„The record tells of oases of trust.“ (Viola Klein)

Viola Klein’s records are supremely earthy and astrally inclined. In her DJ sets, she navigates with harmonies through a music selection that combines experimental house from the US Midwest, West African polyrhythms, and music in the tradition of Can from Cologne. Klein was invited to shape the sound of a club night alongside Kampire and Nídia. She has collaborated with Unity Fellowship Church New York, Georgia Anne Muldrow, Ndongo Samba Sylla, the James and Grace Lee Boggs Center in Detroit, Julion De’Angelo, and Whodat. For her own party series, originally called Bring Your Ass and later No Adoration, No Humiliation, she invited artists such as Aaron Carl, K15, and Kyle Hall when he was just 18 years old.

Her latest solo release, Confidant, offers a fresh approach to deepness.

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LP + CD + Booklet

Producer Pieter Kock, active also as a DJ under his DJ Peacock guise, is known for being one of the people behind the legendary O Tannenbaum bar and club, a haven of sorts in Berlin nightlife for years, and the newly opened second O Tannenbaum called Schankwirtschafft O Tannenbaum. He has released some of his own music on labels such as Musikii, RIO, Full Body Massage, Fantasy Fiction Records, Moonwalk X, and Invisible Inc, and has extensively collaborated with people and projects such as Meeuw and De Fabriek.

His new Bright Bars From The Stars album on Meakusma is a dizzying amalgam of moods and influences. From ghostly and contemplative tracks to spaced-out and dubbed-out dark dancefloor psychedelia infused with melodics, phrasing, and percussive patterns reminiscent of pop and avant-garde alike, Bright Bars From The Stars features a full album on vinyl, with an extra CD included. Kock is a versatile chronicler of the night, capturing the beauty, loneliness, and endless possibilities of wide avenues pining for neon lights, futuristic descents into past moods and modes, and all.

14 tracks in total, Bright Bars From The Stars is a cosmic, at times gentle, at times confrontational affair that brims with ideas and influences. Combining sounds, rhythms, melodies, and textures from a wide variety of sources and meanings, Pieter Kock brings all of his influences together, intent on finding new paths of thinking and feeling. His pictures printed in the CD booklet give some kind of indication of his artistic process, without ever wanting to push things in any kind of direction. Cocktail bars of a dystopian future, unite! Bright Bars From The Stars is the soundtrack to a very encompassing and transformative night out.

All compositions by Pieter Kock except Bright Bars From The Stars by Pieter Kock and Dominik Peacho Noé
Mastering & Cut by Rashad Becker
Art by Pieter Kock and Meeuw

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A bit more than half a decade on from his widely acclaimed debut Vanishing Points from 2018, Swiss guitarist, composer, and improv musician Manuel Troller releases his new record Halcyon Future. A rhythmically dense and ambiguous, yet joyful ride for unstable times, a plea for warmth and hopeful resistance.

Troller’s mode of incorporating, zooming in, and expanding on small elements from improvised sessions creates a multilayered work of driving rhythms and abstract, vibrating textures. Opening with Halcyon Future I’s distinctive open pulse, this first piece guides us through subtle harmonic shifts that are almost unrecognizable as they take place over extended time, overlapping and creating a sense of ambiguity until the piece reaches an almost optimistic level with Mario Hänni’s unexpected introduction of driving acoustic drums. Relentlessly and with increasing excitement, heavy electronic 80s bass drums and an armada of layered hi-hats push them on, leading to the all-incorporating melodic finale.

The two long pieces Halcyon Future I and Halcyon Future II focus on forward momentum. In between them stands DNA, a purposely directionless contemplation on emotion as such. It is raw, naked, and confrontational, with a tender and subtly changing chord progression creating intimacy and proximity, abstraction and warmth, like a beautifully vibrant hologram for the listener to walk around in.

