Daphni's fourth studio album Butterfly - to be released on 6 February 2026 - at first picks up where his last album, 2022's Cherry ("Bar for bar, this might be the most fun there is to be had on a dance record this year" - 8.2 'Best New Music' Pitchfork), left off.
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Daphni
Daphni's fourth studio album Butterfly - to be released on 6 February 2026 - at first picks up where his last album, 2022's Cherry ("Bar for bar, this might be the most fun there is to be had on a dance record this year" - 8.2 'Best New Music' Pitchfork), left off.
LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL - NON RETURNABLE.
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL - NON RETURNABLE.
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Daphni's fourth studio album Butterfly - to be released on 6 February 2026 - at first picks up where his last album, 2022's Cherry ("Bar for bar, this might be the most fun there is to be had on a dance record this year" - 8.2 'Best New Music' Pitchfork), left off.
LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
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2025 Repress
Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
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Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
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WAS - Word and Sound Medien GmbH
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Contact: [email protected]More
2025 Repress
Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
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Contact: [email protected]More
Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
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DAPHNI's CLASSIC DEBUT GATEFOLD 2LP FROM 2012 FINALLY REPRESSED!
Original Sales Notes:
While CARIBOU has been touring the globe throughout 2012 in support of Radiohead, Dan Snaith has fallen deeper into his love affair with the dancefloor to bring us a full-length release as Daphni. The first Daphni album of shape-shifting works is titled JIAOLONG (pronounced JOW-long) and will be released on Dan's own imprint (also called Jiaolong).
Inspired to work in a completely different way-setting aside the meticulous compositional rigors and musical layers that underpin Caribou songs-Dan Snaith-as-Daphni reaches out for a more feminine, fluid energy and seeks instant gratification. "Daphni tracks are rough and spontaneous," he explains. "They're about working fast and intuitively, capturing the manic energy needed to start a track one afternoon, have it finished, and be playing it in a club that night."
Tracklist:1. Yes, I Know 2. Cos-Ber-Zam - Ne Noya (Daphni Mix) 3. Ye Ye 4. Light 5. Pairs 6. Ahora 7. Jiao 8. Springs 9. Long
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Original Sales Notes:
While CARIBOU has been touring the globe throughout 2012 in support of Radiohead, Dan Snaith has fallen deeper into his love affair with the dancefloor to bring us a full-length release as Daphni. The first Daphni album of shape-shifting works is titled JIAOLONG (pronounced JOW-long) and will be released on Dan's own imprint (also called Jiaolong).
Inspired to work in a completely different way-setting aside the meticulous compositional rigors and musical layers that underpin Caribou songs-Dan Snaith-as-Daphni reaches out for a more feminine, fluid energy and seeks instant gratification. "Daphni tracks are rough and spontaneous," he explains. "They're about working fast and intuitively, capturing the manic energy needed to start a track one afternoon, have it finished, and be playing it in a club that night."
Tracklist:1. Yes, I Know 2. Cos-Ber-Zam - Ne Noya (Daphni Mix) 3. Ye Ye 4. Light 5. Pairs 6. Ahora 7. Jiao 8. Springs 9. Long
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Contact: [email protected]More
While CARIBOU has been touring the globe throughout 2012 in support of Radiohead, Dan Snaith has fallen deeper into his love affair with the dancefloor to bring us a full-length release as Daphni. The first Daphni album of shape-shifting works is titled JIAOLONG (pronounced JOW-long) and will be released on Dan's own imprint (also called Jiaolong).
Inspired to work in a completely different way-setting aside the meticulous compositional rigors and musical layers that underpin Caribou songs-Dan Snaith-as-Daphni reaches out for a more feminine, fluid energy and seeks instant gratification. "Daphni tracks are rough and spontaneous," he explains. "They're about working fast and intuitively, capturing the manic energy needed to start a track one afternoon, have it finished, and be playing it in a club that night."
Tracklist:1. Yes, I Know 2. Cos-Ber-Zam - Ne Noya (Daphni Mix) 3. Ye Ye 4. Light 5. Pairs 6. Ahora 7. Jiao 8. Springs 9. Long
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1
Daphni - 1. Fly Away (Deetron Remix)
2
Daphni - 2. Fly Away (Deetron Beatless Remix)
3
Daphni - 3. Fly Away (Deetron Drum and Bass Remix)
Dan tells the story of this remix:
'More than a year after the release of the original track 'Fly Away' on my album 'Cherry', Sam / Deetron got in touch and sent me this remix that he'd made uncommissioned to play in his sets. I've been a fan of Sam's for years and I couldn't believe my ears. It is an absolute weapon and beautiful thing and I've been playing it in my sets every chance I get since. People always ask me about it so here it finally is alongside the beatless and rhythm parts constituent mixes which are also incredibly fun to play out.'
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'More than a year after the release of the original track 'Fly Away' on my album 'Cherry', Sam / Deetron got in touch and sent me this remix that he'd made uncommissioned to play in his sets. I've been a fan of Sam's for years and I couldn't believe my ears. It is an absolute weapon and beautiful thing and I've been playing it in my sets every chance I get since. People always ask me about it so here it finally is alongside the beatless and rhythm parts constituent mixes which are also incredibly fun to play out.'
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Cherry will be released on 7 October via Snaith's own Jiaolong label, along with the announcement he has shared a new single 'Cloudy'.
Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith's control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn't until he put everything he'd been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it's ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".
Tracklist / track lengths:
1/A1 Arrow 3.07
2/A2 Cherry 5.55
3/A3 Always There 3.41
4/B1 Crimson 2.54
5/B2 Arp Blocks 2.09
6/B3 Falling 1:12
7/B4 Mania 3:36
8/B5 Take Two 3:19
9/C1 Mona 2:51
10/C2 Clavicle 3:33
11/C3 Cloudy 6:51
12/D1 Karplus 1:48
13/D2 Amber 3:50
14/D3 Fly Away 2:54
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Contact: [email protected]More
Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith's control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn't until he put everything he'd been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it's ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".
Tracklist / track lengths:
1/A1 Arrow 3.07
2/A2 Cherry 5.55
3/A3 Always There 3.41
4/B1 Crimson 2.54
5/B2 Arp Blocks 2.09
6/B3 Falling 1:12
7/B4 Mania 3:36
8/B5 Take Two 3:19
9/C1 Mona 2:51
10/C2 Clavicle 3:33
11/C3 Cloudy 6:51
12/D1 Karplus 1:48
13/D2 Amber 3:50
14/D3 Fly Away 2:54
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Cherry will be released on 7 October via Snaith's own Jiaolong label, along with the announcement he has shared a new single 'Cloudy'.
Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith's control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn't until he put everything he'd been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it's ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".
Tracklist / track lengths:
1/A1 Arrow 3.07
2/A2 Cherry 5.55
3/A3 Always There 3.41
4/B1 Crimson 2.54
5/B2 Arp Blocks 2.09
6/B3 Falling 1:12
7/B4 Mania 3:36
8/B5 Take Two 3:19
9/C1 Mona 2:51
10/C2 Clavicle 3:33
11/C3 Cloudy 6:51
12/D1 Karplus 1:48
13/D2 Amber 3:50
14/D3 Fly Away 2:54
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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Contact: [email protected]More
Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith's control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn't until he put everything he'd been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it's ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".
Tracklist / track lengths:
1/A1 Arrow 3.07
2/A2 Cherry 5.55
3/A3 Always There 3.41
4/B1 Crimson 2.54
5/B2 Arp Blocks 2.09
6/B3 Falling 1:12
7/B4 Mania 3:36
8/B5 Take Two 3:19
9/C1 Mona 2:51
10/C2 Clavicle 3:33
11/C3 Cloudy 6:51
12/D1 Karplus 1:48
13/D2 Amber 3:50
14/D3 Fly Away 2:54
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai, on 6 October (CD) and vinyl coming later around 27.10.
comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
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Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai, on 6 October (CD) and vinyl coming later around 27.10.
comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
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1
daphni - Face To Face
2
daphni - Tin
3
daphni - Xing Tian
New Daphni 12" featuring full length versions from two of the highlights from his recent fabriclive 93 that have both seen action in Dan and his comrades recent DJ sets.
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The new 12" from Daphni - the first release in over 3 years - featuring tracks appearing on his upcoming Fabriclive mix.
