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Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. \u003c\/p\u003e\u003cp\u003eAfter Happy End’s amicable break up in 1973, Hosono released \u003ci\u003eHosono House\u003c\/i\u003e, an intimate slice of Japanese Americana recorded at home with a back-to-basics approach akin to Music from Big Pink or McCartney. While his former band helped pave the way for the rise of “city pop” that reflected upon urban themes and city life, Hosono took a 180 degree turn towards the countryside for his highly-regarded first solo album. Located an hour from Tokyo in Sayama, Saitama Prefecture, the actual Hosono House was one of several American-style houses originally built for the families of troops stationed at the nearby Johnson Air Base, active during the post-war occupation years. By the early ‘70s this small community had become a hub for creative types looking for a break from Tokyo’s hustle and bustle – and cheaper rent. For Hosono, this was as close as he could get to living in America without leaving his home country. With rooms filled to the edges with recording gear, the house became a live-in studio for Hosono and his crack band – soon to become known as the in-demand session group Tin Pan Alley. \u003c\/p\u003e\u003cp\u003eThe songs on \u003ci\u003eHosono House\u003c\/i\u003e display the breadth of Hosono’s talents, from the hushed acoustic folk of \u003ci\u003eRock-A-Bye My Baby\u003c\/i\u003e and the country twang of\u003ci\u003e Boku Wa Chotto\u003c\/i\u003e to the New Orleans funk of\u003ci\u003e Fuyu Koe\u003c\/i\u003e and the unexpected breakbeats in \u003ci\u003eBara To Yajuu\u003c\/i\u003e. Lauded by artists such as Jim O’Rourke and Devendra Banhart, Hosono House remains a touchstone of the early phase of Hosono’s career. Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. 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Initially the album was to be a kind of ethnographic musical document, using found sounds and field recordings made by Hosono himself. Instead, after Yokoo introduced Hosono to the sounds of Kraftwerk and krautrock during the trip, Cochin Moon became something much stranger. Created almost entirely on synthesizers and sequencers with the help of future YMO collaborators Ryuichi Sakamoto and Hideki Matsutake, the music on the album is the perfect encapsulation of Hosono’s concept of “sightseeing music,” transporting the listener to an exotic place that may or may not exist. This highly sought-after album sees its first-ever official release outside of Japan. \u003c\/p\u003e\u003cp\u003eAdmired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. 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Addressing subjects that affect us all – the highly polarised state of our politics as well as our conflicted inner and outer selves – Lara has created a sonic space that embraces this duality and gives voice to her own insecurities and anger at the state we find ourselves in, but also a desire for change, for a world that’s a little less divided. Composed, produced and mixed in her small London flat, Lara returns with her most dance floor-driven EP to date, with high energy pulsating electronics and jazz harmonies that weave into electronic grime and a web of arpeggiated synths, basses and glitchy beats. Divided sees Lara find her voice, bringing a punk angst with Jones’ lyrics and vocals, complimented by her signature electronics as she experiments with her voice more than ever. Listen to selected tracks here. 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Samples from the soundtrack to chapter one accompanied a video showing the protagonist sneaking into The Shard at night. The narrative continues with Paris’ anxiety dream of her time working on the Eiffel Shard project alongside another Unrecognisables member who she fears has betrayed them by handing over their dangerous plan to the government.\u003c\/p\u003e\u003cp\u003eThe third chapter is now being released as an album of new music. In a declining city, Paris and Geneva are tour guides to be followed at your own risk. Lies and petty crimes, mistrust, betrayal and, inevitably, war are the setting in which they seek to devise a plan for resistance. As members of a secret group, they hide their identities and meet after dark. 