The B-side with its 20-minute Halcyon Future II features playful futuristic guitars, enhancing and challenging the stereo image that Troller is already well-known for. As it’s given time to develop and take root, the ever-varying guitar interactions densify and the staccato patterns jump out of the speakers with joy, creating excitement and building momentum. Compared to Side A, things turn to a slightly more complex rhythmical, melodic, and harmonic feel here. There are easy references, such as Manuel Göttsching’s E2-E4 or Pat Metheny performing Steve Reich’s Electric Counterpoint, but Troller goes a different and very much more concrete way. Although the piece has been recorded in various places and through a long process of overdubbing, there is an astonishingly strong live feel to it, from beginning to the end, from the slow rise to the full spectrum and the almost krautrock-like finale. Improvisers Hans Koch on soprano saxophone and Michael Flury on heavily fuzzed trombone join in, while Troller and Mario Hänni on many guitars, bass, drum machines, and acoustic drums provide a joyous driving entity, not giving up until it all breaks down again. There is overkill and brute force, though never without depth and a vision of future.

In the musical scope of Halcyon Future, there is no need for an absolute definition of things. A continuously changing interpretation of repetitive and variable elements fading in and out of focus tells a story of an excited sense of acceptance. Feelings of transcendence stem from Troller’s layering of constantly shifting rhythmic structures with unforeseen improvised harmonic changes. Drum machine parts overlayed with acoustic drums shift between musical modes, anchoring the album on the verge of a jazz-influenced, motorik, post-ECM balearic plateau. Abstract textural elements gently swirl around and behind all that is rhythm, providing a submissive counterpoint. As with much of Troller’s work, Halcyon Future is an album that unfolds slowly, revealing more of its richness, detail, and subtle beauty at each listen.

Halcyon Future is a joint release by three:four records and meakusma.

credits

produced by Manuel Troller
published by three:four records and meakusma

Manuel Troller: guitars, bass, percussion & drum programming

with:
Mario Hänni: acoustic drums and percussion on Halcyon Future I & II
Hans Koch: soprano saxophone on Halcyon Future II
Michael Flury: fuzzed trombone on Halcyon Future II

Recorded during 2021 & 2022 at Suburban Sound, Winterthur by Manuel Egger, additional recordings at Feldbergstrasse in Basel & various places by Manuel Troller.

Mixed December 2022 and January 2023 at Suburban Sound, Winterthur by Manuel Egger and Manuel Troller.
DNA's additional mixing by Leo Abrahams
Mastered by Rashad Becker
Vinyl cut by Rashad Becker
Desing by Mathis Pfäffli, font: Dinamo Typefaces.

Realized with the kind support of Fuka Fonds Stadt Luzern, Fachausschuss Musik Kanton Basel-Stadt und Basel Landschaft

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Between improv, pop and r&b abstractions, and contemplative balearics, Sam Gendel and Ugné Uma “Tam tikri objektai erdveje” subtly meanders through a fragile and forward cosmos both inward and out.

Sam Gendel and Ugne Uma’s Tam Tikri Objektai Erdveje album sketches a layered, melismatic and intertextual view on what both performers define as a lightness of being. Ugne Uma’s musical stance is influenced by experimental poetry and Lithuania’s 20th century underground music scene - jazz and folk, resulting from the liberation of the country’s independence movements. Sam Gendel, from Los Angeles, is a saxophonist and producer, proficient on more instruments than the saxophone alone, whose recorded work both solo and collaborative has brought him acclaim as a vital new voice in modern jazz and beyond.

Tam Tikri Objektai Erdveje is Lithuanian and translates as Some Particular Objects in Space. The six tracks on the album stand for every letter of the word Saturn. They sketch out a sound palette both fragile and full of forward momentum. With hints of improv, sampling their own recorded work and sounds of a childhood’s Yamaha Portasound PSS-290 synth into abstractions of pop and r&b, some of these tracks reach an almost balearic feel, the more contemplative end of it. With lyrics delving into cosmic phenomena, Tam Tikri Objektai Erdveje is an album about space, whether cosmic or inward or the one in between. It easily surpasses the sum of its influences and the materials and tactics used to produce it.