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More records from jiaolong
Daphni's fourth studio album Butterfly - to be released on 6 February 2026 - at first picks up where his last album, 2022's Cherry ("Bar for bar, this might be the most fun there is to be had on a dance record this year" - 8.2 'Best New Music' Pitchfork), left off.
LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL - NON RETURNABLE.
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL - NON RETURNABLE.
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Daphni's fourth studio album Butterfly - to be released on 6 February 2026 - at first picks up where his last album, 2022's Cherry ("Bar for bar, this might be the most fun there is to be had on a dance record this year" - 8.2 'Best New Music' Pitchfork), left off.
LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
2025 Repress
Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
2025 Repress
Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
DAPHNI's CLASSIC DEBUT GATEFOLD 2LP FROM 2012 FINALLY REPRESSED!
Original Sales Notes:
While CARIBOU has been touring the globe throughout 2012 in support of Radiohead, Dan Snaith has fallen deeper into his love affair with the dancefloor to bring us a full-length release as Daphni. The first Daphni album of shape-shifting works is titled JIAOLONG (pronounced JOW-long) and will be released on Dan's own imprint (also called Jiaolong).
Inspired to work in a completely different way-setting aside the meticulous compositional rigors and musical layers that underpin Caribou songs-Dan Snaith-as-Daphni reaches out for a more feminine, fluid energy and seeks instant gratification. "Daphni tracks are rough and spontaneous," he explains. "They're about working fast and intuitively, capturing the manic energy needed to start a track one afternoon, have it finished, and be playing it in a club that night."
Tracklist:1. Yes, I Know 2. Cos-Ber-Zam - Ne Noya (Daphni Mix) 3. Ye Ye 4. Light 5. Pairs 6. Ahora 7. Jiao 8. Springs 9. Long
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Original Sales Notes:
While CARIBOU has been touring the globe throughout 2012 in support of Radiohead, Dan Snaith has fallen deeper into his love affair with the dancefloor to bring us a full-length release as Daphni. The first Daphni album of shape-shifting works is titled JIAOLONG (pronounced JOW-long) and will be released on Dan's own imprint (also called Jiaolong).
Inspired to work in a completely different way-setting aside the meticulous compositional rigors and musical layers that underpin Caribou songs-Dan Snaith-as-Daphni reaches out for a more feminine, fluid energy and seeks instant gratification. "Daphni tracks are rough and spontaneous," he explains. "They're about working fast and intuitively, capturing the manic energy needed to start a track one afternoon, have it finished, and be playing it in a club that night."
Tracklist:1. Yes, I Know 2. Cos-Ber-Zam - Ne Noya (Daphni Mix) 3. Ye Ye 4. Light 5. Pairs 6. Ahora 7. Jiao 8. Springs 9. Long
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
While CARIBOU has been touring the globe throughout 2012 in support of Radiohead, Dan Snaith has fallen deeper into his love affair with the dancefloor to bring us a full-length release as Daphni. The first Daphni album of shape-shifting works is titled JIAOLONG (pronounced JOW-long) and will be released on Dan's own imprint (also called Jiaolong).
Inspired to work in a completely different way-setting aside the meticulous compositional rigors and musical layers that underpin Caribou songs-Dan Snaith-as-Daphni reaches out for a more feminine, fluid energy and seeks instant gratification. "Daphni tracks are rough and spontaneous," he explains. "They're about working fast and intuitively, capturing the manic energy needed to start a track one afternoon, have it finished, and be playing it in a club that night."
Tracklist:1. Yes, I Know 2. Cos-Ber-Zam - Ne Noya (Daphni Mix) 3. Ye Ye 4. Light 5. Pairs 6. Ahora 7. Jiao 8. Springs 9. Long
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Daphni - 1. Fly Away (Deetron Remix)
2
Daphni - 2. Fly Away (Deetron Beatless Remix)
3
Daphni - 3. Fly Away (Deetron Drum and Bass Remix)
Dan tells the story of this remix:
'More than a year after the release of the original track 'Fly Away' on my album 'Cherry', Sam / Deetron got in touch and sent me this remix that he'd made uncommissioned to play in his sets. I've been a fan of Sam's for years and I couldn't believe my ears. It is an absolute weapon and beautiful thing and I've been playing it in my sets every chance I get since. People always ask me about it so here it finally is alongside the beatless and rhythm parts constituent mixes which are also incredibly fun to play out.'
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WAS - Word and Sound Medien GmbH
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'More than a year after the release of the original track 'Fly Away' on my album 'Cherry', Sam / Deetron got in touch and sent me this remix that he'd made uncommissioned to play in his sets. I've been a fan of Sam's for years and I couldn't believe my ears. It is an absolute weapon and beautiful thing and I've been playing it in my sets every chance I get since. People always ask me about it so here it finally is alongside the beatless and rhythm parts constituent mixes which are also incredibly fun to play out.'
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Label:jiaolong
Cat-No:JIAOLONG025
Release-Date:21.10.2022
Genre:Electronic, Electronica
Configuration:12"
Label:jiaolong
Cat-No:JIAOLONG025
Release-Date:21.10.2022
Genre:Electronic, Electronica
Configuration:12"
Back in 2010 Caribou's Dan Snaith hosted a remix competition for his track 'Sun' from his then-new album Swim. The winner was an unknown producer called altrice.
Hailing from Tucson, Arizona of Iranian/Mexican descent, altrice took the bright euphoric highs of the original and crumbled them into rumbling lows, the crystalline edges becoming rough and undefined. Along with a bursting goody-bag of prizes, Snaith also provided altrice with the stems for the rest of Swim and the offer to remix the whole album track-by-track, creating 'stem'. Aside from a further dream-come-true remix of Radiohead, this is largely the last we heard from altrice in the past 12 years.
https://on.soundcloud.com/Y2Yu
A year and a half ago though, having kept up correspondence with Snaith over the years, altrice began sending new material. With encouragement from Snaith he eventually wound up with an EP which has since become essential DJ material for Snaith and the cohort of friends he's shared it with, as well as appearing in Leon Vynehall's Radio 1 Residency, KH (Four Tet)'s recent Essential Mix and more.
With three tracks already released from the EP receiving further DJ support from Avalon Emerson, Floating Points, Yu Su, Sofia Kourtesis, Mano Le Tough and more, today the EP is released in full officially via Snaith's own Jiaolong label. compciter is a collection of music that for the first time is entirely altrice's own sound, alluring and off-kilter, a wealth of sounds and styles that are tied together by an irresistible warmth.
Speaking of the EP, altrice says:
"This EP is the result of allowing my stylistic boundaries to be nudged in a new direction, putting away a self-inflicted notion that I'm only fluent in certain subgenres of electronic music. I made some production choices that, for better or worse, will make this project stand out. I've been overwhelmed by the reactions in clubs and at festivals, and individuals reaching out with kind words about the music. It's surreal."
From the huddled and obscured yet comforting vocal samples - described by Pitchfork as "a beacon of light in an uncertain landscape" - of 'bda creature' to the swinging 90s eurodance drums of 'places faces' and the way the welcoming guitar melody and soulful vocals of 'eyes' gives way to a full on bass pummel, the tracks that have been released so far from the EP are already causing a stir both on and off the dancefloor. Today, the chopped up vocals and vast roomy sound of 'yoni' along with '1609km' - which would almost be straightforward house if it didn't pull the rug out to make way for delicate piano and harmonica flourishes - complete a set that fulfils a promise 12 years in the making..
1. bda creature
2. places faces
3. eyes
4. 1609km
5. yoni
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WAS - Word and Sound Medien GmbH
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Germany
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Hailing from Tucson, Arizona of Iranian/Mexican descent, altrice took the bright euphoric highs of the original and crumbled them into rumbling lows, the crystalline edges becoming rough and undefined. Along with a bursting goody-bag of prizes, Snaith also provided altrice with the stems for the rest of Swim and the offer to remix the whole album track-by-track, creating 'stem'. Aside from a further dream-come-true remix of Radiohead, this is largely the last we heard from altrice in the past 12 years.
https://on.soundcloud.com/Y2Yu
A year and a half ago though, having kept up correspondence with Snaith over the years, altrice began sending new material. With encouragement from Snaith he eventually wound up with an EP which has since become essential DJ material for Snaith and the cohort of friends he's shared it with, as well as appearing in Leon Vynehall's Radio 1 Residency, KH (Four Tet)'s recent Essential Mix and more.