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Recorded at Tokyo's storied GOK Sound, the album is one of the most beautiful and stark renderings of his voice to date. Over two side long excursions Kawashima's music springs to existence with striking clarity and power, yet remains rooted in the more obscure, spiritual realm from which all of his work seems to originate. Rather than let the studio smooth out the performances, Zoe is direct and unvarnished, the only adornment added being the ghostly, faint pre-echo of the reel to reel. Kawashima's elevation of an idiosyncratic solo practice places him squarely within the lineage of iconoclastic Japanese saxophonists such as Kaoru Abe, Tamio Shiraishi and Masayushi Urabe. At the outer bounds of improvised music, Kawashima's work reveals a fragile spirit, one that gives as much emphasis to silence and minute sounds, perhaps hesitations, as it does to ecstatic bursts of tone and texture. His music is undeniably intimate and vulnerable, eschewing the bravado and bluster that have often become tropes in the world of solo improvisation; Kawashima summons searing melodic lines and heavily textured passages and just as abruptly lets them collapse, vanishing into the ether. Perhaps more than anything, Kawashima is concerned with erasing the distinction between artist and instrument, the barriers between the internal self and the external world around us. \"The alto is the only instrument that becomes part of my body. It's like a soul that fuses together with my spirit. When I hold the instrument ready to play, something external to me appears behind me.\" Kawashima weaves aspects of blues and spiritual music within harshly abstract passages and a harrowing vibrato that echoes Albert Ayler's spirit. His personal experience and approach affirm these connections \"I see spirits all the time. Shadows, phantoms. 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Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored the 1969 moon-landing and plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell's \u003cem\u003eBy the Time I Get to Phoenix\u003c\/em\u003e.\u003c\/p\u003e\n\n\u003cp\u003eIn the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t \u003cem\u003eThe Exorcist\u003c\/em\u003e, \u003cem\u003eGoodbye Yellow Brick Road\u003c\/em\u003e, or even bell-bottoms, but instead a book called \u003cem\u003eThe Secret Life of Plants\u003c\/em\u003e. The work of occultist\/former OSS agent Peter Tompkins and former CIA agent\/dowsing enthusiast Christopher Bird, the book shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon.\u003c\/p\u003e\n\n\u003cp\u003eSeemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind \u003cem\u003eSecret Life\u003c\/em\u003e was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.\u003c\/p\u003e\n\n\u003cp\u003ePerhaps the craziest claim of the book was that plants also dug music. 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Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve.\u003c\/p\u003e\u003cp\u003eThis is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. 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A graduate of the School of the Art Institute of Chicago with an MFA in Literary Art from Brown University, much of Hayter’s work is centralized around abuse. A survivor of domestic abuse for much of her life, her music seeks to explore survivor hood of abuse through the vantage point of rage and despair in leu of common approaches she views as \"enforced patriarchal models of civilized femininity\". 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Lyrically, Hayter’s distinctive ability to weave the allegorical with personal trauma is further refined here, as intimate lamentations on abandonment and loneliness are carefully braided with references to Pennsylvanian Dutch lore, Mennonite treatises, calls to repent written on barns in Amish Country, and illuminated manuscripts from ascetic religious sects in Ephrata.\u003ci\u003eSinner Get Ready\u003c\/i\u003e was created with Hayter's primary collaborator, producer, and engineer Seth Manchester at Machines With Magnets in Rhode Island, with additional arrangements and performances from multi-instrumentalist and composer Ryan Seaton, and banjo-playing from J. Mamana. 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Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 together during the late 1980s, not long after having met in Sydney’s underground music community. The pair’s collaborations date back more than 35 years, criss-crossing Ambarchi’s pioneering solo and ensemble work for guitar and Avenaim’s visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit.\u003c\/p\u003e\u003cp\u003eIn 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio’s efforts in recorded form. \u003c\/p\u003e\u003cp\u003e\u003ci\u003ePlacelessness\u003c\/i\u003e is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album’s two sides draw on each artist’s enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP.\u003c\/p\u003e\u003cp\u003eBeginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams’ interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work’s duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble’s members contribute to an increasingly tangled sense of density at its resolve.\u003c\/p\u003e\u003cp\u003eWhile an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams’ launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim’s machine gun fire percussion work and Ambarchi’s masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work’s inner logic and calm. \u003c\/p\u003e\u003cp\u003eWhat could easily be termed a maximalist take on Minimalism, \u003ci\u003ePlacelessness\u003c\/i\u003e is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. 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In 2002, to make itself independent of the record industry and to keep full artistic control, the band brought to life an internet-based fan action for the financing of their next album and advanced quite incidentally into early pioneers of crowdfunding. Various albums went through a total of three creative phases that allowed them to be recorded, produced and sold completely solo, as a result of what came to be known as the supporter project. \u003ci\u003eGrundstuck\u003c\/i\u003e (2005) from Phase II is one of these albums that now, after more than 13 years, is finally available for sale as an official version. \u003ci\u003eGrundstuck\u003c\/i\u003e is the missing link between \u003ci\u003ePerpetuum Mobile\u003c\/i\u003e released in 2004 and \u003ci\u003eAlles Wieder Offen\u003c\/i\u003e, which came out three years later. 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Over the past 40 years, his musical, artistic, esoteric and multimedia offerings have been enormously enriched and diversified and this has led him to found his personal music and post-media label ARMComm as well as the media company Anterior Research. Thanks to these operational tools, Adi Newton has increased his musical and conceptual proposal with works of great depth under the name The Anti Group (TAG) and TAGC, while continuing his activity as Clock DVA, and this has led him to become a point central reference in the world electronic scene. It is with pleasure that we announce with \u003ci\u003eOrgan Needles\u003c\/i\u003e the first co-production between ARMComm and Rizosfera, and the simultaneous birth of the production house and label ARMComm Europe which will deal with musical and multimedia production related to the sound and theoretical universe of Adi Newton, Clock DVA, The Anti Group and all the collaborations born and engineered in the field of postpunk-industrial culture and European acoustic-visual-conceptual research.\u003c\/p\u003e\u003cp\u003eContributors: Adi Newton \/Jack Dangers \/ TeZ \/ Maurizio Martinucci \/ Mykel Boyd \/ Shara Vesilenko \/ CM Von Hausswolff \/ B J Nilsen \/ Stephen Thrower \/ David Knight \/ Coagulant \/ Mauricio Reyes \/ Bob Lukomski\u003c\/p\u003e","brand":"ARMComm Europe","offers":[{"title":"CD | Rough Trade Exclusive.","offer_id":50389757493579,"sku":"1144221","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/546c1c95-5d32-4e3d-8b37-ac231af68424_thumbnail_4096.jpg?v=1726370866"},{"product_id":"two-forests-oceanic","title":"Two Forests - Oceanic","description":"\u003cp\u003eFollowing on from the psychoacoustic concrète of \u003ci\u003eOutside Ludlow \/ Desert Disco\u003c\/i\u003e LP, Sam Dunscombe returns to Black Truffle with \u003ci\u003eTwo Forests \/ Oceanic\u003c\/i\u003e. Dunscombe has been active in recent years on multiple fronts, including as a key member of the Berlin community of Just Intonation researchers and practitioners; working with composers like Taku Sugimoto, Mary Jane Leach, and Anthony Pateras; and the release of Horatiu Radulescu - Plasmatic Music vol. 1 (the result of many years performance research into the thought and music of this seminal Romanian spectralist). In parallel with these activities, Dunscombe has been deeply involved in research on the role of music in psychedelic-assisted psychotherapy, prompting these two side long pieces, composed using field recordings and digital synthesis.