A1 ttoe - S_M (0’46)
A2 ttoe - T_M (3’02)
A3 ttoe - N_M (3’55)
B1 ttoe - U_M (4’00)
B2 ttoe - R_M (4’30)
B3 ttoe - A_M (2’38)

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Butterfred has been releasing his atmospheric hiphop, grime, dub and ambient-driven hybrids on his own Butterfred Productions label since 2017. His is a committed update of a breakbeat perspective through moody and hazy ambiences that touch upon neo-noir and the logic of rhythm within. For his first outing on Meakusma, he provides six short, yet wide-ranging tracks with a lot of forward momentum. Voice samples and ambientish scapes give all tracks direction, deceptively downtempo beats are at times driving, at times phased-out into the background. There is a definite mystique to Butterfred's work as it purposely leaves threads unresolved. The focus is on space, a spatial perspective that infuses his music with concrete references to his influences, be it hiphop, dub or even triphop. His sense of space is often very private, yet makes for a kaleidoscopic view, unafraid to be extensive. Butterfred has a very subdued online presence. This EP is his first music to also be released digitally. His work speaks for itself and does so in fragmented jolts of imagination and reduction.

Design: Meeuw

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Modern Power electronics...TIP!!

Philipp Matalla lives and works in the triangle of Halle, Leipzig and Berlin, in Germany. He has previously released music on labels such as Optimo Music, KANN and Kashual Plastik. His new album on Meakusma delves into some of the themes that have so far defined his work, this time increasing the tension between moments of musical harshness and flickers of introspection, ease and downright beauty. Matalla aims not for perfection, instead deploying the listener's sense of imagination. His work toys with the notion of abstraction in electronic music, often going as far cutting short melodic and other ideas, making for a confrontational stance unafraid of leaving his material in a state of difficult to define rawness, based on versatile ingredients equally rooted in rural and urban territory. Stakes is a gorgeous and gorgeously far out album, integrating elements of psychedelic rock and dub, blending in melodic ideas that are at times abstracted, at times soothing. It is pastoral music for the digital age, where raw bursts of noise and energy dislocate and set the record straight. There is even a croonerish feel to some of its tracks, croonerish from a distorted future that is. Stakes is an experience in eclecticism and musical logic. It dissolves structures and ideas and turns musically recognisable elements on their head.

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Comes with a fold out A2 sized poster and download card.

The EC Band is a collaboration between American Brussels-based painter, former grindcore singer and musician Luke Calzonetti and Belgian visual artist, performer and percussionist Stijn Wybouw. Their first EC Band outing sees them conjure up four transcendent tracks driven by improvisation. The instruments used and the way the EC Band naturally and fluidly edit their musical output, make for flickers of musical mirages, infusing everything with a sense of space and abstraction. On the edge of what is recognisable emotion and perspective, Calzonetti and Wybouw are soft-spoken yet confrontational. Their music marries the mundane with a stance of understanding and the profound. As musical information fades in and out of focus and a sense of belonging resists clear grasp, The EC Band touches upon the ethereal, with abstract focus.

Design by Meeuw

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The Discomfort Of Evening is the incredible and original soundtrack by prolific Belgian composer Michiel de Malsche to 2020 International Booker Prize winner The Discomfort of Evening by Marieke Lucas Rijneveld. Visceral and virtuosic, Rijneveld's novel follows Jas, a girl growing up in a devout Christian family that runs a Dutch dairy farm, whose brother dies in an accident after she wishes he would die instead of her rabbit. Lost in grief, her family falls apart as she becomes consumed by increasingly dangerous fantasies.

Michiel de Malsche has captured the atmosphere and spirit of Rijneveld's book perfectly, moving through moments of confrontation and introspection, sinking into spirals of despair, stasis and subtle hope and change. Brooding ambient basslines, driven by droning murmurs, are offset with melismatic electro-acoustic pieces that embody the novel's haunting and dissonant world, whilst also incorporating manipulated field recordings such as animal sounds and a church service, allowing for a full manifestation of Jas’s world in a completely new way.