With three tracks already released from the EP receiving further DJ support from Avalon Emerson, Floating Points, Yu Su, Sofia Kourtesis, Mano Le Tough and more, today the EP is released in full officially via Snaith's own Jiaolong label. compciter is a collection of music that for the first time is entirely altrice's own sound, alluring and off-kilter, a wealth of sounds and styles that are tied together by an irresistible warmth.
Speaking of the EP, altrice says:
"This EP is the result of allowing my stylistic boundaries to be nudged in a new direction, putting away a self-inflicted notion that I'm only fluent in certain subgenres of electronic music. I made some production choices that, for better or worse, will make this project stand out. I've been overwhelmed by the reactions in clubs and at festivals, and individuals reaching out with kind words about the music. It's surreal."
From the huddled and obscured yet comforting vocal samples - described by Pitchfork as "a beacon of light in an uncertain landscape" - of 'bda creature' to the swinging 90s eurodance drums of 'places faces' and the way the welcoming guitar melody and soulful vocals of 'eyes' gives way to a full on bass pummel, the tracks that have been released so far from the EP are already causing a stir both on and off the dancefloor. Today, the chopped up vocals and vast roomy sound of 'yoni' along with '1609km' - which would almost be straightforward house if it didn't pull the rug out to make way for delicate piano and harmonica flourishes - complete a set that fulfils a promise 12 years in the making..
1. bda creature
2. places faces
3. eyes
4. 1609km
5. yoni
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Cherry will be released on 7 October via Snaith's own Jiaolong label, along with the announcement he has shared a new single 'Cloudy'.
Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith's control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn't until he put everything he'd been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it's ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".
Tracklist / track lengths:
1/A1 Arrow 3.07
2/A2 Cherry 5.55
3/A3 Always There 3.41
4/B1 Crimson 2.54
5/B2 Arp Blocks 2.09
6/B3 Falling 1:12
7/B4 Mania 3:36
8/B5 Take Two 3:19
9/C1 Mona 2:51
10/C2 Clavicle 3:33
11/C3 Cloudy 6:51
12/D1 Karplus 1:48
13/D2 Amber 3:50
14/D3 Fly Away 2:54
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Germany
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Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith's control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn't until he put everything he'd been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it's ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".
Tracklist / track lengths:
1/A1 Arrow 3.07
2/A2 Cherry 5.55
3/A3 Always There 3.41
4/B1 Crimson 2.54
5/B2 Arp Blocks 2.09
6/B3 Falling 1:12
7/B4 Mania 3:36
8/B5 Take Two 3:19
9/C1 Mona 2:51
10/C2 Clavicle 3:33
11/C3 Cloudy 6:51
12/D1 Karplus 1:48
13/D2 Amber 3:50
14/D3 Fly Away 2:54
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Cherry will be released on 7 October via Snaith's own Jiaolong label, along with the announcement he has shared a new single 'Cloudy'.
Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith's control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn't until he put everything he'd been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it's ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".
Tracklist / track lengths:
1/A1 Arrow 3.07
2/A2 Cherry 5.55
3/A3 Always There 3.41
4/B1 Crimson 2.54
5/B2 Arp Blocks 2.09
6/B3 Falling 1:12
7/B4 Mania 3:36
8/B5 Take Two 3:19
9/C1 Mona 2:51
10/C2 Clavicle 3:33
11/C3 Cloudy 6:51
12/D1 Karplus 1:48
13/D2 Amber 3:50
14/D3 Fly Away 2:54
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Germany
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Whether in the studio or the club, Daphni has always been a pursuit where Dan Snaith lets the music find its own path. With Cherry this is more evident than ever, this sense of the tracks as objects with life and desires outside of Snaith's control has now become a driving force in their creation. "There isn't anything obvious that unifies it or makes it hang together" Snaith says, "I think it was good that it was made without worrying about any of that. I just made it."
Recorded over a prolonged period, Snaith let the music go where it wanted to go. It wasn't until he put everything he'd been tinkering with together that he realised what he had. "It's weird that when the tracks were put in what felt like the right order it took on a new coherence" he says, "where it pings quickly from one idea to the next and, at least for me, hangs together in way that feels unified. Maybe because it's hard to avoid the musical fingerprints I leave on the music I make, whether I want to or not."
The component parts have this same sense of independence, the essence of Daphni always present over music that is more free-wheeling than it's ever been, almost escaping Snaith's grasp as it tumbles and spirals. "As is often the case when you're working quickly and intuitively, new pieces of equipment played a part" he says.
New gear and ways of working meant Snaith was able to sit at the centre of the music but let things get away from him a bit more as equipment began to make its own decisions before reeling it back in to suit his purposes, or as he puts it "getting the snake to eat its own tail".
Tracklist / track lengths:
1/A1 Arrow 3.07
2/A2 Cherry 5.55
3/A3 Always There 3.41
4/B1 Crimson 2.54
5/B2 Arp Blocks 2.09
6/B3 Falling 1:12
7/B4 Mania 3:36
8/B5 Take Two 3:19
9/C1 Mona 2:51
10/C2 Clavicle 3:33
11/C3 Cloudy 6:51
12/D1 Karplus 1:48
13/D2 Amber 3:50
14/D3 Fly Away 2:54
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Earlier this year Daphni (aka Caribou, aka Dan Snaith) released a very special FABRICLIVE mix made up of 23 original, unreleased Daphni tracks and four new Daphni edits to widespread critical acclaim.
Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai, on 6 October (CD) and vinyl coming later around 27.10.
comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
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Today he has followed up with the announcement that he'll be releasing a new full-length album, Joli Mai, on 6 October (CD) and vinyl coming later around 27.10.
comprised of extended versions of the tracks from the mix as well as new, unreleased track 'Vulture'.
1. Poly 02:18 2. Face To Face 05:43 3. Carry On 03:46 4. Vulture 04:35 5. Xing Tian 04:57 6. Vikram 05:40 7. Tin 04:33 8. The Truth 06:30 9. Hey Drum 06:51 10. Medellin 06:15 11. Joli Mai 04:49 12. Life's What You Make It. 03:52
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1
daphni - Face To Face
2
daphni - Tin
3
daphni - Xing Tian
New Daphni 12" featuring full length versions from two of the highlights from his recent fabriclive 93 that have both seen action in Dan and his comrades recent DJ sets.
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The new 12" from Daphni - the first release in over 3 years - featuring tracks appearing on his upcoming Fabriclive mix.
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The new 12" from Daphni - the first release in over 3 years - featuring tracks appearing on his upcoming Fabriclive mix.
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DE - 22113 Hamburg
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Jeremy Greenspan & Borys' second 12" on Dan Snaith's Jiaolong label. Recorded in Hamilton at Jeremy's studio. This release sees the two attempting to make Dance music without payoffs; creating tension without release. This is "new age" music for the neurotic.
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1
junior boys - "Big Black Coat" (album version) (8:48)
2
junior boys - "Big Black Coat" (Robert Hood remix) (7:01)
Teaser for the up-coming album on City Slang.
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Teaser for the up-coming album on City Slang.
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Customers who bought this also bought this
LP, Black vinyl with Printed Inner
Territory: Sales Only to: Germany, Austria, Switzerland, France
Veneer made an indelible mark in its understated, expressive brilliance and cemented José González as a meticulous sonic craftsman and
songwriter of singular talent. It’s hard to believe an album recorded with the most basic equipment in a cramped Gothenburg flat could end up
going platinum, not only in Sweden but also the UK, selling well over 1 million copies worldwide. It’s harder still when one acknowledges that,
aside from one brief trumpet solo and the slightest hint of percussion, the record features just one hushed voice and the dexterous picking of an
acoustic guitar’s nylon strings. But 2003’s Veneer was such an album, charting in several countries in the world, and eventually making Top 10
in the UK thanks in part to its delicate, evocative cover of The Knife’s “Heartbeats”.
