{"title":"Pan","description":null,"products":[{"product_id":"two-cycles-3","title":"Two Cycles","description":"\u003cp\u003eBilly Bultheel's debut solo album is an ambitious distillation of the composer's,' sprawling litany of influences and his unique approach to site-specific composition. A compilation of pieces created between 2016 and 2023, the album is a forceful testament to Bultheel's expansive performance practice and collaborations with cutting-edge visual artists like Anne Imhof and James Richards. \u003c\/p\u003e\u003cp\u003eDrawing inspiration from industrial music and metal as well as medieval and baroque polyphony, Bultheel devised a way to present this collection of works side-by-side. The record is split into two distinct cycles: the Snow Cycle, which collects Bultheel's electro-acoustic and compositional work, and the \u003ci\u003eGame Cycle\u003c\/i\u003e, which assembles his electronic productions. 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The snap reaction was Romanticism, an artistic movement that prioritized emotion, imagination and intuition things that can't be quantified but have sustained culture for millennia. Now in a digitally accelerated age where our lives are not only measured but distributed in binary, a similarly hot-blooded creative response is long overdue. On \u003ci\u003eThe Sport of Love\u003c\/i\u003e, seasoned collaborators Asma Maroof, Patrick Belaga and Tapiwa Svosve consider the language, competition and contradiction of modern romance: its yearning, incomprehensible vastness and the inevitable darkness and fleeting fragility. For the trio, love is the emotion that propels all of us whether we acknowledge it or not, and its expression can be realized in many forms.  \u003c\/p\u003e\u003cp\u003e“I know my musical collaborators on an arguably more intimate level than many of the friendships that are exclusively born of word-based language,” says Belaga. The cellist and composer has been developing a relationship with Los Angeles-based DJ-producer Maroof (also known as Asmara) and Svosve, a Swiss saxophonist and electro-acoustic musician, for many years; the three are all part of Moved by the Motion, a \"roving band\" that also includes artist and filmmaker Wu Tsang, performer and dancer Tosh Basco and dancer Josh Johnson. As a three-piece ensemble, their interaction is fluid and physical, and with Svosve and Belaga on sax, flute, piano and cello, Maroof sculpts the sounds into textured, effervescent fantasies. “A lot of the songs were improvised and then I made sense of the madness,\" she explains.\u003c\/p\u003e\u003cp\u003eThe music emerged like smoke from the embers of soundtrack work they collaborated on in 2021. After finishing scores for Virgil Abloh's Louis Vuitton A\/W 2021 collection film, Peculiar Contrast, Perfect Light and Bafic’s documentary short Sub Eleven Seconds, the trio were left with unanswered questions and excess energy. They considered the idea of creating an imaginary score to a romantic movie, using love to dictate its movement and narrative. So opening track 'G Major Kind of Love' is the intoxicating first blush, characterized by a drowned sax solo that sounds like a siren call from beneath the ocean. 'Delicate Distance Between Boulders' is quivering and hesitant, using gentle piano motifs against reverberating flute sounds and subtle, goosebump inducing electronic treatments.  \u003c\/p\u003e\u003cp\u003eEverything comes into sharp focus on the album's lengthy central piece 'The Stranger', that brings in additional instrumentation from harpist Ayha Simone and percussionist Mathieu Edward. The three friends saw this particular composition as a journey within itself, charting the anxiety, harmony and uncertainty of love. Shifting from gooey freeform jazz into gurgling noise and bleak ambient drone, it connects the dots between Dorothy Ashby, Arve Henriksen, Jon Hassell and Hildur Guðnadóttir while voyaging into parts unknown. It's a finale of sorts that wrestles with the complexity of the album's themes, returning to earlier refrains and prolonging their tension.\u003c\/p\u003e\u003cp\u003eFittingly, the record is tied together by artwork from the trio's friend Tosh Basco, and several tracks have already been used by Wu Tsang in a piece for SFMoMa. \u003ci\u003eThe Sport of Love \u003c\/i\u003eis powered by physical connection in a digital world, and breathes a mysterious allure that's never been more urgent. \u003c\/p\u003e","brand":"Pan","offers":[{"title":"Black LP","offer_id":50446878540107,"sku":"2205167","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/28fc74f2-15e3-c2df-2705-9c1fec0caafa_bdd49a4c_thumbnail_4096.jpg?v=1727065205"},{"product_id":"chemical-flowers","title":"Chemical Flowers","description":"\u003cp\u003eLuke Younger yields his most engrossing work as Helm with the sorely romantic dynamics of Chemical Flowers. 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Featuring Jeff Witscher, Helm, TCF, Yves Tumor, M.E.S.H., Pan Daijing, HVAD, Kareem Lotfy, ADR, Mya Gomez, Sky H1, James K, Oli XL, Bill Kouligas, Flora Yin-Wong, Malibu, and AYYA, the compilation moves through more traditional notions of what is called ’ambient’, to incorporating wider variations that fall under the term.\u003c\/p\u003e\u003cp\u003eThe album is mastered and cut by Rashad Becker at D\u0026amp;M, featuring photography by Molly Matalon. \u003c\/p\u003e","brand":"Pan","offers":[{"title":"LP","offer_id":50469451956555,"sku":"1163169","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/78b37210-9e91-4687-8a4b-61c12d5eeabc_thumbnail_4096.jpg?v=1727360859"},{"product_id":"tissues","title":"Tissues","description":"\u003cp\u003ePan Daijing’s exhibition-performance \u003ci\u003eTissues\u003c\/i\u003e premiered in the Tanks at the Tate Modern in autumn 2019. A fiveact immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, \u003ci\u003eTissues\u003c\/i\u003e engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing’s artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl release of \u003ci\u003eTissues\u003c\/i\u003e on PAN serves as a record of that work, in the form of an hour-long audio excerpt: an invaluable archival document from Daijing’s expansive live practice.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eTissues\u003c\/i\u003e is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work—its libretto written in a mixture of old and modern Chinese—lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, \u003ci\u003eTissues\u003c\/i\u003e foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four acts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief.