhaustible creativity has already gifted us 2020’s \u003ci\u003eDear, Sudan\u003c\/i\u003e - a kaleidoscopic, unpredictable joyride of late night channel-hopping - and 2021’s brutal post-George Floyd manifesto Rhino XXL, but King Cobra is a new experience still. It is a masterfully executed expression of both ferocity and joy. ”Not a checklist of all the ills in the world,” says the band, “but it feels like darkness”. An expansively ambitious record, full of fire, and a thrilling new step from artists on a crucial mission. \u003cbr\u003e\u003cbr\u003eAn opening of moody, operatic lamentation for guitar and voice steeped in VHS warble intensifies the record that follows. “Coke Jaw” barrels out like a swinging fighter, matching nimble Tron synthesis with lines that “fuck the Clintons and the Kennedys” and proclaim “we the post-apocalytpic Run-DMC”. Lead single “Death Of A Constable” maintains the visceral energy, Ennals honouring Black life and culture in one line and biting hard on injustice and inequality in the next. He’s “saving up for a new guillotine” to deal with PTSD giving him “killer dreams”. Centrepiece “A Melancholy Boogie” ups the funk without softening any collision impact. A Prince-esque bassline and Funkadelic backing vocals are punctuated with orchestral stabs and Ennals’ penetrating, fleet-footed dissections of innercity hardship. Throw in themes of learned Afrofuturism and Tanzania-born Infinity Knives’ instinctive East African licks, and the track is capable of towering over its peers. \u003c\/p\u003e\u003cp\u003eThe duo offering Ice Cube and KRS-One’s Boogie Down Productions as influences reveals an admiration for time-revered classic hip-hop, but digging deeper uncovers references (both overt and subtle) to Pink Floyd, Stars Of The Lid, William Basinski, Sade, Outkast and Aretha Franklin among a vibrantly coloured palette. “Sonically it’s jagged, it’s incongruent, it’s supposed to make you feel a little uncomfortable,” the duo explained. \u003cbr\u003e\u003cbr\u003eMore than a pure hip-hop producer, Infinity Knives (aka NPR composer-in-residence Tariq Ravelomanana) demonstrates his oft-discussed love of contemporary classicists such as Max Richter and Jóhann Jóhannsson throughout. Hidden deftly amongst the hard-hitting beats and Ennals’ lyrical dexterity are moments of blissful orchestration that betray an abundance of musical talent and a precise control over the cleverly formed layers of melody and harmony. Key track “Don’t Let The Smooth Taste Fool You” is in the rare and notoriously complex 10\/4 time signature, but in Ravelomanana’s hands it prowls sleek and powerful as a lion. More than a pure hip-hop record, King Cobra provides a relentlessly inventive backdrop for Brian Ennals’ righteous poetry of vitriol, rage, philosophy, humour and myth-making. “This isn’t an album meant for you to smile to,” Ennals writes, “except when I say something funny.” \u003cbr\u003e\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"LP - Black","offer_id":50510895907147,"sku":"1151010","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/de0adb23-2eaa-4e49-a3c8-dede7734fe7f_thumbnail_4096.jpg?v=1727881679"},{"product_id":"selenodesy","title":"Selenodesy","description":"\u003cp\u003eEssential UK experimental composer Richard Skelton returns to Phantom Limb for new album \u003ci\u003eSelenodesy\u003c\/i\u003e, interweaving his newfound love of electronics and synthesis with mastery of gritty organic texture. Skelton’s music has always been rooted in landscape, in the loam and grit of the earth: from his 2009 Pennine Moors-inspired modern classic Landings to his more recent Moraine Sequence of geological excavations, his work has been bound inexorably with the stark and untended wilderness of northern landscapes. With this new album, however, Skelton shifts his gaze skyward — in part the result of a move in 2017 to the countryside near the Kielder Observatory, and to a so-called ‘dark sky’ region of the UK. In this remote landscape, light pollution is minimal, allowing the austere majesty of the night sky to be seen with greater clarity. The resulting album, selenodesy, reveals a new, reverberant spaciousness to Skelton’s use of electronics. It marries the twin worlds of his previous Phantom Limb release - 2020’s \u003ci\u003eThese Charms May Be Sung Over A Wound\u003c\/i\u003e, and its abandoned-factory threnody - with the landscape-revering arcana of his earlier work, which saw him bury instruments in the soil to return months later to recover and record with them, newly imbued with the land they occupied. selenodesy was prefigured by a period of insomnia and the relief found in stargazing, during which Skelton tried to transcribe his hypnagogic visions: “much of this music came to me in the early hours, in that nowhere state between dreaming and waking. I’d look out the window and the night sky would be swirling with stars. Mars or Venus would be hovering in the corner of the room. I’d lie there and watch the Aurora Borealis dance across the ceiling.” In selenodesy, we find the lingering, distorted sine waves of album opener “Albedo” that thrum and fizz with an icy, foreboding moonlight, rays of subtle movement that illuminate and darken alternately. Next follows lead single “The Plot of Lunar Phases”, whose passive shrieks echo about a cold, yawning space, reaching an ecstatic crescendo of hissing sonics and swirling celestial drone. Its dynamic range acts like the light of a lunar passage, from utmost darkness to radiant luminosity. Elsewhere, the pulsing, precessional bass of “Faint Ray Systems” gradually opens to reveal mournful, elegiac synthesis that reaches high into the night sky with an unearthly beauty. 