Praise for José González:
Magical... a supreme talent, reminiscent of the late Arthur Russell The Guardian
Veneer draws you in, it’s easy to believe that the young Swede could begin his own cult The Times
Spine-tingling The Sunday Times
Jose Gonzalez really is a rare find The Times (live review)
Gorgeous, in a word Observer Music Monthly
A fresh and intriguing talent The Independent
Affecting soulful poignancy, a quietly impressive debut The Daily Telegraph
Enormous talent The Sunday Telegraph
An intense talent Time Out
In a world of musical clones, the Argentinian Swede is a thrillingly original new talent The Sun
It's an exquisite, almost solemn privilege to be invited into Gonzalez's world Metro
Extraordinary Uncut
The most intimate music you’ll hear all year Q
Dark, still, yet oddly powerful Mojo
Wonderfully accomplished... a serious talent to watch out for, this year
and beyond Clash
Jawdroppingly special, a rare talent Fact
TRACKLISTING:
Slow Moves
Remain
Lovestain
Heartbeats
Crosses
Deadweight On Velveteen
All You Deliver
Stay In The Shade
Hints
Save Your Day
Broken Arrows
Save Your Day
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DE - 22113 Hamburg
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Contact: [email protected]More
Territory: Sales Only to: Germany, Austria, Switzerland, France
Veneer made an indelible mark in its understated, expressive brilliance and cemented José González as a meticulous sonic craftsman and
songwriter of singular talent. It’s hard to believe an album recorded with the most basic equipment in a cramped Gothenburg flat could end up
going platinum, not only in Sweden but also the UK, selling well over 1 million copies worldwide. It’s harder still when one acknowledges that,
aside from one brief trumpet solo and the slightest hint of percussion, the record features just one hushed voice and the dexterous picking of an
acoustic guitar’s nylon strings. But 2003’s Veneer was such an album, charting in several countries in the world, and eventually making Top 10
in the UK thanks in part to its delicate, evocative cover of The Knife’s “Heartbeats”.
Praise for José González:
Magical... a supreme talent, reminiscent of the late Arthur Russell The Guardian
Veneer draws you in, it’s easy to believe that the young Swede could begin his own cult The Times
Spine-tingling The Sunday Times
Jose Gonzalez really is a rare find The Times (live review)
Gorgeous, in a word Observer Music Monthly
A fresh and intriguing talent The Independent
Affecting soulful poignancy, a quietly impressive debut The Daily Telegraph
Enormous talent The Sunday Telegraph
An intense talent Time Out
In a world of musical clones, the Argentinian Swede is a thrillingly original new talent The Sun
It's an exquisite, almost solemn privilege to be invited into Gonzalez's world Metro
Extraordinary Uncut
The most intimate music you’ll hear all year Q
Dark, still, yet oddly powerful Mojo
Wonderfully accomplished... a serious talent to watch out for, this year
and beyond Clash
Jawdroppingly special, a rare talent Fact
TRACKLISTING:
Slow Moves
Remain
Lovestain
Heartbeats
Crosses
Deadweight On Velveteen
All You Deliver
Stay In The Shade
Hints
Save Your Day
Broken Arrows
Save Your Day
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
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Contact: [email protected]More
Rights: World excluding FR & UK
Packaging: 2 x CD, harcover sleeve (like a book) with textured card , dimensions 14,7 cm x 19,6 cm, 48 page booklet , marketing sticker.
OVERVIEW
Alongside Joy Division, The Durutti Column were amongst the first artists to be released by Factory Records. Their debut album, produced by Martin Hannett, showcased the filigree guitar work of Vini Reilly, awash with reverb and early experiments with synthesisers. It would be a first album of a five-decade career, in which The Durutti Column would quietly emerge as one of the most influential acts from the Manchester scene and beyond.
"Essential." The Quietus
"..the most distinctive LP in the Factory canon" Record Collector ?????
"..a perfect meeting of the minds" BBC
".. a quietly stunning debut" All Music ????1/2
To celebrate the album's 45th anniversary, London Records revisits the album with new editions, with audio sourced and remastered from the original tapes, with vinyl cut at ½ speed.
DELUXE DOUBLE CD SET
- 33 tracks
- 45th anniversary edition
- Newly remastered from the original source tapes for the first time since 1980
- 2 Discs including original album, bonus tracks, home and studio demos, and early live tracks. Features two home demos exclusive to this format.
- Housed in a special hardback tall storybook edition (dimensions 147mm (w) x 196mm (h)). 48p page booklet.
- Restored 1985 "cassette edition" artwork with textured "tall book" sleeve
- The exact textured card for the outer sleeve has been accurately sourced.
- 3 essays by The Durutti Column / Factory Records expert James Nice, Primal Scream's Bobby Gillespie and MOJO editor Ian Harrison.
TRACKLISTING:
DOUBLE CD EDITION
CD1
1. Sketch For Summer
2. Requiem for a Father
3. Katherine
4. Conduct
5. Untitled
6. Beginning
7. Jazz
8. Sketch for Winter
9. Collette
10. In 'D'
11. Lips That Would Kiss
12. Madeleine
CD2
1. No Communication
2. Thin Ice
3. Won't Look Out (Gammer and His Familiars ft. Vini Reilly)
4. Intervals (Home Recording -1978)
5. Katharine (Home Recording -1978)
6. Untitled (Home Recording -1978)
7. Conduct (Home Recording -1978)
8. I'm a Face (Studio Demo - 1980)
9. Sketch for Summer (Studio Demo - 1980)
10. Requiem for a Father ((Studio Demo - 1980)
11. Madeleine (Studio Demo - 1980)
12. Katharine (Studio Demo - 1980)
13. Lindsay (Studio Demo - 1980)
14. For Belgian Friends (Studio Demo - 1980)
15. Detail for Annik (Live - Leeds Polytechnic 1980)
16. Sketch for Summer (Live - Leeds Polytechnic 1980)
17. Requiem for a Father (Live - Leeds Polytechnic 1980)
18. Conduct (Live - Brussels 1981)
19. Self Portrait (Live - Brussels 1981)
20. For Belgian Friends (Live - Brussels 1981)
21. Sketch for Summer (Live - Brussels 1981)
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Packaging: 2 x CD, harcover sleeve (like a book) with textured card , dimensions 14,7 cm x 19,6 cm, 48 page booklet , marketing sticker.
OVERVIEW
Alongside Joy Division, The Durutti Column were amongst the first artists to be released by Factory Records. Their debut album, produced by Martin Hannett, showcased the filigree guitar work of Vini Reilly, awash with reverb and early experiments with synthesisers. It would be a first album of a five-decade career, in which The Durutti Column would quietly emerge as one of the most influential acts from the Manchester scene and beyond.
"Essential." The Quietus
"..the most distinctive LP in the Factory canon" Record Collector ?????
"..a perfect meeting of the minds" BBC
".. a quietly stunning debut" All Music ????1/2
To celebrate the album's 45th anniversary, London Records revisits the album with new editions, with audio sourced and remastered from the original tapes, with vinyl cut at ½ speed.
DELUXE DOUBLE CD SET
- 33 tracks
- 45th anniversary edition
- Newly remastered from the original source tapes for the first time since 1980
- 2 Discs including original album, bonus tracks, home and studio demos, and early live tracks. Features two home demos exclusive to this format.
- Housed in a special hardback tall storybook edition (dimensions 147mm (w) x 196mm (h)). 48p page booklet.
- Restored 1985 "cassette edition" artwork with textured "tall book" sleeve
- The exact textured card for the outer sleeve has been accurately sourced.
- 3 essays by The Durutti Column / Factory Records expert James Nice, Primal Scream's Bobby Gillespie and MOJO editor Ian Harrison.
TRACKLISTING:
DOUBLE CD EDITION
CD1
1. Sketch For Summer
2. Requiem for a Father
3. Katherine
4. Conduct
5. Untitled
6. Beginning
7. Jazz
8. Sketch for Winter
9. Collette
10. In 'D'
11. Lips That Would Kiss
12. Madeleine
CD2
1. No Communication
2. Thin Ice
3. Won't Look Out (Gammer and His Familiars ft. Vini Reilly)
4. Intervals (Home Recording -1978)
5. Katharine (Home Recording -1978)
6. Untitled (Home Recording -1978)
7. Conduct (Home Recording -1978)
8. I'm a Face (Studio Demo - 1980)
9. Sketch for Summer (Studio Demo - 1980)
10. Requiem for a Father ((Studio Demo - 1980)
11. Madeleine (Studio Demo - 1980)
12. Katharine (Studio Demo - 1980)
13. Lindsay (Studio Demo - 1980)
14. For Belgian Friends (Studio Demo - 1980)
15. Detail for Annik (Live - Leeds Polytechnic 1980)
16. Sketch for Summer (Live - Leeds Polytechnic 1980)
17. Requiem for a Father (Live - Leeds Polytechnic 1980)
18. Conduct (Live - Brussels 1981)
19. Self Portrait (Live - Brussels 1981)
20. For Belgian Friends (Live - Brussels 1981)
21. Sketch for Summer (Live - Brussels 1981)
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Rights: World excluding FR & UK
Packaging: 2 x CD, 6 page 4/4 digisleeve with 3 wallets , 12 page booklet, marketing sticker
PRODUCTS INFOS
"The Factory (Best Of) " : all singles & hits released on Factory as 7''/radio edits.