\u003c\/p\u003e\u003cp\u003eAs Dunscombe explains in the accompanying liner notes, music plays a key role in psychedelic-assisted therapy, yet it is often restricted to stock forms of New Age, ambient and electronica. Taking seriously the potential for spatio-environmental sonic experiences to add to the therapeutic process, these two pieces are intended to suggest how ‘a music-as-environment approach may help to add options to the therapist’s toolbox’. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eTwo Forests\u003c\/i\u003e begins in a central Californian sequoia grove. Bird songs and buzzing insect life are treated with a variety of time-based processing methods (slicing and recombination, primitive granular synthesis, delay, and so on), which strip the field recordings of their linear, documentary character, reframing them in an enchanted web of traces and echoes. Analysing the pitches found in the original recordings, Dunscombe used them to generate a large Just Intonation pitch set. These tones are woven slowly into the field recordings, gradually building in density and complexity until the forest has been transformed into an unreal space of infinite proportions. Emerging from this cosmic expanse in the final minutes of the piece, we find ourselves in the Amazon rainforest outside Manaus, Brazil. As Dunscombe writes, the piece creates ‘a sense of place-gone-strange, of space and time simultaneously expanding and contracting across octaves, miles, and minutes’. \u003c\/p\u003e\u003cp\u003eOn \u003ci\u003eOceanic\u003c\/i\u003e, several recordings of different beaches fade in and out to create a texture both homogenous and constantly shifting in both the rhythm of the waves and each recording's sense of depth and distance. Tones relating in simple ratios to the average rhythm of each beach float over each other, colouring the white noise texture of the field recordings with shifting hues. In both pieces, Dunscombe forgoes the easy consonance that bogs down much contemporary ambient music for a richer harmonic array informed by extended tuning practices and spectralism. The end results suggest a hitherto undreamt-of meeting of Radulescu’s undulating sonic masses and the discreetly processed location recordings of Irv Teibel’s ‘psychologically ultimate’ Environments. Looking beyond the insularity that can afflict experimental music culture, Dunscombe’s work is a moving argument for the healing power of expanded approaches to sound and music. 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I wouldn’t point to any unifying quality except to say I very much hope you enjoy the space, it is a lung full of turbulence and joy.’  Adam Coney. \u003ci\u003eAshwin \u0026amp; Above\u003c\/i\u003e follows on from Coney’s previous solo work ‘\u003ci\u003eThe Fall Of The Flamingo Gardens’\u003c\/i\u003e (2014) and ‘\u003ci\u003ePavilion\u003c\/i\u003e’ (2019) and once again he’s delivered a twisting instrumental narrative reflecting upon avant rock, jazz, folk and perhaps recalling so called ‘Third Stream’ energies. \u003c\/p\u003e\u003cp\u003eWhat differentiates \u003ci\u003e‘Ashwin \u0026amp; Above\u003c\/i\u003e’ is the audio’s ability to homogenise Coney’s history as a band practitioner and solo artist into a singular sound. The ‘live’ component of this sound world, recorded over four days, would come to accompany the pre-composed elements Coney had been shaping for over four years. Solo pieces evolved into ensemble energies. Live ‘one take’ guitar parts hunt down pre-recorded wandering synth lines whilst bold drum statements tower over the mix replacing Coney’s previous electronic aesthetic. The pedal-augmented electric guitar gives way to delicately picked nylon strings undulating from a vintage Leslie speaker. The accompanying players (including bass from The Speakers Corner Quartet’s Pete Bennie) colour around, below and above Coney’s principle guitar work. 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Existential, yet light, these twelve songs mark a welcome return of a fascinating artist who presents his own vision of the past, present and future – it's bleak and existential, but also filled with purity and honesty that's impossible to resist.\n\n'Future Role of the Church in the Forthcoming Environmental Transformation' is András Cséfalvay's second album, and his first for the sincere label Weltschmerzen.credits\u003c\/p\u003e","brand":"Weltschmerzen","offers":[{"title":"Black LP","offer_id":50392676729163,"sku":"2045932","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_b0de8fd1_thumbnail_4096.jpg?v=1726410573"}],"url":"https:\/\/shop.roughtrade.com\/fr\/collections\/avant-garde.oembed","provider":"Rough Trade","version":"1.0","type":"link"}