\u003c\/p\u003e\u003cp\u003eDaijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. 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It combines her love of UK club music’s syncopated suss and Afro-Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.\u003cbr\u003e\u003cbr\u003eRecorded over 2017-19 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth\/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.\u003c\/p\u003e","brand":"Pan","offers":[{"title":"LP - Black","offer_id":50485658583371,"sku":"1083928","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/e9ee0e36-8e3a-49c4-b68e-822325b0bddf_thumbnail_4096.jpg?v=1727601788"},{"product_id":"baiser-morte","title":"Baiser Morte","description":"\u003cp\u003ePan presents Baiser Mortel, the original soundtrack to the acclaimed theatrical performance of the same name. Staged at the Bourse de Commerce – Pinault Collection over three days last October, the original production – collaboratively realized by composer and director Low Jack, composer and rapper Lala \u0026amp;ce, choreographer Cecilia Bengolea with costumes designed by Marine Serre and Oriana Bekka as creative director and co- director of the performance – merged ballet and urban folklore; sound art and soap opera. A modern-day danse macabre, Baiser Mortel (trans. “The Kiss of Death”) cast Lala \u0026amp;ce in the title role. Unfolding over thirteen songs, the musical narrative follows Death as she navigates the realm of the living, and the encounters – desire, romance, spiritual awakening, and adventure – which validate the human experience.\u003c\/p\u003e\u003cp\u003eA sonic representation of the musical’s themes, Baiser Mortel the album – produced by Low Jack and written by Lala \u0026amp;ce with artwork by Pierre Debusschere – moves through the distorted strings of its opening track, “Goûter” and gathers sonic and lyrical intensity on each successive song. “Lune,” the melancholically autotuned midpoint of the album, marks the beginning of the musical’s second act and sets the tone for its tragic resolution. 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She’d go from making beats for rapper Mykki Blanco and fashion label Hood By Air, posting lurching bass reworkings of pop hits on YouTube, and producing her first fluid mixtapes with DIS Magazine, to finishing off this seminal mixtape on the synths in Daniel Miller’s studio. \u003c\/p\u003e\u003cp\u003eAfter dropping three impressive EPs the year before, \u003ci\u003e\u0026amp;\u0026amp;\u0026amp;\u0026amp;\u0026amp;\u003c\/i\u003e marked a transition. Continuations and extrapolations of material from Stretch 1 and Stretch 2 appeared in the mangled RnB sampling of \u003ci\u003eCentury\u003c\/i\u003e and Arca’s signature vocal layering in the pitched flow of \u003ci\u003eWaste\u003c\/i\u003e. Along with the fluttering, muted heartbeat of \u003ci\u003eObelisk\u003c\/i\u003e, and the lumbering piano chords of \u003ci\u003eMother\u003c\/i\u003e, fourteen sonic sketches were elegantly woven together into a single, downloadable whole. 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She stitched a special green hat that she handed to her husband as he was about to leave town; when Li was wearing the hat, it worked like a traffic signal - green meant go. But this didn't last for long, during one trip Li returned home early and caught Cifu and their neighbor together, and when the local community caught wind of the story, the green hat became an enduring symbol of infidelity. On Tzusing's sophomore album the Malaysian-born artist, who lives between Shanghai and Taipei, meditates on China's complicated history of patriarchal heteronormativity, and how these archaic double standards continue to dominate the culture in pervasive, often invisible ways. Even in progressive circles, internalized male inadequacy and its inevitable projection of possessiveness and aggression has been brushed underneath the rug, so by addressing it head-on, Tzusing attempts to question these structures using a level of aesthetic anxiety and thematic intensity that's hard to ignore. Growing up between Singapore, Taiwan, China, and the USA, Tzusing was living in Chicago when his love of music turned into an obsession. After relocating to China for work, he cut his teeth DJing at The Shelter in Shanghai and began refining his personal musical signature. A slew of EBM-inspired 12\"s on Ron Morelli's L.I.E.S. imprint were followed by his 2017 debut album 東方不敗 that was inspired by Jin Yong’s popular 1960s wuxia novel The Smiling.\u003c\/p\u003e\u003cp\u003eProud Wanderer, a story about a swordsman who castrates himself to learn a powerful fighting technique. \u003ci\u003e绿帽Green Hat\u003c\/i\u003e builds on that record's themes, deconstructing a different facet of gender as it's perceived within Chinese culture. On '趁人之危 (Take Advantage)', Tzusing obscures Daniel Plainview's notorious growl from There Will Be Blood underneath a patchwork of springy percussion and electrified wails. The message is clear: Plainview's character represents the darkness underlying American masculinity, and Tzusing is drawing a direct parallel with China. The history and mythology may be different, but the problem remains. Rhythms do the heavy lifting on 'Muscular Theology', interlocking and falling apart, and connecting fragments of techno, house, and club templates with disorienting FX. The dancefloor can provide an unorthodox space for outsiders to recognize the dissonance in their cultural programming, and Tzusing suggests this not by sonic fusion but by borderless cohesion that sucks the listener in before they're completely aware of the message. \u003c\/p\u003e\u003cp\u003eAnd while \u003ci\u003e绿帽 Green Hat\u003c\/i\u003e is unashamed to lean into its layered concept, the album never loses its well-rehearsed dance floor momentum. Tzusing has been through many metamorphoses during his career, but it's here where sounds most eager to unify his interests and inclinations. From the ruthlessly funky hard drum inversion of '孝忍狠 (Filial Endure Ruthless)' and the manic up tempo roll of 'Exascale', to the gurgling combination of wheezing voices and down tempo rhythms on Suda collaboration 'Cloud Tunnel' and the wedding party flex of epic closing track 'Residual Stress', there's a sense that the producer has truly found his groove. It's an album that underscores dance music's often manic uneasiness, smoothly paralleling this with the frenzied stress of infidelity. Fear is a well-worn musical theme that transcends genre, but Tzusing approaches it from a fresh perspective; this isn't blood dripping from skulls, it's rapid-fire thoughts piercing the mind. 