" Remastered + exclusive new artwork.
" First time ever Happy Mondays 's cult remixes as bonus
" 2CD Collector 25 tracks : 14 singles + 11 Remixes
" 2LP editions 17 tracks : 14 singles + the 3 most sought after remixes. Limited Double Yellow & Magenta LP edition also available on Double Black Vinyl that will remain the permanent vinyl edition (with a slightly different frontcover).
SHORT BIOG
2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.
To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.
The release will be available across multiple formats, appealing to collectors and fans alike.
Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.
This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations
Tracklisting:
CD1 TITLE TIMING EDIT
1 Delightful 3:38:00 THE 45 EP
2 Freaky Dancin' 3:42:00
3 Tart Tart 4:18:00
4 24 Hour Party People 3:20:00 Radio Edit
5 Wrote for Luck 3:41:00 7" Edit
6 Lazyitis - One Armed Boxer 3:53:00
7 Hallelujah 3:46:00 Oakenfold 7" Edit
8 Step On 4:20:00 7" Edit
9 Kinky Afro 3:58:00 Radio Edit
10 Loose Fit 3:46:00 Radio Edit
11 Judge Fudge 3:58:00 7" Edit
12 Stinkin' Thinkin' 4:18:00 Hague 7" Edit
13 Sunshine & Love 3:23:00 7" Edit
14 Angel 4:05:00
CD2
1 Tart Tart (The Reflex Revision) 7:16:00 NEW
2 24 Hour Party People (Jon Carter's Main Vocal) 4:29:00
3 W.F.L. (Think About The Future Mix) 7:05:00
4 Hallelujah (Club Mix) 6:29:00
5 Rave On (Club Mix) 5:35:00 Oakenfold / Farley
6 Step On (Twistin' My Melon Mix) 5:55:00
7 Kinky Groovy Afro Remix AKA "Euromix" 7:33:00
8 Loose Fit (Greg Wilson and Ché Wilson Remix) 8:12:00
9 Bob's Yer Uncle (Perfecto Remix) 6:20:00 ROWETTA INTRO
10 Stinkin' Thinkin' (Junior Style) 7:05:00 12" MIX
11 Sunshine & Love (Far Island Mix) 8:24:00
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Packaging: 2 x CD, 6 page 4/4 digisleeve with 3 wallets , 12 page booklet, marketing sticker
PRODUCTS INFOS
"The Factory (Best Of) " : all singles & hits released on Factory as 7''/radio edits.
" Remastered + exclusive new artwork.
" First time ever Happy Mondays 's cult remixes as bonus
" 2CD Collector 25 tracks : 14 singles + 11 Remixes
" 2LP editions 17 tracks : 14 singles + the 3 most sought after remixes. Limited Double Yellow & Magenta LP edition also available on Double Black Vinyl that will remain the permanent vinyl edition (with a slightly different frontcover).
SHORT BIOG
2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.
To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.
The release will be available across multiple formats, appealing to collectors and fans alike.
Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.
This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations
Tracklisting:
CD1 TITLE TIMING EDIT
1 Delightful 3:38:00 THE 45 EP
2 Freaky Dancin' 3:42:00
3 Tart Tart 4:18:00
4 24 Hour Party People 3:20:00 Radio Edit
5 Wrote for Luck 3:41:00 7" Edit
6 Lazyitis - One Armed Boxer 3:53:00
7 Hallelujah 3:46:00 Oakenfold 7" Edit
8 Step On 4:20:00 7" Edit
9 Kinky Afro 3:58:00 Radio Edit
10 Loose Fit 3:46:00 Radio Edit
11 Judge Fudge 3:58:00 7" Edit
12 Stinkin' Thinkin' 4:18:00 Hague 7" Edit
13 Sunshine & Love 3:23:00 7" Edit
14 Angel 4:05:00
CD2
1 Tart Tart (The Reflex Revision) 7:16:00 NEW
2 24 Hour Party People (Jon Carter's Main Vocal) 4:29:00
3 W.F.L. (Think About The Future Mix) 7:05:00
4 Hallelujah (Club Mix) 6:29:00
5 Rave On (Club Mix) 5:35:00 Oakenfold / Farley
6 Step On (Twistin' My Melon Mix) 5:55:00
7 Kinky Groovy Afro Remix AKA "Euromix" 7:33:00
8 Loose Fit (Greg Wilson and Ché Wilson Remix) 8:12:00
9 Bob's Yer Uncle (Perfecto Remix) 6:20:00 ROWETTA INTRO
10 Stinkin' Thinkin' (Junior Style) 7:05:00 12" MIX
11 Sunshine & Love (Far Island Mix) 8:24:00
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Watch the video for the first single 'Sentiments' here - HERE
Malena Zavala is an Argentinian-born, London-based artist, producer, and filmmaker, known for crafting ethereal, genre-blending music that navigates the space between her Latin heritage and her British upbringing. With the forthcoming album If This Life Could Start Again set for release on 30 January 2026 on Paraná Records, Zavala presents her most intimate, cohesive, and accomplished work to date, marking a significant evolution in her artistic journey.
With her new album, Malena creates an atmospheric dream pop world, weaving singer-songwriter intimacy with synth pop, Argentine folk, indiepop, rock and experimental music, threaded together by her blissful vocals and dreamy guitar work. Gorgeously warm and vivid, If This Life Could Start Again charts the journey from pain to acceptance, mapping out the non-linear nature of healing through a sonic landscape. Each song embodies a distinct emotion within that journey, from grief and chaos to feeling lost, seeking refuge, finding confidence, and finally acceptance and letting go. Drawing on her Argentinian roots, Malena uses the Andes mountains as both a visual and thematic anchor - the difficult climb towards higher ground becomes a metaphor for healing, whilst being lost at rock bottom reflects the darkest moments of the journey.
Completely composed and performed by Malena herself, the album was recorded in Girona's L'Empordà countryside in Spain with producer Luke Smith. As a professional producer and audio engineer, this was Malena's first time relinquishing production control - an intimate creative shift that allowed their shared vision to shape the album's rich, enveloping sound.
However, Zavala's career to date has been a testament to self-sufficient artistry. Her critically acclaimed debut, Aliso (2018), was written, recorded, and produced alone in her parents' garage, which honed her dreamy bedroom pop sound. The album, praised by The Guardian for its "gently warped and beguilingly melancholy guitar pop," ****, immediately catapulted her from DIY beginnings to prestigious stages, supporting acts like Lord Huron at London's Roundhouse and Men I Trust at Village Underground and subsequently continuing on their UK/EU tours. Later with standout performances at Latitude, Green Man, and All Points East. Her consistent radio support from key influencers including BBC Radio 6 Music, BBC Radio 1's Huw Stephens, and Steve Lamacq has solidified her presence on the airwaves.
Her second album, La Yarará (2020), saw Zavala delve deeper into her roots, exploring Latin traditions like Cumbia and Bolero. This exploration of identity continues powerfully on the new album, but with a newfound lyrical depth and sonic confidence. The new album, If This Life Could Start Again, is a raw and transformative eight-track journey that maps the emotional landscape of healing. Written after a period of personal upheaval, the album traverses themes of grief, hereditary trauma, and self-discovery. The record's narrative is structured like a mountain ascent. A challenging climb through varied emotional terrain, posing the central question: "Will you join the journey?" Sonically, this journey mirrors the non-linear path to acceptance, evolving from acoustic folk and synth-pop to funk-infused rhythms and rock anthems.
As a formidable live performer, Zavala has built a robust touring profile across the UK and Europe. She will embark on an extensive tour in February and March 2026 to support the album, with dates spanning major cities from London and Glasgow to Berlin, Paris, and Barcelona.
With If This Life Could Start Again, Malena Zavala fully realizes her artistic vision as a self-taught producer to an autonomous artist commanding her career through Paraná Records whilst reflecting the vast landscapes of her heritage and affirming her place as a compelling and evolving voice in contemporary music.