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A former student of classical piano and voice, an unbreakable bond with her homeland yielded an extensive and ongoing dive into the mythologies, arts and storytelling of ancestral Greece. These studies eventually guided her to the debut solo works that make up Anásana. The instrumentation and themes of Anásana borrow both from the ancient ecstatic ritual of historical Greece and meditative electronic ambient music. Flowing lines of deeply learned piano technique clothe traditional Hellenic folksong. And while its imagery was unmistakably born in Greece, its tones are inflected by de Kol’s time in Berlin and her immersion in its electronic and experimental scenes. \u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Black LP","offer_id":50513329324363,"sku":"2028503","price":23.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/8cb635c6-b4a0-b49b-9937-f14007b57f17_b8fa00ff_thumbnail_4096.jpg?v=1727926681"},{"product_id":"the-second-law","title":"The Second Law","description":"\u003cp\u003eA boundless creative spirit, Australian artist Paul Schütze has worked for over forty years as a musician, photographer, visual artist and perfumer. He has exhibited at institutions such as the Hayward Gallery, the V\u0026amp;A and Madrid’s Arco, held residencies at the Cité des Arts in Paris and has works in collections worldwide. He has collaborated with musicians from Jah Wobble to Toshinori Kondo, from Bill Laswell to David Toop, and worked both as a filmscore composer and music critic in print.\u003c\/p\u003e\u003cp\u003eA new, remastered compilation of key works from Schütze’s catalogue, \u003ci\u003eThe Second Law\u003c\/i\u003e, collates music from various periods and albums. Represented here are tracks from 1990’s The Annihilating Angel, an album of blissed-out fourth-world mystery; from the transcendent homage to traditional Indonesian gamelan music \u003ci\u003eThe Rapture of Metals\u003c\/i\u003e (1993); from the ethereal, spiritual, Nino Rota-esque melancholy of 1991’s \u003ci\u003eRegard: Music by Film\u003c\/i\u003e. It is occasionally dark, industrial and begrimed; occasionally paradisiacal and breathtakingly elegant. There are works of celestial, astronomic grandeur alongside microscopically detailed miniatures. Empty, deserted spaces of man-made abandonment contrast with studies of ornate natural beauty.\u003c\/p\u003e\u003cp\u003eBorn in Melbourne, Schütze's musical life began as a composer of filmscore, winning the AFI award for best score for his first feature \u003ci\u003eThe Tale Of Ruby Rose\u003c\/i\u003e in 1987, while 1985’s \u003ci\u003eDeus Ex Machina\u003c\/i\u003e (the sound design for an eponymous exhibition co-curated by Schütze) is now considered the first true solo work in the sizable Paul Schütze canon. Now beginning to focus on his own expression alongside commissioned work, Schütze relocated to London in late 1992, welcomed by a burgeoning community of artists and musicians at a time of immense creative fertility. The stream of releases that followed, under his own name and under various pseudonyms and aliases, began to confirm an important new voice in experimental music, in Australian electronic music, and in early ambient music.\u003c\/p\u003e\u003cp\u003eIt was a voice that, surprisingly enough, caught the attention of Virgin Records, in the middle of 1995. Then a huge, multinational company and a deeply ingrained cog of the major label machine, Virgin’s interest in an avant garde electronic \/ ambient composer from Australia was made yet more perplexing by their decision to release Schütze’s 100-minute, spoken word opera \u003ci\u003eSecond Site\u003c\/i\u003e on double CD in 1997. As the label was contractually obligated to include a complete tracklisting in their printed catalogue, Second Site’s 102 tracks (the opera’s libretto written out in full) occupied two whole pages.\u003c\/p\u003e\u003cp\u003eSuch pure, eloquent artistry is difficult to distill down to a single statement, but \u003ci\u003eThe Second Law\u003c\/i\u003e offers a wide-ranging picture, held together with the music’s immense emotional depth. Though it is far from an exhaustive collection - Schütze has released some thirty albums over his extensive career - it looks to capture an overarching theme, a bird’s eye view, of Paul Schütze singular creative energy. His unique ability to bind disparate elements into a powerfully intentional voice. To hold the delicate and the intense together as one.