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The result is an impressionistic vision in Black and Blur that both exhausts and implicates language—substantiating a mythos proposed by Fred Moten that sublimates boundaries between everywhere and nowhere; history and the present; the individual and the universal.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eÀlàáfíà\u003c\/i\u003e delineates a gothic landscape cut by overdriven beats, swooping orchestral blasts, choral bursts and ear- splitting fuzz, where the fleshly and spiritual realms commune. Dedicated to Honour's late grandmother, the title track began to take form after their last embrace and remains steeped in her influence and spirit—a tape-saturated composition that starts in Lagos and ends in London's smoke-stained cityscape, the song’s dream-like quality developed out of the artist’s grief and PTSD coping with this loss. Beneath the stretched guitar drones and stuttering loops, their grandmother's shared faith bubbles to the surface.\u003c\/p\u003e","brand":"Pan","offers":[{"title":"White LP","offer_id":50531380232523,"sku":"2209977","price":34.99,"currency_code":"GBP","in_stock":true},{"title":"Black LP","offer_id":50531380396363,"sku":"2209978","price":34.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/346b4a8e-30ed-2d93-7388-391e850bc034_1b4a1ea6_thumbnail_4096.jpg?v=1728106397"},{"product_id":"germ-in-a-population-of-buildings","title":"Germ in a Population of Buildings","description":"\u003cp\u003eOn her sophomore album \u003ci\u003eGerm in a Population of Buildings\u003c\/i\u003e, upsammy moves through her surroundings with the curiosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments in constant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-based artist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopic and gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material into vibrating electro-acoustic rhythms and unstable, psychedelic textures.\u003c\/p\u003e","brand":"Pan","offers":[{"title":"Black LP","offer_id":50532471767371,"sku":"2188851","price":24.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Germ_in_a_Population_of_Buildings_405572b6_thumbnail_4096.jpg?v=1728122481"},{"product_id":"x-wheel-the-liars-tell","title":"X, wheel \/ The Liars Tell...","description":"\u003cp\u003eExploring the textures of consciousness through research into the ritual animism, he kept an omnivorous and universalist approach to cultural and sonic influence. This is central to \u003ci\u003eX, wheel,\u003c\/i\u003e Heith’s debut album and first release on PAN. It’s a deep dive into his creative and spiritual practice, one where art and life are inextricable. Written and recorded across different studios in Milan, Rome and Florence between March, 2019, and January, 2020, eleven tracks cycle through a world of stylistic references—from psychedelia, psytrance and freak folk to stoner metal, noise and early electronic music—while remaining firmly a part of a singular vision.  The hypnotic nature of the release is translated in the album’s liner notes. It’s a collage of sorts, constructed from Heith’s own diary entries using the non-phonetic alphabet and linguistic experiment called “Angel’s Hair” developed with artist Pietro Agostoni. Together with contributions from ZU drummer Jacopo Battaglia and didgeridoo player Fabio Goldaniga, \u003ci\u003eX, wheel\u003c\/i\u003e is an exercise in creating new forms of meaning through sound, turning spectral vibration into conscious awareness. \u003c\/p\u003e\u003cp\u003eHeith’s debut album \u003ci\u003eX,wheel\u003c\/i\u003e marked the beginning of a long journey, the start to a tortuous exploration of consciousness and spirit. The \u003ci\u003eLiars Tell...\u003c\/i\u003e, on the other hand, feels like a kind of respite, a moment of meditation and pause from the fatigue of dimensionhopping. As if the traveller dismounted their carriage and, standing puzzled on a crossroad, listened to the echoes of distant places. Occupying a liminal space and letting thousand of contradictory tales form the lyrics to one unfathomable song. This EP’s emphasis on the singing voice is itself not casual, but the focal point of a research on language and words, from their uncanny worlding power to their ultimate failure to deliver universally accessible truths. The human voice is treated as the most fragile of instruments, a spectral presence aided into matter by technology. The tonally ambiguous beauty in Heith’s processed singing stands to imitate the immanent wisdom of sacral inspiration while simultaneously belonging to a sketchy trickster. 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She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. \"Some days I used to sit on the balcony of my flat to catch some sun,” she explains, \"I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants.\" As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eNekkuja\u003c\/i\u003e is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished \u003ci\u003ePripyat\u003c\/i\u003e are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls. \u003c\/p\u003e\u003cp\u003eHerlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red. \u003c\/p\u003e","brand":"Pan","offers":[{"title":"Black LP","offer_id":50940063056203,"sku":"2226938","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Nekkuja_0661cbcd_thumbnail_4096.jpg?v=1733464696"},{"product_id":"hoax-strobe-rip","title":"Hoax + STROBE.RIP","description":"\u003cp\u003e\u003cstrong\u003eAmnesia Scanner’s\u003c\/strong\u003e third full-length album titled \u003cem\u003eSTROBE.RIP\u003c\/em\u003e is a collaboration with the artist and musician Freeka Tet, who joins the album and associated live performances as a vocalist and creative collaborator. Released by Pan records, \u003cem\u003eSTROBE.RIP\u003c\/em\u003e is part of a broader series of live performances, installations, videos, and physical products created by the group.\u003c\/p\u003e\n\n\u003cp\u003eSince its inception in 2014, Ville Haimala and Martti Kalliala have continued to evolve and redefine \u003cstrong\u003eAmnesia Scanner\u003c\/strong\u003e through experimentation across online and IRL realms. This album brings them a step closer to the latter. With French-born, New York City-based Freeka Tet on board, \u003cem\u003eSTROBE.RIP\u003c\/em\u003e acquires a new array of influences that draw from the multidisciplinary artist’s hacker mindset, shaping the sound into new forms.