Malena Zavala - UK/EU tour 2026
30 Jan 2026 - Mexico City, MX - Rebel Rebel
24 Feb 2026 - Brighton, UK - The Folklore Rooms
25 Feb 2026 - London, UK - The Grace
26 Feb 2026 - Sheffield, UK - Hallamshire Hotel
27 Feb 2026 - Glasgow, UK - Hug & Pint
28 Feb 2026 - Manchester, UK - The Castle Hotel
03 Mar 2026 - Paris, FR - Supersonic Records
04 Mar 2026 - Antwerp, BE - De Roma
06 Mar 2026 - Cologne, DE - Artheatre
07 Mar 2026 - Copenhagen, DK - Ideal Bar
10 Mar 2026 - Berlin, DE - Prachtwerk
11 Mar 2026 - Prague, CZ - Café Ve Lese
13 Mar 2026 - Vienna, AT - Rhiz
14 Mar 2026 - Nyon, CH - La Parenthèse
15 Mar 2026 - Milan, IT - Arci Bellezza
17 Mar 2026 - Barcelona, SP - Sala Vol
18 Mar 2026 - Madrid, SP - Café La Palma
20 Mar 2026 - Portalegre, PT - Centro De Artes E Espectáculo
21 Mar 2026 - Setúbal, PT - Casa Cultura
Tracklist: 1) Only Thing That's Right 2) Lost In The Depths Of The Andes 3) What You Need 4) Veins Of The Parana 5) All These 6) Sentiments 7) Don't Know What You're Saying 8) Save Me From Me 9) A Different Path
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
LP, COL (Transparent Vinyl), 180G
Tracklist:
A1) Hungun 03:39 min
A2) Ulbar 04:01 min
A3) Ergelt 02:48 min
A4) Unadag Dugui 02:19 min
A5) Gerhol 04:03 min
A6) Eejiinhee Hairaar 03:30 min
B1) Zuirmegleh 03:25 min
B2) Much 03:02 min
B3) Neke 02:00 min
B4) Old Folks 08:39 min
B5) Bayar Tai 02:28 min
Info:
For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor.
Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar.
Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape us.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist:
A1) Hungun 03:39 min
A2) Ulbar 04:01 min
A3) Ergelt 02:48 min
A4) Unadag Dugui 02:19 min
A5) Gerhol 04:03 min
A6) Eejiinhee Hairaar 03:30 min
B1) Zuirmegleh 03:25 min
B2) Much 03:02 min
B3) Neke 02:00 min
B4) Old Folks 08:39 min
B5) Bayar Tai 02:28 min
Info:
For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor.
Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes. Backed by a band of renowned jazz musicians (Elias Stemeseder on piano, Robert Landfermann on bass, Julian Sartorius on drums and co-composer Paul Brändle on guitar), Enji isn't just revisiting tradition, she's distilling the feeling of home, of small joys that reveal their significance only when viewed from afar.
Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape us.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:DENSE TRUTH
Cat-No:TJRUTH010LP
Release-Date:06.02.2026
Genre:Electronic, Electronica
Configuration:LP Excl
Label:DENSE TRUTH
Cat-No:TJRUTH010LP
Release-Date:06.02.2026
Genre:Electronic, Electronica
Configuration:LP Excl
**Ltd edition double ‘night smoke’ gatefold vinyl **
Vinyl edition of 500
‘Night smoke’ marble double vinyl, in gatefold packaging newly designed by Forest Swords
Shrinkwrapped with hype sticker
Remastered by Rashad Becker in Berlin
With two previously unheard tracks from the original sessions - one exclusive to this pressing
Re-released for the very first time via the artist’s own label Dense Truth
"A visionary voice in modern Britain's experimental music scene"
– The New York Times
Instantly singular - 8.5 Best New Music” - Pitchfork
“Breathtaking” - Resident Advisor
“Has the kind of beauty that sees you playing it, and only it, for the next three weeks” - Observer
"A set of remarkable electronic rituals” - NME
Forest Swords' debut album 'Engravings' is back in print on vinyl and CD for the first time in years, newly remastered by Rashad Becker with previously unheard bonus tracks exclusive to this edition.
Created by electronic producer and composer Matthew Barnes, and originally released via Tri Angle Records, 'Engravings' received instant acclaim from the likes of Resident Advisor, Pitchfork, The Guardian and saw Barnes take his hypnotic live show across festivals like Sonar, Glastonbury, Unsound and Le Guess Who.
While much of British electronica is defined by its inner cities, 'Engravings' was recorded in Barnes' hometown on the banks of an ancient river in Merseyside, the album's earthy, organic soundscape reflected the landscape and climate: all silt and sandstone, woodlands and wind, with the ghosts of Liverpool's pop music and clubbing history echoing in the near distance.
The album was a prototype for a sonic vocabulary Barnes has expanded on over the next few years: in critically acclaimed studio albums ('Compassion' and 'Bolted' via Ninja Tune), collaborations with Massive Attack and Neneh Cherry, remixes for the likes of Bjork, as well as commissions for video games, ballet and film scores - of which he has carved a career as an in-demand composer and sound designer.
'Engravings' is a snapshot of an artist confidently defining their own language: a piece of work that distills influences like dub, ambient, rave, post-rock and psychedelia into an ancient-futurist musical vision that feels timeless and vital.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Alva Noto + Ryuichi Sakamoto - A1. Uoon I
2
Alva Noto + Ryuichi Sakamoto - A2. Uoon II
3
Alva Noto + Ryuichi Sakamoto - B1. Duoon
4
Alva Noto + Ryuichi Sakamoto - B2. Noon
5
Alva Noto + Ryuichi Sakamoto - C1. Trioon I
6
Alva Noto + Ryuichi Sakamoto - C2.Trioon II
7
Alva Noto + Ryuichi Sakamoto - D1. Landscape Skizze
REPRESS
CD - RE MASTER - Part of the V.I.R.U.S series
2. GENRE/S: Ambient/ Electronic
3. Info
Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S series in 2002. After more than a decade from the release of the collection's final installment with "Summvs" in 2011, NOTON reissues all the five albums between June and October 2022.
With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002),Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo have explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered.
Remastered in collaboration with Calyx Mastering, the recordings of Vrioon, Insen, Revep, Utp_, and Summvs are made available on vinyl and CD under the title 'reMASTER, accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.
In November 2022, a dedicated, limited edition cardboard slipcase will be available as a separate item from the V.I.R.U.S. LPs/CDs.
4. TRACKLISTS:
CD Tracklisting:
---------------------------------------------------------
Medium: 1 // Side: // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Uoon I
Playtime: 00:13:50
---------------------------------------------------------
Medium: 1 // Side: // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Uoon II
Playtime: 00:09:40
---------------------------------------------------------
Medium: 1 // Side: // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Duoon
Playtime: 00:05:47
---------------------------------------------------------
Medium: 1 // Side: // Track: 4
Artist: Alva Noto; Ryuichi Sakamoto
Title: Noon
Playtime: 00:10:12
---------------------------------------------------------
Medium: 1 // Side: // Track: 5
Artist: Alva Noto; Ryuichi Sakamoto
Title: Trioon I
Playtime: 00:05:08
---------------------------------------------------------
Medium: 1 // Side: // Track: 6
Artist: Alva Noto; Ryuichi Sakamoto
Title: Trioon II
Playtime: 00:09:57
---------------------------------------------------------
Medium: 1 // Side: // Track: 7
Artist: Alva Noto; Ryuichi Sakamoto
Title: Landscape Skizze
Playtime: 00:08:12
---------------------------------------------------------
Ò LP Tracklisting:
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Uoon I
Playtime: 00:13:50
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Uoon II
Playtime: 00:09:40
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Duoon
Playtime: 00:05:47
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Noon
Playtime: 00:10:12
---------------------------------------------------------
Medium: 2 // Side: C // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Trioon I
Playtime: 00:05:08
---------------------------------------------------------
Medium: 2 // Side: C // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Trioon II
Playtime: 00:09:57
---------------------------------------------------------
Medium: 2 // Side: D // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Landscape Skizze
Playtime: 00:08:12
Composer: Carsten Nicolai, Ryuichi Sakamoto
All tracks: Composer: Carsten Nicolai, Ryuichi Sakamoto
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
CD - RE MASTER - Part of the V.I.R.U.S series
2. GENRE/S: Ambient/ Electronic
3. Info
Pioneers in their own musical approaches, Alva Noto and Ryuichi Sakamoto, began their exploration of sound in the evocatively titled V.I.R.U.S series in 2002. After more than a decade from the release of the collection's final installment with "Summvs" in 2011, NOTON reissues all the five albums between June and October 2022.