De Malsche achieves this by rallying an unusual combination of acoustic instruments (16 in total) played by top-of-their-field musicians, creating a truly unique sound world and tonal palette, including an Ondes Martenot, a 7-stringed Chinese instrument called a guqin, a marimba, a string 6-tet, a toy piano and a bass flute.

De Malsche always confronts all emotional levels of his source material head-on, making his soundtrack into much more than just a fever dream. It is a precise description of, and accompaniment to, a devastatingly impactful book.
Michiel De Malsche is a Belgian composer, multi-instrumentalist and sound designer. He studied classical composition at the conservatories of Rotterdam and Ghent. His music has been performed all over the world and he has composed and produced dozens of soundtracks for contemporary dance, theatre, movies and documentaries.

Besides his work as a contemporary classical composer, he is active as a studio musician and producer in the world of electronic music.

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The Idealist is one of the many projects of Joachim Nordwall who has a long history in Swedish experimental music running the quintessential iDEAL Recordings record label since 1998, as a member of the psych-drone duo Alvars Orkester, avant punk rock trio Kid Commando and ritual drone rock group The Skull Defekts and through his many solo recordings and collaborations with people such as John Duncan, Aaron Dilloway, Mika Vainio, Mats Gustafsson, Leif Elggren, Gabi Losoncy, Mark Wastell and Christine Abdelour.
As The Idealist, he has been delving into an amalgam of experimental techno, dub and industrial music since 2006. His new A Lion Is A Lion And Not A Lamb continues this perspective unabatedly, conjuring up six tracks that shimmer with an almost psychotropic intensity, sometimes including acidic touches, dwelling in a confrontational minimalist musical stance where repetition, bursts of gorgeous noise and dubbed out skeletal rhythms make for wayward yet driving grooves at home on the dance floor and a set of headphones alike. The Idealist looks for engagement within rhythm, in its almost purest form.

Design by Meeuw

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Prolonged and Sustained sees Lord Tang, real name Dominic Cramp, descend further into his characteristic dub-fused, kaleidoscopic and surreal sound universe. Three deceptively laidback tracks and two remixes conjure up an E.P. rife with contrast and juxtaposition. Cramp is influenced by soundtracks, vintage science fiction, dirty electronics, modular electronic sound, and much more, and within these tracks, all of those influences make total sense. Gritty rhythms and patches and dislocated and almost broken-down melodies push each other in and out of focus. Effects are used to shift attention and to obliterate said effects at the same time. Lord Tang's songs appear and dissipate, they exist and within their short time span lies a conflicting, dub-driven macrocosm that touches upon the dance floor as much as on the avant-garde.

Zonedog, aka Disrupt, gives a more cinematic and at the same time tribal feel to Mountains and Streams. His remix lends the track a linearity it did not have before. It also makes the inherent beauty of the track more outspoken, adding a layer of emotion that feels balanced and daring. Weird Dust reworks Clip Clop into a slow motion, almost house track. His remix takes a subdued stance, blurring the track's original elements into a filtered-down tribute to a lounge dance floor, buzzing with pink champagne.

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this is Pretty Sneaky .... BIG TIP!

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Repress!
"A mesmerizing descent into the artistic perspectives of two singular artists active in off-kilter club music !

Some of the eight tracks on this record were recorded live at the festival while others were recorded during the residency. All dwell in distorted and eccentric bliss and play around with rhythmic arrhythmic and post-rhythmic tension. There is happiness in dystopia although the subtle yet intense layering in the music hints at undercurrents that are far from bright. The joyousness of this record lies in the notable excitement Don't DJ and NWAQ experience fusing their modi operandi coming up with a music that shines and distorts. As massive blocks of sound alternate with subtler disorienting parts repetitive vocals create an air of disparate acceptance. It uses club music's template and pushes on. With the kind support of Ostbelgien."

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Repress!