\u003c\/p\u003e\n\n\u003cp\u003eAs a programmer and technologist, Freeka Tet’s work straddles commerce and art, combining intuitive and performative modes of expression with emergent technology and creative coding. Much like \u003cstrong\u003eAmnesia Scanner\u003c\/strong\u003e, Tet draws from online vernacular and techno-magic to create satirical, uncanny work – artificially augmented, and highly engineered sounds, textures, images, and ideas that translate memes and code into a more human and affective language.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eHaimala\u003c\/strong\u003e and \u003cstrong\u003eKalliala\u003c\/strong\u003e say, “\u003cstrong\u003eAmnesia Scanner\u003c\/strong\u003e is now living in the world it has built,” signaling a sincere commitment to the act. The human dimension in \u003cem\u003eSTROBE.RIP\u003c\/em\u003e is chaotic: a reverse hero’s journey that merges deep-fried baroque with the quasi-angelic into a psychotic megamix of tropes, lyrics, genres, and sonic palettes that are both disorienting and deeply resonant.\u003c\/p\u003e\n\n\u003cp\u003eMutating out of the collaborative practice established on \u003cem\u003eSTROBE.RIP\u003c\/em\u003e, \u003cstrong\u003eAmnesia Scanner\u003c\/strong\u003e and Freeka Tet are back with a new dual record project that explores and explodes norms of music production, songwriting, and sonic aesthetics. \u003cem\u003eHOAX\u003c\/em\u003e is \u003cem\u003enot\u003c\/em\u003e an album and remix released together, but rather, a singular experience unfolding as two mirroring, mutually-reinforcing records.\u003c\/p\u003e\n\n\u003cp\u003eThe \u003cstrong\u003eAmnesia Scanner\u003c\/strong\u003e “AS HOAX” record administers the liquid drip of devastating ballads, wandering mosh-ups, and industrial floodlights that we fiend for. But, as with every AS record, it is impossible to mistake the grunged-out doom for nihilism: there is simply too much raw emotion, vulnerable narrative, and playful experimentation.\u003c\/p\u003e\n\n\u003cp\u003eWith drums and chaos from Freeka on four “ASFT” tracks, AS has delivered perhaps their most prescient, hopeful, and soon-to-be-seminal record of their genre-defining career. Against this belligerent crispness emerges the sublime obelisk of noise in Freeka Tet’s “FT HOAX”. This is the debut full-length record released under the Freeka Tet moniker.\u003c\/p\u003e\n\n\u003cp\u003eIt is a conceptual art piece that is unapologetically immediate. Using custom bashed scripts, the AS record is negated, inverted, and buffed down to reveal underlying rhythms and textures. Freeka has taken the ubiquitous technology of noise-canceling headphones as a point of departure for this experiment in music denial.\u003c\/p\u003e\n\n\u003cp\u003eThe desire for eliminating environmental sounds is turned inwards to undermine the music itself. A variety of original techniques are used for ambient AS cancellation, including creating a virtual space simulation and adding noise to spectrogram images. While Freeka’s gesture is extreme, the result brings you to a serene contemplative plateau.\u003c\/p\u003e\n\n\u003cp\u003eThe dual mirrored records are meant to be unlocked together: listening to the drone-ification opens up patterns and movements previously hidden, your newly trained ear will go deeper into the layers of subliminal encoding on \u003cem\u003eHOAX\u003c\/em\u003e, leaving you reprogrammed.\u003c\/p\u003e\n\n\u003cp\u003eThe lyrics are a sticker suspended above reflective abyss: labeled ingredients are anchors that pull a connection out of the crashing shores of Oracle’s baritone sax croning and operatic countertenor samples from latent space. The resulting They Live glasses that are ripped from your eyes make this dual record project a scathing polemic on the state of music and creativity, thus raising the stakes of what it means to be an artist in the post-post-post-digital-crypto-AI-utopia-anthropocene.\u003c\/p\u003e","brand":"Pan","offers":[{"title":"3LP - Black","offer_id":51474823151947,"sku":"R2932-6466","price":59.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/click_e6ee5cab-3a98-444d-bce5-647c0cee19d0.jpg?v=1752282822"},{"product_id":"phase-shifting-index","title":"Phase Shifting Index","description":"\u003cp\u003e\u003cspan style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003e\u003cem\u003ePhase Shifting Index\u003c\/em\u003e is a time capsule record of Jeremy Shaw’s vast original artwork that includes audio excerpts, voiceover passages and music composed by There in Spirit and Konrad Black. Shaw’s seven-channel video, sound and light installation–that premiered at Centre Pompidou in 2020–uses science fiction, documentary, visual effects and synchronisation to induce an ecstatic experience in narrative temporality. Each video details the belief systems of one of seven fictional subcultural groups spread across time that aspire to induce parallel realities that could redirect the evolution of the human species through embodied forms of ritual, ideology and movement. The vinyl release serves as a gathering of the piece’s key audio elements, focussing on their importance to the engineering of the artwork and their stand-alone listening qualities.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eSide A of the record follows the dramaturgy of the artwork in full-swing, including audio segments from four of its five distinct chapters. Written by long time collaborators Konrad Black and Jeremy Shaw together as There in Spirit, “Cross- Temporal Sync” soundtracks the strobing peak of the installation at the moment when all seven disparate videos fall into a unified choreography in which every person on every screen performs the same ecstatic series of slow-motion movements. The pulsing, hypnotic dirge aligns with the locked choreography in mood and action, caught somewhere between ecstatic trance and somatic takeover. A steady sub line, clipped stabs and a swooping choral gasp harmonise with the dancers movements onscreen while restrained filters open slowly to reveal a submerged melody that builds in intensity towards the chaotic rupture of Black’s “Mosh”. Here the score breaks into digital shards as heard through analog bodies colliding and pixelating into each other. The dancers eventual dissolution into “Particles” sounds like the field recording of a disembodied neural cosmos.