With its impressionistic atmosphere, in this collaborative project two generations met and shared the idea of electronic music as an inspiration source for new musical structures. Over a series of five albums, Vrioon (2002),Insen (2005), Revep (2006), utp_ (2008), and summvs (2011), the duo have explored blending electronic and acoustic sounds into a meditative whole that is at once expressive, breathing and precision-engineered.
Remastered in collaboration with Calyx Mastering, the recordings of Vrioon, Insen, Revep, Utp_, and Summvs are made available on vinyl and CD under the title 'reMASTER, accompanied by exclusive, unreleased compositions and housed in a beautifully designed sleeve with original cover art by Carsten Nicolai.
In November 2022, a dedicated, limited edition cardboard slipcase will be available as a separate item from the V.I.R.U.S. LPs/CDs.
4. TRACKLISTS:
CD Tracklisting:
---------------------------------------------------------
Medium: 1 // Side: // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Uoon I
Playtime: 00:13:50
---------------------------------------------------------
Medium: 1 // Side: // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Uoon II
Playtime: 00:09:40
---------------------------------------------------------
Medium: 1 // Side: // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Duoon
Playtime: 00:05:47
---------------------------------------------------------
Medium: 1 // Side: // Track: 4
Artist: Alva Noto; Ryuichi Sakamoto
Title: Noon
Playtime: 00:10:12
---------------------------------------------------------
Medium: 1 // Side: // Track: 5
Artist: Alva Noto; Ryuichi Sakamoto
Title: Trioon I
Playtime: 00:05:08
---------------------------------------------------------
Medium: 1 // Side: // Track: 6
Artist: Alva Noto; Ryuichi Sakamoto
Title: Trioon II
Playtime: 00:09:57
---------------------------------------------------------
Medium: 1 // Side: // Track: 7
Artist: Alva Noto; Ryuichi Sakamoto
Title: Landscape Skizze
Playtime: 00:08:12
---------------------------------------------------------
Ò LP Tracklisting:
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Uoon I
Playtime: 00:13:50
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Uoon II
Playtime: 00:09:40
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Duoon
Playtime: 00:05:47
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Noon
Playtime: 00:10:12
---------------------------------------------------------
Medium: 2 // Side: C // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Trioon I
Playtime: 00:05:08
---------------------------------------------------------
Medium: 2 // Side: C // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Trioon II
Playtime: 00:09:57
---------------------------------------------------------
Medium: 2 // Side: D // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Landscape Skizze
Playtime: 00:08:12
Composer: Carsten Nicolai, Ryuichi Sakamoto
All tracks: Composer: Carsten Nicolai, Ryuichi Sakamoto
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Alva Noto + Ryuichi Sakamoto - Attack/Transition
2
Alva Noto + Ryuichi Sakamoto - Grains
3
Alva Noto + Ryuichi Sakamoto - Particle 1
4
Alva Noto + Ryuichi Sakamoto - Transition
5
Alva Noto + Ryuichi Sakamoto - Broken Line 1
6
Alva Noto + Ryuichi Sakamoto - Plateaux 1
7
Alva Noto + Ryuichi Sakamoto - Silence
8
Alva Noto + Ryuichi Sakamoto - Particle 2
9
Alva Noto + Ryuichi Sakamoto - Broken Line 2
10
Alva Noto + Ryuichi Sakamoto - Plateaux 2/End
Release Info:
Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing 10-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work’s debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards.
Album art designed by Carsten Nicolai
Mastering by Bo @ Calyx
Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Attack/Transition
Playtime: 00:07:24
Explicit Lyrics: No
ISRC: UK6821719505
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Particle 1
Playtime: 00:06:40
Explicit Lyrics: No
ISRC: UK6821719507
(P): 2022 NOTON
Country: Germany
---------------------------------------------------------
Composer: Carsten Nicolai, Ryuichi Sakamoto
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Grains
Playtime: 00:06:24
Explicit Lyrics: No
ISRC: UK6821719506
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Transition
Playtime: 00:03:31
Explicit Lyrics: No
ISRC: UK6821719508
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Broken Line 1
Playtime: 00:06:32
Explicit Lyrics: No
ISRC: UK6821719509
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Plateaux 1
Playtime: 00:08:07
Explicit Lyrics: No
ISRC: UK6821719510
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Broken Line 2
Playtime: 00:06:25
Explicit Lyrics: No
ISRC: UK6821719513
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Silence
Playtime: 00:06:50
Explicit Lyrics: No
ISRC: UK6821719511
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Plateaux 2/End
Playtime: 00:13:10
Explicit Lyrics: No
ISRC: UK6821719514
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Particle 2
Playtime: 00:07:00
Explicit Lyrics: No
ISRC: UK6821719512
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Released for the first time in 2009, ‘utp_’ is the third installment of Alva Noto and Ryuichi Sakamoto’s V.I.R.U.S.'s series. It was commissioned for the 400th anniversary of Mannheim, Germany. The flowing 10-section multimedia work derives its shape from a rasterized structure of the southwestern city, founded in 1608. The recording documents the work’s debut performed by Ensemble Modern at the National Theatre in Mannheim. The music embraces the electronic, piano-based palettes, an expanded array of avant-garde chamber instrumentation and natural timbres. It combined the digital visual score created by Carsten Nicolai and Simon Mayer, and lighting design by Nigel Edwards.
Album art designed by Carsten Nicolai
Mastering by Bo @ Calyx
Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Attack/Transition
Playtime: 00:07:24
Explicit Lyrics: No
ISRC: UK6821719505
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Particle 1
Playtime: 00:06:40
Explicit Lyrics: No
ISRC: UK6821719507
(P): 2022 NOTON
Country: Germany
---------------------------------------------------------
Composer: Carsten Nicolai, Ryuichi Sakamoto
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Grains
Playtime: 00:06:24
Explicit Lyrics: No
ISRC: UK6821719506
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Transition
Playtime: 00:03:31
Explicit Lyrics: No
ISRC: UK6821719508
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Broken Line 1
Playtime: 00:06:32
Explicit Lyrics: No
ISRC: UK6821719509
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Plateaux 1
Playtime: 00:08:07
Explicit Lyrics: No
ISRC: UK6821719510
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Broken Line 2
Playtime: 00:06:25
Explicit Lyrics: No
ISRC: UK6821719513
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Silence
Playtime: 00:06:50
Explicit Lyrics: No
ISRC: UK6821719511
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Plateaux 2/End
Playtime: 00:13:10
Explicit Lyrics: No
ISRC: UK6821719514
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Particle 2
Playtime: 00:07:00
Explicit Lyrics: No
ISRC: UK6821719512
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Alva Noto + Ryuichi Sakamoto - A1.Aurora
2
Alva Noto + Ryuichi Sakamoto - A2. Morning
3
Alva Noto + Ryuichi Sakamoto - B1. Logic Moon
4
Alva Noto + Ryuichi Sakamoto - B2. Moon
5
Alva Noto + Ryuichi Sakamoto - C1.Berlin
6
Alva Noto + Ryuichi Sakamoto - C2.Iano
7
Alva Noto + Ryuichi Sakamoto - D1.Avaol
8
Alva Noto + Ryuichi Sakamoto - D2.Barco
REPRESS
2LP - RE MASTER - Part of the V.I.R.U.S series
GENRE/S: Ambient/ Electronic
Info
Originally released in 2005, 'Insen' is the second collaboration album between Alva Noto and Ryuichi Sakamoto and the second installment of V.I.R.U.S.'s five albums series.
Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by an unreleased composition titled 'Barco.' Initially composed for Alva Noto and Ryuichi Sakamoto's 2005 'Insen' tour, the audio material used in this piece is based on the subtle sounds of Barco projectors, whose tonalities served as a ground for the artists' live improvisation. ?
In 'Insen', Alva Noto and Ryuichi Sakamoto explore the potential for interaction and tension between electronic and acoustic instrumentation. Across eight compositions, the echoes of the cascading piano combine, collide, and dissolve with the tapestry of digital breakages in sheer vibrancy. This relationship lies at the album's core. It subtly continues Vrioon's calm melancholia, becoming a vessel for all the emotions and memories nourished by the listener. As you hear the opening, lonesome notes of 'Aurora,' you realize that the pair have once again conceded an ambition to embed elaborate disciplines into an archetypal sound of soul-searching beauty.
Album art designed by Carsten Nicolai
Mastering by Bo @ Calyx
In November 2022, a dedicated, limited edition cardboard slipcase will be available as a separate item from the V.I.R.U.S. LPs/CDs.