\u003c\/p\u003e","brand":"Phantom Limb","offers":[{"title":"Clear | LP","offer_id":50531402842443,"sku":"1131767","price":5.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/41733ab8-8e00-4ea8-bc63-be49f29a8977_thumbnail_4096.jpg?v=1728107545"},{"product_id":"turnar","title":"Turnar","description":"\u003cp\u003eAcclaimed Icelandic theremin musician Hekla returns with \u003ci\u003eTurnar\u003c\/i\u003e, her third album of devastatingly heavy, spectral soundscape-songwriting, entering a sublime paranormal plane of haunting dread.\u003c\/p\u003e\u003cp\u003eNow augmenting her virtuosic solo theremin work with cello, voice, and the sacred church organ of Icelandic master Kristján Hrannar, the evolution of Hekla’s unique magic summons new worlds with \u003ci\u003eTurnar\u003c\/i\u003e. The album was recorded partly in (and named after) a medieval castle tower in rural France, its ruinous black broken in spare beams of angelic stained-glass light. But, writes Hekla, “the sound of theremin kind of opens up a portal into a new realm that both looks into a dark old world and to the future.” The record is an alternately beautiful and crushing space voyage into a glacial underworld cascading with phosphorescence and cave drip, conjuring ancient choral ritual just as readily as redolent sci-fi gloam.\u003c\/p\u003e\u003cp\u003eOpener “Inni” begins with swooning and shimmering lines of theremin that shiver with electrified energy before subfrequency bass elevates them into a glowing plasma, hovering above a crystallised surf. Key moment “Gráminn” wails with ghostly harmonics while distorted drones crash together in a stormy and blackened netherworld sea. It traces a neat progression from Hekla’s last album - the acclaimed Xiuxiuejar - while also welcoming an expanded timbral palette and flourishing compositional confidence. At the end of side A, “Var” delicately places sonic artefacts about a desolate negative space, creating a dense inverse gravity. 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It is an ecstatic, pop-oriented shift in direction from an artist primarily known for noise, experimental hip-hop, and ambient music, but carried with sleek confidence, maturity, and a silvery, hallucinogenic shimmer that reveals Rusli’s experimental background. It is, writes Rusli, “sometimes written from a dark place and other times from a place of happiness.” Throughout, darkness and light rise and fall in layers of phased strings, trip-hop drum production, and earworming vocal lines.\u003c\/p\u003e\u003cp\u003eAlso a film score composer, Rusli’s songwriting craft is meticulous and nuanced.\u003ci\u003e You Are Always On My Mind \u003c\/i\u003ewas, perhaps surprisingly, formed primarily from processed “generic string loops” found in online sample packs - a strange and wilfully jarring reminder that what seems to be is not always what is. Recontextualised, these string loops enshadow the simplicity of their origins and reveal a grace and purposefulness perhaps not even imagined by their authors, subtly drawing out euphoria and tension in equal balance.\u003c\/p\u003e\u003cp\u003eRusli also writes of the influence of rave culture central to their transition, and of the record’s production and theme. “It’s a declaration of love for raves and the dark hazy rooms that helped me to be free and true with myself— seeing other people who are so free and beautiful and thinking that one day that can be me— that’s me in the future.” But there is also a fear and unease present. Key moment “no good” explores “the worst version of myself as a trans person, feeding doubt to my pre-transition self” with its core lyric anyone can see \/ I’m no good for you, delivered over a relentless beat, swooning strings, and glistening synthesis.\u003c\/p\u003e\u003cp\u003eLater, “i swear that i could die rn” renders a Spectreish Motown beat lamenting and lush with breathy synths and knife-edge melodies that eventually yield a hazy, gliding string section, created again from mutated, spliced, and transitioned royalty-free sample packs. The track is about “seeing my beautiful friends at raves and feeling at home appreciating the harsh noises of hardcore techno and acid. Feeling that I could die at this moment and be happy\".\u003c\/p\u003e\u003cp\u003eOhyung is Lia Ouyang Rusli’s alter ego and solo project. They are an Asian American musician and artist based in Brooklyn. Their first album Untitled (Chinese Man with Flame) was released by Deathbomb Arc. In 2020, Ohyung released their sophomore album Protector (Chinabot), an experimental rap cross-genre collision through distorted 808s, pitch-shifted rapping, frenetic pop energy, and ambient loops. In 2022 Ohyung released their collection of ambient soundscapes on NNA Tapes titled imagine naked! and was described by The Quietus as a “masterful selection of muscular, shuddering, trembling ambient excursions” and was hailed by NPR as one of the best 50 albums of 2022.