Recorded at Friedenskirche, Eupen during the reiheM showcase at Meakusma Festival 2019

This record comes with a 12-page booklet that features an extensive Interview with Charlemagne Palestine, conducted by Dirk Specht and Hans W. Koch of reihe-M.

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Repress!
Riots is Gerald Cleaver's second electronic album, jointly released by 577 Records sub label Positive Elevation and Meakusma. It sees Cleaver further exploring the depths of electronic music offered by his hometown Detroit, combining those influences with his personal musical background. A jazz drummer. originally from Detroit, Cleaver has for years been one of the leading drummers and composers in New York's jazz scene. Griots is all about spontaneity, dealing with a wide range of influences and ideas, blending them in an at times gentle, at times ferocious flurry of rowdy synthesis, FM tones and muted drum machines. The album is a challenging listen that offers comfort as well as contorted acceptance. It defines the nature of inspiration as circular. Griots also features Cuban jazz pianist and composer David Virelles and American composer and trumpeter Ambrose Akinmusire. Highly original and striking a unique and informed tone, Griots loops psychedelic sounds and rhythmic ideas, adding a version-like feel to it's IDM and club music influences. Its templates are open-ended and shed light on what is going on around us.

Available on vinyl and digital, with the vinyl version containing seven tracks + four digitalonly tracks that are downloadable upon purchasing a copy.

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Artist, producer and DJ Bryce Hackford will release on November 9th 2015 the nine-track album Behind, his second full length since 2013's Fair, and his first for Meakusma. Behind is an expansive collection for Hackford, who draws from experimental, process-oriented composition techniques to create sensorially engaging dance music. An ethos of presence, enrichment and dissociation pervades Behind - by stripping away the constructed-ness of so much dance music, Hackford allows himself to produce music that is as much a joy to create as it is to share. An ambassador of "ecstatic states" as he calls them, Hackford's music suggests heightened temporal zones may be ubiquitous if you allow them to be. Behind is a proposition of such ecstatic states, its music pulsing vitally at opposite ends of the BPM spectrum. Distinctly unmotivated by polemic dialogues around dance music, Behind seeks a more soluble musical space for unmitigated engagement. It is music inspired by transitions, no less vital before sunset as it is after the curtain call.

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Following up on "Like Comment," last year's excellent full-length by Georgia released on Meakusma, we are happy to present an eclectic and gently schizophrenic remix package, entitled "Like Comment Comments." The 12" features contributions by Bryce Hackford (Prah/DFA), Matt Werth (RVNG Intl.), Afrikan Sciences (DeepBlak/PAN) and Thomas Bullock (Rub-N-Tug), plus two new tracks by Georgia that further develop their informed hypnagogic ambient-pop tendencies. Bryce Hackfod takes Nu-Way Heat into subtle club music territory, conjuring up a distinct, varied and mesmerizing house track that builds and layers into a blissful mini-anthem. Matt Werth puts nu-digidub spin on Abstract High, turning the original into a confrontational and slightly absurdist slab of dancefloor confrontation. Afrikan Sciences deconstructs Mahbunzi Nahgo Pihndi Goes To The Market using his characteristic broken breakbeat approach to create a piece of daft and extremely modern electronic funk. Finally, Thomas Bullock modi-cuddles Haya into an prolonged ambient reverie to bridge and layer between dance floor pulsations.