\u003c\/span\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cbr style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; text-decoration: none;\"\u003e\u003cspan style=\"caret-color: rgb(0, 0, 0); color: rgb(0, 0, 0); font-family: Helvetica; font-size: 14px; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; orphans: auto; text-align: center; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; background-color: rgb(255, 255, 255); text-decoration: none; display: inline !important; float: none;\"\u003eThe B-side of the record contains a narrative outline edit of the artwork comprised of music, excerpts and pieces of narration from each video. Listeners can follow along in an accompanying thirty-six page booklet of full-bleed film stills documenting each of the seven groups as they move through the five chapter dramaturgy. Composer Konrad Black’s authentically backwards-glancing production and sound design is as disparate as the groups represented on screen. From the bespoke-16mm-tribal-techno of “The Cyclical Culture” and retro-cyber-funk of the “Zero-Ones,” to the VHS- dark-wave of “The Violet Lux” and skewed vocal\/piano minimalism of the “Quantum Modern,” each group exists in its own custom-made world out-of-time. The record ends where it began, with the full sequence of “Ramping” playing out as each subcultural world begins to lose control, galvanise, sync, rupture, atomise and scatter throughout the universe, only to loop back into another inevitable beginning.\u003c\/span\u003e\u003c\/p\u003e","brand":"Pan","offers":[{"title":"LP - Black","offer_id":51656667136331,"sku":"R5527-4554","price":39.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/click_d8ac2a04-cccb-4f97-afa0-530ccf5dce21.jpg?v=1744898988"},{"product_id":"escape-lounge","title":"Escape Lounge","description":"\u003cp\u003eHeith's music has always been infused with sacred mystery, striking a delicate balance between lived experience and imagination.\u003c\/p\u003e\n\u003cp\u003eOn \u003cem\u003eEscape Lounge\u003c\/em\u003e, his second full-length release for PAN, Heith draws inspiration from contemporary digital spirituality and interpretations of experience that are crossing over from cultural niches into the mainstream – including internet- based conspiracy theories and psychological operations. The album presents a sonic diary recorded across Milan, Berlin, London, and Stockholm, crafting a post-informational folklore while exploring new territories in personal songwriting.\u003c\/p\u003e\n\u003cp\u003eThe title \u003cem\u003eEscape Lounge\u003c\/em\u003e, inspired by airport waiting areas, serves as a metaphorical waiting room of the mind. Its hidden passages can lead either to peril and loss or to enlightenment and kaleidoscopic mental landscapes. This liminal space echoes the mysterious realms of Twin Peaks or the viral \"Backrooms\" phenomenon. Within it, contributing musicians – including frequent collaborators Leonardo Rubboli, Aase Nielsen, and 33 drummer Alexander Iezzi – move like ethereal presences, creating intangible soundscapes that leave traces of post-hypnotic melancholia. Notably, the vocal contributions from Price and James K enhance the otherworldly atmosphere, their multifaceted timbres adding layers of intentional ambiguity.\u003c\/p\u003e\n\u003cp\u003eThroughout the album, Heith masterfully blends acoustic instruments, human voices, and digital technology along an uncharted path that references the experimental pop of 90s trip-hop, 2000s indie-folk songwriting, and lush Mediterranean psychedelia. The sounds are meticulously crafted, combining synthesizers with guitar-based compositions in a computational songwriting approach that creates a collage across eras and landscapes. Each track unveils new dimensions of this delicate hallucinogenic narrative, delivering an immersive listening experience. 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At that time, Imhof’s life and work were closely linked and at times indistinguishable, imbuing the present exhibition with a distinctly biographical note and touching on notions of chosen family, a reality for many queer people.\u003c\/p\u003e\n\u003cp\u003eWith the advent of handheld digital camcorders – which allowed the screen to be flipped for the first time, an early precursor to today’s ever-present front-facing cameras – Imhof used this nascent technology as a mirror recording device, before which she performed movements and gestures, animating and setting the scene. Using her body as a medium, alongside other makeshift means such as borrowed guitars and amplifiers, and recording songs and her voice as a means of finding it, she created art with her community friends, lovers, collaborators – engaging the raw materials of life as it unfolded. 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Since then, it has expanded into a live show that has been performed at Transmediale, CTM Festival, Unsound Krakow \u0026amp; Adelaide, Next and LEV Festival and during Paris Fashion Week in collaboration with the brand Ottolinger. Now to be released on PAN, is a new document of Lexachast in its current, full-grown form. Whilst broadly inspired by the experience derived from and exposure to algorithmic patterns as generated by visual artist Harm van den Dorpel’s speciallydevised program, the work is a sonic reference to the fallouts of avant-EDM and cyberdrone. This in turn is simultaneously mirrored by the perturbing visuals, created by a unique algorithm that sources and blends various filtered imagery from DeviantArt and Flickr in real time – with a bias towards the NSFW, extreme banality, and ornamental melancholia. 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These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them. Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in “I Exist In A Fog” and “Outerzone 2015,” where visceral noise disintegrates into veiled, ambient strata. 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Built on the interplay between Ambarchi’s swirling, guitar harmonics and the metronomic pulse and shifting accents of Joe Talia’s DeJohnette-esque drumming, the piece merges the organic push and pull of free improvisation with an overarching compositional framework. ‘Tokyo Knots’ presents the complete recording of a duo performance of the piece by Ambarchi and Talia recorded at Tokyo’s legendary SuperDeluxe in March 2013. The performance builds gently on the foundation of Talia’s insistent ride cymbal and the shifting tonal bed of Ambarchi’s rich overtone-drenched guitar, eventually going into a free rock free fall of buzzsaw harmonics and crashing drums. From within the maelstrom, Talia picks up a pulsing motorik rhythm that leads the piece back to where it began, with the addition of the shuddering, elastic tones of a hand-played spring reverb unit. ‘Krakow Knots’, recorded live at Unsound Festival in Krakow in 2013, works with the same basic structure but stretches it out to nearly twice the length and adds strings played by the Sinfonietta Cracovia, led by Eyvind Kang on viola. The strings expand the piece’s textural range with lush chordal blocks, uneasy dissonances and occasional Ligeti-esque swarms of micro-activity, the swelling string tones intensifying the ecstatic nature of the piece as it moves towards its mid-point crescendo in which Ambarchi unleashes a particularly malicious continuum of stuttering harmonic fuzz. The strings then enter with a series of swelling chords, announcing the piece’s final movement, and reaffirming the uniqueness of the tonal and compositional language that Ambarchi has patiently developed over the last two decades, in which the influence of post-minimal composers such as Alvin Curran, Gavin Bryars and David Behrman can be felt alongside the inspiration of raw free jazz, harsh noise and academic psychoacoustics. 