\u003c\/p\u003e\u003cp\u003eAs a film composer, formerly known as Robert Ouyang Rusli, they have scored A24's Problemista and HBO's Fantasmas by Julio Torres, Neo Sora’s Happyend (2024 Venice International Film Festival), and the Gotham Award and Independent Spirit nominated films Bruiser on Hulu and Shatara Mitchell Ford’s Test Pattern. 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In that short time (from 1980 to 1985), they released exactly 222 cassettes (and a handful of vinyl records) of the strangest, boldest, most arresting and addictively subversive music within their social and creative circles. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eEach of their cassette releases came with abstract, xerographic artwork, often created by the musician themselves, while the label’s recorded output encompassed avant-punk, Cubist ambient music, sound collage, pop concréte, jazz-prog, early computer music, and anything else their roster cared to throw at them. Housed in sleeves of found imagery taken from classical and Medieval literature, contemporary and historic photography, science textbooks, magazines, homemade erotica, and endless more, these records reveal not only the strength of the community the label had fostered, but also the insular self-reference and in-jokes that kept the music from outsiders for decades. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTwo facets of DD. Records shine through even this unique story: firstly, they were friends. Founder T. [Tadashi] Kamada formed the label alone, but it wasn’t long before he was joined by like-minded allies T. [Teruo] Nakamura, K. [Koshiro] Yoshimatsu, K. [Keiichi] Usami, and T. [Takafumi] Isotani, among a few others. All were contributors to Kamada’s tape-trading network The Recycle Circle, formed at the University of Yamanashi, most of its members at the time around 20 years old. Their bond was a love of exploratory sounds and a hunger for deeper excavations into the tunnels and caves of experimental music. “An independent, private circle where members who owned expensive records or rare imported vinyl with limited distribution could send a cassette tape and a return postage stamp to dub the record back to each other for free,” Usami explains, in interview with Jon Dale for Bandcamp Daily. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eSecondly, the aforementioned cassettes remained almost entirely unavailable to the world outside Japan, with only a single US retailer engaged to carry the releases. Forty plus years hence, many of the records have been lost to time, but occasionally surface when (so writes an online observer) “a private collector has a medical bill to cover.” A German archivist, Jorg Öpitz, is primarily (and almost exclusively) responsible for the entire English-language directory of the label’s output, cataloguing online surviving and lost cassettes with completist dedication. Largely autodidactic and almost always hermetic, this company of hobbyist and amateur (and in many cases, totally untrained) musicians rarely performed live. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eMany of them collaborated remotely, sending home-recorded tapes and collaged artwork in the post. “[We were] isolated from the rest of the [Japanese] indie movement,” Usami remembers. Strangely, and sadly for many, Tadashi Kamada has completely retired from public view. According to one-time collaborators, it is likely he is unaware of the cult following his label has garnered over the decades. Some sources point to a successful career in consumer electronics, a family, and a contented indifference to his early experiments in record label curation. But no-one seems certain about these details, none of which has harmed the image of a label that revels in mythmaking. An artefact left behind was Disk Musik. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"UTF-8\"\u003eThough compilations were not unknown to DD. Records, vinyl was rare. Only a handful of Kamada titles - presumably self-funded - were released on vinyl, right at the start of the label’s life, and it is not until 1985 and Disk Musik that the format reemerges. It appears to be their final release: a parting gift to neatly bookend five feverish years of new music, rubber stamping their creative identity. In the twenty-first century, the second hand market for original copies is limited to scarce private sales at seriously hefty prices. There are endless and curious gems within. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA1. Circadian Rhythm - Shela\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA2. Kum - One Day With Kakusuko\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA3. 10T - Israel\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA4. Abnormal Sex - NHK\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA5. T. Isotani - 1\/2 Orange\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA6. Mask - In and Out\u2028\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA7. Mosque of Torment - Ceramic Dance \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u2028\u2028B1. T. 