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We go through life. We shed our skins. We become ourselves.” This line from Patti Smith was going round and round Felix Manuel’s head as he gradually constructed Under Tangled Silence, his first album in six years and a record of a literal creative rebirth. Felix originally began it in earnest in 2020 Covid lockdown, but a catastrophic hard-drive meltdown destroyed almost all his work and sent him close to psychic collapse himself. However, ultimately this pushed him to rebuild from scratch and in so doing to confront and reassess every part of his musical and psychological processes. The result is utterly extraordinary. Felix was a child prodigy as an instrumentalist and his advanced musicality has always been prominent in his music, but here he has put himself front and centre as pianist, harpist and more. And this sense of exposure as a performer interweaves with an unflinching emotional openness too. Where sometimes electronic production as advanced as this can use intellect and techniques as shields from soul-baring, this is the sound of someone who can boldly say “I feel things, I cry all the time, and I'm not afraid to say it or show it in the music.” But this doesn’t mean there’s a move away from the soundsystems and dancefloors where Felix made his name as a uniquely innovative vinyl DJ. Even just in the opening track “A Tune for Us”, minimalist piano ripples and jazz drumming flow into the breaks of vintage jungle – and as the structure of the LP unfolds, a deep ambient meditation like “Hold” can sit very naturally in between the futurist dancehall of “L’Ancienne” and the high-definition acid house mind movie of “Galaxy in Silence”. In fact, as with the hands-on musicianship, that gutsy big-speaker electronic impact is delivered with more certainty, more expertise, more personal flourishes than ever. And all of those elements are more integrated than ever too: the sound of a total musical personality emerging afresh is truly something to behold. An already remarkable talent has been refreshed, reborn and is making the music of his life.

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Different Rooms is the sophomore album by Jeremiah Chiu & Marta Sofia Honer. The followup to their critically acclaimed Recordings from the Åland Islands, this collection extends the path of pastiche forged by their debut: quietly multi-rhythmic, modular-trance-meets-processed-and-unprocessed-chamber strings, bewitching and bewildering field recordings—all knitted tightly, an LA patchwork.

Tracklist
1.1Mean Solar Time
1.2Long and Short Delays
1.3Side by Side
1.4One of Eight
1.5Before and After Signs
1.6Different Rooms
1.7Speaking in Parallel
1.8Side by Side (reflected)
1.9Mind by a Way
1.10Mean Solar Time (reflected)

https://listen.k7.com/b890fe16-6912-4b3a-934f-720fcabf4128

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From the experimental chaos of IDM to the deep, soulful chords of Detroit techno, Japanese DJ and producer Takuya Matsumoto takes us on a captivating journey through decades of musical evolution. Vertical Stories is Takuya’s debut album, and it seamlessly blends the past with the future. Get ready to dive into a sonic landscape that spans from unfiltered energy to complex, layered textures. If you’re a fan of the raw energy of Underground Resistance, the innovative sounds of Mike Paradinas, or the intricate layers of Floating Points and Pepe Bradock, to name just a few, this full-length album is for you!

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'Sorry, No Silence' resonates feelings of global despair over the genocide in Gaza and the moral and political bankruptcy of 'western values'. For obvious reasons the proceeds of this 12 inch release will be donated to PCRF, Palestine Children's Relief Fund. Support more than welcome.

"High urgency music with a very personal expression of the artist: in one way or another", this has always been the important or maybe even the core factor of every Cortizona release so far.

So it was just a matter of time until DJ Marcelle/Another Nice Mess, longtime fan of The Fall and Jiskefet, topnotch producer, dj wizard with three turntables (and a lovely person in general) - and myself - would collaborate towards a Cortizona release.

I guess the initial idea of working together with DJ Marcelle/Another Nice Mess dates back to 2019. One day she called me four times in five minutes just to hear Mark E. Smith's voice message on my phone. Since then there has been no going back. I mean: what's not to love about her?

Some time ago, she sent me the digital files of her new LP 'Sorry, No Service'. One of the tracks, 'Sorry, No Silence', features the Nan Goldin sample: 'this is clearly ethnic cleansing', taken from Goldin's impressive speech to which the audience cheered in support at the opening of her exhibition at the Neue Nationalgallerie in Berlin end of 2024.
Two weeks later Marcelle contacted me again: her German label refused to release the track. This was the moment we had both been waiting for: at last Cortizona and Marcelle would work together!

The album is due to be released later this year, but, with things as they are in Gaza, it is important to issue 'Sorry, No Silence' as a stand-alone track as soon as possible.
Talking about urgency!