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The early ’90s witnessed a spike in mutant strains of future dub. In Bristol, trip-hop and jungle were on the rise; in Manhattan it was noise and breakbeat. But in Brooklyn, hip-hop experimentation was gaining momentum, led by Skiz’s independent label WordSound. With support from Bill Laswell, WordSound charted the experimental edge of hip-hop and dub, taking equal inspiration from Bronx Rap and Jamaican Roots music as they pioneered a lo-fi sound both primal and futuristic. By the turn of the decade, the combination of dub, ambient, and hip hop aesthetics had been baptized by The Wire magazine as Illbient—a short-lived classification now being exhumed in the form of Spectre’s obscure mixtape, Ruff Kutz. Ruff Kutz revisits the years between 1994-98, a formative era for WordSound and experimen- tal beats in general. The original cassette, according to Skiz, was comprised of alternative mixes, obscure beats, and unreleased tracks and edits. Unsigned material from Dubadelic (supergroup of Bill Laswell, Ted Parsons, DXT, and others), rapper Sensational, Kevin ‘The Bug’ Martin’s Techno Animal project, Professor Shehab as his lyrical alter-ego Psycho Priest, Djini Brown, Mr. Dead of the Metabolics, Doc Israel, Scotty Hard, and Slotek all feature throughout this vinyl reissue, fully mastered for the first time from the original DAT tapes in their original sequence.\u003c\/p\u003e","brand":"Pan","offers":[{"title":"2LP - Black","offer_id":53738881777995,"sku":"R6687-8531","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Spectre-RuffKutz.jpg?v=1761579005"},{"product_id":"kuro-ost","title":"Kuro (OST)","description":"\u003cp\u003eWritten and directed by Joji Koyama and Tujiko Noriko, Kuro tells the tale of Romi, a Japanese woman living in the suburbs of Paris with her paraplegic lover Milou. 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A pair of EPs on Lit City Trax (and a collaboration with Fatima Al Qadiri) in 2013 and ’14 introduced Visionist’s minimalist take on fractured R\u0026amp;B and liquid grime, establishing him as a leading voice in new-wave UK soundsystem culture.\u003c\/p\u003e\n\u003cp\u003eOn ‘Safe’, Visionist sculpts and extends that signature into new terrain and makes his most personal statement yet. Distilling his influences down to a sparse palette of manipulated folk, pop and R\u0026amp;B acapellas, icy synths, and metallic drum samples, he plays off ever-present anxiety and his own battle not to let it overwhelm him. “Comfort, protection, salvation—this is what we search for,” he says. “We are taught that a life of no worries is better for us, and therefore we try to create one that is ‘Safe.'”\u003c\/p\u003e\n\u003cp\u003eBut while safe as a musical concept implies conformity, ‘Safe’ as an artistic statement is anything but. 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Hecker transforms harsh digital noise into an emergent rhythm, scanning the detritus until it turns into a an unintentionally dubwise sequence of undulating pulses.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eA variation of this process is also used to drive the album's extended closer 'M 35\/36', a symphonic 35-minute blur of ghost frequencies and nebulous textures that's accented with kaleidoscopic xenharmonic iridescence.\u003c\/p\u003e","brand":"Pan","offers":[{"title":"CD","offer_id":55892624802123,"sku":"R0671-3788","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/FlorianHecker-NaturalSelection_8ff48c99-51aa-4098-983b-bf014da98251.jpg?v=1762961493"},{"product_id":"spandrel","title":"Spandrel?","description":"\u003cp\u003eIn evolutionary biology, the term spandrel refers to the features of an organism that aren't developments for survival, and seemingly possess no obvious purpose. The word is taken from an architectural label for the triangular spaces in the corner of an arch: small aesthetic elements that provide symmetry and demarcate boundaries. Musician and vocalist Evita Manji asks an opaque question on their debut album, wondering in the face of immense loss what elements of ourselves might be for endurance, and what might just be decoration. Their tracks, pieced together from the vapors of contemporary club music, baroque pop, and experimental sound design, are a way for Manji to examine their relationship with the world at large and within, disassembling systems of control and highlighting interconnectedness.\u003c\/p\u003e\n\u003cp\u003eManji has been an ethereal presence on the scene for the last few years, collaborating with numerous artists as both a sound artist and a creative director. Last year, they launched their own platform myxoxym, where they debuted two singles from \u003cem\u003eSpandrel?\u003c\/em\u003e and assembled an ambitious fundraiser compilation featuring Rainy Miller, Palmistry, Cecile Believe and others, raising money for Greek wildlife fund ANIMA. Performing across the world at festivals such as Unsound, Lunchmeat, and Rhizom, Manji has also appeared at clubs in Berlin and London, and was picked to represent the Shape+ platform in 2022. These experiences teem through \u003cem\u003eSpandrel?\u003c\/em\u003e, helping them weave a complex artistic tapestry that seeks to look far beneath the surface of existence, attempting to balance the doom of global climate meltdown with themes of self-actualization, love, and bodily autonomy.