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Its entrancingly measured alchemy of Lipsticism’s precious materials - spacious, haunting synthesis, angelic voice, thumping house kick-n-hats, balmy and achingly melodic prettiness - coalesces with the spellbinding imagery cast by its opening lyric: Why do you follow me into dreams? \/ you crawl on top of me. While Lipsticism’s music is inherently dreamlike (and dreampop-like) in its gauzy, hazy unreality, it brings a tangible embodiment along for its bliss-out joyride, at once nostalgically familiar and skewed.\u003c\/p\u003e\n\u003cp\u003eThe record, writes Alana Schachtel - the musician behind Lipsticism - grapples with “the fleeting nature of relationships. The feeling of wanting to connect with someone after they have passed.” Schachtel’s songcraft reaches across a plane, its slow-motion dancefloors imbued with magical light to make even recogniseable instrumentation float weightlessly through her sonic space. Acoustic guitar appears on occasion, revealing Lipsticism’s early, self-released roots of freak-folk and bent-Americana. Her voice is often so lush as to seep like plasmic energy through the blinking lights of her synthesis and beat programming, but always true, always authentic.\u003c\/p\u003e\n\u003cp\u003eBound together in adroit narrative flow, \u003cem\u003eWanted To Show You\u003c\/em\u003e swells and eddies. “That’s Enough”, midway through the album, drops all masks for a quiet and swooning study of vulnerability, and the alien-planet Chicago house rave reaches an unexpectedly beatific and confessional comedown.\u003c\/p\u003e\n\u003cp\u003eLater in the album, “Erased” begins with a deceptive lite-jazz synth wiggle that morphs into a swampy, fugged-out wash of pads over intoxicating an two-step beat programming. Its spectral vocal halo is a kind of deja vu of quasi-familiar shadowplay, here and not here, but revealing deep mysteries in understated and unassuming catharsis. 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This masterfully crafted collection of catchy slacker-dream-pop features irresistible, addictive earworms that reveal deceptively deep songcraft.\u003c\/p\u003e\n\u003cp\u003eMilo Korbenski’s deeply expressive take on lo-fi art-pop indie evokes optimism in an unexpectedly emotional manner. The record's hooks, catchy as hell, and clever lyrical wordplay resonate with the inner soul while moments of boxy, torn-cone distortion and octave-dropped vocals coalesce with the sweetest synth and vocal interplay. The record references a broad range of influences, including Kurt Vile, Helado Negro, Black Sabbath, The xx, The Cocteau Twins, Siouxsie Sioux, Jagwar Ma, and Calvin Johnson, all while retaining a crucially singular energy: Korbenski’s underlying unreality is more haunting than the indie-leaning acts mentioned here, and the blown-out cassette grit lends an intimacy that transcends the prettified sheen of his pop influences.\u003c\/p\u003e\n\u003cp\u003eIncorrigibly prolific, Korbenski wrote \u003cem\u003eSex Angel\u003c\/em\u003e in a flurry of activity after the release of last year’s \u003cem\u003eWhen You Gonna Tell ‘Em The Truth, Aaron? \u003c\/em\u003eFollowing the complete scrapping of an earlier version, he has crafted a deft, bizarre, and streamlined record that balances shades of light and dark. 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Described by the band as “ancient future black metal”, the  record delivers a crushing and otherworldly sound that fuses blackened psychedelia, occult techno, and warped sound design into a singular, terrifying vision.  \u003c\/p\u003e\n\u003cp\u003eFormed by members of “somewhat known” existing acts, Qasu hit an immediate and confident stride of finessed songwriting on their debut release. Its riffs are cataclysmic, whether agonisingly slow or razor sharp; its blastbeats are breakneck, meaty; its vocals howled with tortuous passions; its mythology crafted with narrative totality. Their own description - “ancient future black metal” - is apt. 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Its sound design crackles with percussive clamour and reverberates in soft granulation across a tour of metaphysical chambers, sometimes intense and at others dreamy.\u003c\/p\u003e\n\u003cp\u003eKey moment “nervefield flickering” feels abstracted from the tangible in its complex matrix of interlaced simulacra. A metaphysical landscape machine-drawn from synaptic impulses and fragments of sonic imagery half-remembered from real life. An unexpectedly sonorous arpeggio eventually zones into the space, relentlessly pursued by a battering shudder that crushes every frequency into square wave discord. The piece is about the evolution of personal identity, both emotionally and structurally. “In my thought model, after something occurs, the world first acquires a foundation of matter. 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