'Sorry, No Silence' resonates feelings of global despair over the genocide in Gaza and the moraland political bankruptcy of 'western values'. It does so over a repetitive, militant tribal beat, complete with heavy basslines. The spirits of Mark Stewart, On-U Sound and Muslimgauze loom over the track, but as is always the case with Marcelle, both on stage and in the studio: she has an authentic style of her own, where playfulness meets courage and - also in this case - anger meets rhythm.

'Sorry, No Silence' is a track I didn't know I was waiting for. A track reflecting the sign of the times. The 12'' also features an even more heavy (and faster) dub version and the avant garde track 'Never Again Means', featuring more Nan Goldin samples: 'never again means never again for everyone'.
For obvious reasons the proceeds of this 12 inch and the digital Bandcamp release will be donated to PCRF, Palestine Children's Relief Fund.

Support more than welcome.
(written by Philippe Cortens)



Tracklist

A1. DJ Marcelle & Another Nice Mess - Sorry, No Silence (extended)

B1. DJ Marcelle & Another Nice Mess - Sorry, No Silence (extended dub)
B2. DJ Marcelle & Another Nice Mess - Never Again Means







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Borghesia is an electronic music group, founded in 1982 in Ljubljana, Slovenia. The band was formed by four members of alternative theatrical group Theatre FV-112/15: Dario Seraval, Aldo Ivancic, Neven Korda and Zemira Alajbegovic. They established FV Video to self-publish their video projects and FV Založba – the first independent record label in ex-Yugoslavia. Aldo and Dario took care of songwriting, production and recording while Zemira and Neven handled the visuals. In the late 80s the band signed to PIAS and went on to release a string of successful albums and played world-wide tours.
Clones was Borghesia's second album, self-released on cassette only in 1984. The band borrowed synthesizers (Roland SH-101, Casio VL-1, Korg Polysix) and a Roland 808 drum machine from friends. Every song was played live - no overdubs - and recorded to a cassette deck over a few nights at their club Disco FV during 1983-1984. The music on Clones is meant to accompany various video installations and performances. All of the songs are instrumental and feature various cutting edge techniques for 1983. Hypnotic proto-techno and acid rhythms and synth lines. Music on the A Side of the LP is faster and club oriented while the B Side offers a drugged out soundtrack to get lost in.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley directly from the original master tape. Each LP is housed in a silver jacket with original gelatin print by photographer Jane Štravs. A fold-out poster is included with unreleased photos, original artwork and liner notes by Željko Luketic. After three decades, Borghesia's "music for video" is finally appearing on vinyl for the first time.



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Black Truffle is thrilled to announce Spilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear this year. Founded by the Australian drummer/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. Spilla tracks the continuing evolution of the project since the recording of their first album, Elders (Black Truffle, 2022). The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie’s long-time musical hero and occasional collaborator Roscoe Mitchell.

The two short pieces that open the record could almost be the two sides of a wild 7” selected to show off what the Ensemble can do. On opener ‘Gerak Maju’, intricately skittering open-snare patterns bounce over clanging metal, chiming bell-like tones and deep gong hits, adapting the rhythm-register connections heard in traditional Gamelan musics—where the lowest pitched sounds are heard least frequently—to a cut-up breakbeat straight off Feed Me Weird Things. ‘Strollabout’ then moves into an entirely different realm of meditative repeating patterns, performed entirely on Chinese, Javanese and Vietnamese gongs. The remaining seven pieces, ranging from three to twelve minutes, offer up a wealth of different percussive, compositional and arrangement possibilities. On ‘Ghostly Klang’, two drumkits mirror each other’s moves, bouncing hats and snares across the stereo field in a way that recalls On the Corner and the jittering hi hat patterns of trap, while slow moving melodies on the tuned instruments add a sense of majesty contrasted by scurrying details in resonant wood. The epic closing track presents a take on Roscoe Mitchell’s ‘Uncle’, performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell’s dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal.

Beautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois’ drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.

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Moxy Edits back at it, droppin’ two bass-heavy weapons to tear up the summer sessions — certified dance floor heat!

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