\u003c\/p\u003e\n\u003cp\u003eThe album opens on the title track, an introductory précis that prepares listeners for what they're about to hear. Manji's vocals hum with a plugged-in sense of cybernetic melancholia, filtering the world's barrage of rhythms and harmonic themes into lithe, clubwise pop that's buoyed by their advanced sonics. From there, we’re wrenched into the sadness of atmospheric lament 'Pitch Black', a meditation on death that submerges deep bass beneath layers of choral bliss, evoking the church and the dancefloor without sacrificing the power of each polar element. Their darkness is pushed from the inside to the outside on ‚Oil Too Much’, a commentary on the oil industry from the perspective of the animal kingdom that doubles as a neon-hued expression of contemporary depression. But it's on 'Body\/Prison’ where Manji sounds most naked, speaking honestly about their life’s darkest moments and confessing their deepest feelings over searing trance-inspired synths and grotesque percussion. \u003cem\u003eSpandrel?\u003c\/em\u003e is an album that takes time to unravel, and Manji's themes resonate through history that's older than pop music. It's tragic, romantic, and poetic, and resolutely refuses to turn away from the era's most urgent concerns.\u003c\/p\u003e","brand":"Pan","offers":[{"title":"LP - Black","offer_id":56034460926283,"sku":"R6029-4266","price":36.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/EvitaManji-Spandrel.jpg?v=1764776364"},{"product_id":"seismo","title":"Seismo","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eA cocktail of rebellious queer vocal fragments, deceptive percussive granules and swaying hammered vibrations, upsammy and Valentina Magaletti's first collaboration trembles with suspense. The seeds of \u003cem\u003eSeismo\u003c\/em\u003e were sown following a commission from Amsterdam's Rijksmuseum to soundtrack an exhibition of work from the Museum Boijmans van Beuningen in Rotterdam and the duo didn't want to approach their collaboration flippantly. So, wandering the museum's maze of rooms, they recorded various improvised percussive sounds with their arsenal of microphones, using the space to inform various rhythms and textures that were sculpted later into electroacoustic vignettes. This was just the starting point, though; as Magaletti and upsammy began performing together, the project evolved and \u003cem\u003eSeismo\u003c\/em\u003e began to take shape. The duo had struck on a salient aesthetic concept, using mostly digital and acoustic mallet instruments to blur the boundary between their roles and create friction between the synthetic and the authentic. And the finished record is a phantasmagoric push-and-pull between its various conflicting elements: harmony and dissonance, randomness and predictability, openness and constraint.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003e'Seismo' isn't the first time that upsammy has studied her environment in search of revelation. On her acclaimed second album, 2024's \u003cem\u003eGerm in a Population of Buildings\u003c\/em\u003e, the Amsterdam-based DJ, producer and multidisciplinary artist erected her complex, unorthodox rhythms and eerie melodies around a modernist frame of field recordings collected in various cityscapes, countering heavyweight basslines with subtle, microscopic sounds. London-based Italian vanguard Magaletti, meanwhile, has applied her unique logic to innumerable projects at this point, working with everyone from batida icon Nídia and hardcore-dub outfit Moin to French writer Fanny Chiarello and British bass scientist Shackleton. For years she's approached the drums with criticism, attempting to challenge any preconceptions, something that's most visible on 2020's 'A Queer Anthology of Drums'. And both artists' thoughtful perspectives are welded together seamlessly on 'Seismo', a dizzying suite of eight eccentric statements that's fragile but never insecure, gauzy but not indistinct.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eAn unnerving sense of space characterizes 'It Comes to an End' as Magaletti's in situ improvisations herald for upsammy's microscopic glitches and chiming pitch-bent melodies. It's almost unbalancing to witness the track's impossible dimensionality, the interplay between reverberant marimba hits and bone-dry synths, or percussion that's been recorded and processed in consciously different settings. A new architecture emerges in the sound itself that the two artists scan and explore meticulously, testing its boundaries with undulating hybridized rhythms on the invigorating 'Superimposed' and offsetting the powdery drums with liquified smacks and alien voices. The duo's vibrations are knotted with piano flourishes on 'Hyperlocalize', balanced with artificial clanks and clangs that disappear into the track's sonorous atmosphere, replaced by whispers and half-hallucinated insectoid chirps. \u003cem\u003eSeismo\u003c\/em\u003e is an album that feeds off the energy generated by its juxtapositions: the tension and anticipation that's melted by rapid, hyperactive movement and the finely drawn rhythms disrupted by a layer of indistinct, barely perceptible microsounds.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIt's a collaboration that sounds like two minds challenging each other but not wrestling, each peering from their own distinct vantage point and imagining a third landscape shaped by optimistic, queer vibrations.\u003c\/span\u003e\u003c\/p\u003e","brand":"Pan","offers":[{"title":"LP - Black","offer_id":56494897004875,"sku":"R1112-7613","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/upsammy_ValentinaMagaletti-Seismo.jpg?v=1770738903"},{"product_id":"agon-original-soundtrack","title":"Agon - Original Soundtrack","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e\u003cem\u003eAgon\u003c\/em\u003e is the directorial debut of Giulio Bertelli. It follows a triptych of female athletes as they prepare and then compete in Ludoj 2024, a fictional Olympic Games, in their personal disciplines - judo, fencing, and rifle shooting. Informed by the historical figures of Cleopatra, Joan of Arc and Nadezhda Durova, these women are portrayed against the political, social, technological and physical contexts that dominate the highest level of sports competition and performance. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003eAgon\u003c\/em\u003e explores a contemporary account of the contradictions of these sports, which began as peacetime practices for war, as their disciplines are institutionally sanitised, recast as wholesome global entertainment, and ultimately dematerialised altogether in new digital arenas. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe events at Ludoj are conducted not in sports arenas but on soundstages, with no live audience. These spartan spaces are populated only by athletes, sports officials, and film crew, capturing every audio-visual layer of information. Within this environment, every mat crash, sword clash and gunshot is experienced in exacting detail. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eTom Wheatley’s score began as a conceptual mirror to this. He took three musicians, each with a singular approach to their instrument, each instrument having a language of articulation that relates to each sport: percussion for judo, cello for fencing, saxophone for rifle shooting. Added to this were claustrophobic analogue electronics, and bagpipes, to represent a state beyond competition: war. The rich, detailed signals from these players underwent extreme processing live in the studio, at times moving the music into a grey area between score, sound design and foley. \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“I saw a material parallel between the sportsperson and the musician. That you have these tools which you carry through life, which hold complex histories of use. These techniques and traditions are studied, and combined with contemporary technologies to unlock new potentials. As Alex Sokolov is to her gun, Jean-Luc Guionnet is to his saxophone. From this model sprung many ideas, which lay the foundation for the score: applying the gestural language of the fencing epee to Ute’s bow; the ‘tuned air’ of both the rifle and the saxophone; taking the judo concept of barycentre and applying that to a form of rhythmic gravity with Seijiro. It was a rich seam”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e– Tom Wheatley \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Where realism and fiction are blurred in the world of \u003cem\u003eAgon\u003c\/em\u003e, Tom accomplished the same for the score, obfuscating the boundary between the acoustic landscape of the film and the music, respecting the theoretical framework of the film itself.”\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e– Giulio Bertelli\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cem\u003eAgon\u003c\/em\u003e premiered at Venice Film Festival 2025, was awarded the Luciano Sovena Award for Best Independent Production, and the FIPRESCI Award (International Federation of Film Critics). It is a MUBI\/Match Factory production.\u003c\/span\u003e\u003c\/p\u003e","brand":"Pan","offers":[{"title":"LP - Black","offer_id":57475267363147,"sku":"R9027-8460","price":43.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2000x2000bb_8e72636f-29f8-49b9-908b-b4a2faf0a645.jpg?v=1780156111"},{"product_id":"lila","title":"Lila","description":"\u003cp\u003e\u003cspan\u003eCritically acclaimed photographer, Paris-based Algeria-born artist Mohamed Bourouissa has long fostered a deep, enveloping interest in sound. \u003cem\u003eLila\u003c\/em\u003e is his solo debut, a self-styled \"musical object\" that inventories the important relationships in his life; each of the album's tracks is dedicated to (and named after) a person he was thinking about as he composed the record. Featuring appearances from Franco-Senegalese artist Le Diouck and Italian avant-garde figure Valentina Fanigliulo (aka Mushy and Phantom Love), the album plays like a diary of hypnagogic reflections that uses weightless synths, heartbroken AutoTuned vocals and dissociated beat sequences to sketch a likeness of Bourouissa's inner reality. Emotionally charged and rooted in the aesthetics Bourouissa pegs to his bonds with sound, people and art, it's as complex and multi-layered as any of his celebrated installations or exhibitions.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"UTF-8\"\u003eBourouissa's first recognizable sonic reference was 2009's \u003cem\u003eTemps Morts\u003c\/em\u003e, a moving video work he named after French rapper Booba's iconic debut album, and since then, he has followed his intuition, slowly figuring out not just how to integrate sound into his works, but how to center it. In 2017, he worked alongside Lebanese free improv guitarist Sharif Sehnaoui and Sina Araghi (aka Sina XX) on 'Si Di Kubi', a compilation that highlighted experimental sounds from the Arab world, and his course became clear. \"It was at that moment that sound became an integral part of my artistic practice,\" he explains. Bourouissa collaborated with French sound designer and programmer Jordan Quiqueret in 2021 to figure out how to translate frequencies generated by the Acacia tree into rhythms on ‘Brutal Family Roots', integrating poetry from Waddi Waddi rapper MC Kronic and Egyptian-Australian MC Nardean. And he later worked with Fanigliulo on Haral!, a duo project that finally gave the artist the confidence to embrace his abilities and prioritize his own productions. \u003cbr\u003e\u003cbr\u003eEven his recent Palais de Tokyo exhibition 'SIGNAL', Bourouissa's first retrospective, was assembled much like an album, with the artist paying close attention to the musical logic of its structure and inherent rhythms. \"I see sound as a vector of history and memory, sometimes traumatic\" he says. \"Working with frequencies, noises and breaths opens up a space for reparation, a cathartic possibility. ”And that same philosophy guides 'LILA', from the reverberating piano chords and choral echoes of 'INTRO' to the microtonal hums and obscured rhythms that spiral around the brief, affecting 'OUTRO'. It's an album that's hard to classify; there are traces of pop in 'HFC', a beatless suite of modular hiccups and bio-mechanical cries that oozes towards cacophony, and remnants of club music left on the windows and walls of the sweaty 'MG', in the quivering drum rolls and Le Diouck's pitchy exclamations. \u003cbr\u003e\u003cbr\u003eThe linking thread throughout is the fact that Bourouissa is able to represent a feeling rather than a sound. Using a palette that's been steadily refined over the last decade, he shifts and shimmers through a personal landscape that's transformed into a living, breathing sonic ecosystem. On 'AF', haunted FM arpeggios float eerily around his casual, heartfelt words, and on the unsettling 'SEUM', layered synth drones counter his processed croons with electrifying xenharmonic chords. Instrumental vapors hover through tense rhythmic flurries on 'MN', and when Fanigliulo appears on the title track, the album snaps into focus as warm, hopeful pads underpin some of Bourouissa's most piercing lyrics. \"What did you say, why should I cry,\" he repeats into the void, squeezing the words through metallic distortion and uneven beats. It's music that's so tactile that you can almost touch it.\u003c\/span\u003e\u003c\/p\u003e","brand":"Pan","offers":[{"title":"LP - Black","offer_id":57566064345419,"sku":"R6671-7916","price":29.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2000x2000bb_517783d6-7d0b-4b9e-a79b-543e6ad4da0a.jpg?v=1781337484"}],"url":"https:\/\/shop.roughtrade.com\/fr\/collections\/pan-1.oembed","provider":"Rough Trade","version":"1.0","type":"link"}