TRACKLIST:
Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Aurora
Playtime: 00:08:51
Explicit Lyrics: No
ISRC: UK6821719490
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Logic Moon
Playtime: 00:06:50
Explicit Lyrics: No
ISRC: UK6821719492
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Morning
Playtime: 00:05:27
Explicit Lyrics: No
ISRC: UK6821719491
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Moon
Playtime: 00:06:07
Explicit Lyrics: No
ISRC: UK6821719493
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Berlin
Playtime: 00:06:16
Explicit Lyrics: No
ISRC: UK6821719494
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Avaol
Playtime: 00:02:54
Explicit Lyrics: No
ISRC: UK6821719496
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Iano
Playtime: 00:06:52
Explicit Lyrics: No
ISRC: UK6821719495
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Barco
Playtime: 00:04:14
Explicit Lyrics: No
ISRC: UK6821719497
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
2LP - RE MASTER - Part of the V.I.R.U.S series
GENRE/S: Ambient/ Electronic
Info
Originally released in 2005, 'Insen' is the second collaboration album between Alva Noto and Ryuichi Sakamoto and the second installment of V.I.R.U.S.'s five albums series.
Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by an unreleased composition titled 'Barco.' Initially composed for Alva Noto and Ryuichi Sakamoto's 2005 'Insen' tour, the audio material used in this piece is based on the subtle sounds of Barco projectors, whose tonalities served as a ground for the artists' live improvisation. ?
In 'Insen', Alva Noto and Ryuichi Sakamoto explore the potential for interaction and tension between electronic and acoustic instrumentation. Across eight compositions, the echoes of the cascading piano combine, collide, and dissolve with the tapestry of digital breakages in sheer vibrancy. This relationship lies at the album's core. It subtly continues Vrioon's calm melancholia, becoming a vessel for all the emotions and memories nourished by the listener. As you hear the opening, lonesome notes of 'Aurora,' you realize that the pair have once again conceded an ambition to embed elaborate disciplines into an archetypal sound of soul-searching beauty.
Album art designed by Carsten Nicolai
Mastering by Bo @ Calyx
In November 2022, a dedicated, limited edition cardboard slipcase will be available as a separate item from the V.I.R.U.S. LPs/CDs.
TRACKLIST:
Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Aurora
Playtime: 00:08:51
Explicit Lyrics: No
ISRC: UK6821719490
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Logic Moon
Playtime: 00:06:50
Explicit Lyrics: No
ISRC: UK6821719492
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Morning
Playtime: 00:05:27
Explicit Lyrics: No
ISRC: UK6821719491
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Moon
Playtime: 00:06:07
Explicit Lyrics: No
ISRC: UK6821719493
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Berlin
Playtime: 00:06:16
Explicit Lyrics: No
ISRC: UK6821719494
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Avaol
Playtime: 00:02:54
Explicit Lyrics: No
ISRC: UK6821719496
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Iano
Playtime: 00:06:52
Explicit Lyrics: No
ISRC: UK6821719495
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Barco
Playtime: 00:04:14
Explicit Lyrics: No
ISRC: UK6821719497
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Alva Noto + Ryuichi Sakamoto - Microon I
2
Alva Noto + Ryuichi Sakamoto - Reverso
3
Alva Noto + Ryuichi Sakamoto - Halo
4
Alva Noto + Ryuichi Sakamoto - Microon II
5
Alva Noto + Ryuichi Sakamoto - Pionier IOO
6
Alva Noto + Ryuichi Sakamoto - Ionoscan
7
Alva Noto + Ryuichi Sakamoto - By This River
8
Alva Noto + Ryuichi Sakamoto - Naono
9
Alva Noto + Ryuichi Sakamoto - Microon III
10
Alva Noto + Ryuichi Sakamoto - By This River – Phantom
11
Alva Noto + Ryuichi Sakamoto - Monomom
12
Alva Noto + Ryuichi Sakamoto - Kizuna
Release Info:
Released for the first time in 2011, 'Summvs' is the fifth and final installment of Alva Noto and Ryuichi Sakamoto's V.I.R.U.S. series. The title 'Summvs' refers to the Latin word "summa" (eng. sum) and "versus" (eng. towards); it serves as a metaphor for the work being oriented towards a collaborative result. The album features "Microon" compositions containing recordings of a 16th tone interval tuning piano - Piano Metamorfoseador Carrillo en Dieciseisavos de Tono. The album also features two covers of the track "By This River," composed by Brian Eno, Dieter Moebius, and Hans-Joachim Roedelius in 1977.
In the album's twelve compositions, Sakamoto's haunting piano arrangements coalesce with Nicolai's digital rhythms, creating a sonic aura as magnetic as it is meditative. Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by two new compositions titled 'Monomom' (released digitally in December 2021) and 'Kizuna.' Like 'Monomom,' 'Kizuna' is the studio version of the homonymous composition recorded during Alva Noto & Ryuichi Sakamoto's 2019 Australian tour and included in the album' TWO Live at Sydney Opera House" (2019, NOTON). The work 'Kizuna' means 'human bond' in Japanese and refers to the title of an animation piece by the Italian contemporary artist Valerio Berruti released in Japan in January 2011.
Album art designed by Carsten Nicolai
Mastering by Bo @ Calyx
Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Microon I
Playtime: 00:03:06
Explicit Lyrics: No
ISRC: UK6821719515
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Microon II
Playtime: 00:02:39
Explicit Lyrics: No
ISRC: UK6821719518
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Reverso
Playtime: 00:07:00
Explicit Lyrics: No
ISRC: UK6821719516
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Pionier IOO
Playtime: 00:05:47
Explicit Lyrics: No
ISRC: UK6821719519
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Halo
Playtime: 00:07:10
Explicit Lyrics: No
ISRC: UK6821719517
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Ionoscan
Playtime: 00:04:09
Explicit Lyrics: No
ISRC: UK6821719520
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 4
Artist: Alva Noto; Ryuichi Sakamoto
Title: By This River
Playtime: 00:04:03
Explicit Lyrics: No
ISRC: UK6821719521
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Naono
Playtime: 00:11:20
Explicit Lyrics: No
ISRC: UK6821719522
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Monomom
Playtime: 00:05:31
Explicit Lyrics: No
ISRC: UK6821719525
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Kizuna
Playtime: 00:05:42
Explicit Lyrics: No
ISRC: UK6821719526
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Microon III
Playtime: 00:03:02
Explicit Lyrics: No
ISRC: UK6821719523
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: By This River – Phantom
Playtime: 00:08:14
Explicit Lyrics: No
ISRC: UK6821719524
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Released for the first time in 2011, 'Summvs' is the fifth and final installment of Alva Noto and Ryuichi Sakamoto's V.I.R.U.S. series. The title 'Summvs' refers to the Latin word "summa" (eng. sum) and "versus" (eng. towards); it serves as a metaphor for the work being oriented towards a collaborative result. The album features "Microon" compositions containing recordings of a 16th tone interval tuning piano - Piano Metamorfoseador Carrillo en Dieciseisavos de Tono. The album also features two covers of the track "By This River," composed by Brian Eno, Dieter Moebius, and Hans-Joachim Roedelius in 1977.
In the album's twelve compositions, Sakamoto's haunting piano arrangements coalesce with Nicolai's digital rhythms, creating a sonic aura as magnetic as it is meditative. Remastered in 2021 in collaboration with Calyx Studio, the album's recordings are accompanied by two new compositions titled 'Monomom' (released digitally in December 2021) and 'Kizuna.' Like 'Monomom,' 'Kizuna' is the studio version of the homonymous composition recorded during Alva Noto & Ryuichi Sakamoto's 2019 Australian tour and included in the album' TWO Live at Sydney Opera House" (2019, NOTON). The work 'Kizuna' means 'human bond' in Japanese and refers to the title of an animation piece by the Italian contemporary artist Valerio Berruti released in Japan in January 2011.
Album art designed by Carsten Nicolai
Mastering by Bo @ Calyx
Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Microon I
Playtime: 00:03:06
Explicit Lyrics: No
ISRC: UK6821719515
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Microon II
Playtime: 00:02:39
Explicit Lyrics: No
ISRC: UK6821719518
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Reverso
Playtime: 00:07:00
Explicit Lyrics: No
ISRC: UK6821719516
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Pionier IOO
Playtime: 00:05:47
Explicit Lyrics: No
ISRC: UK6821719519
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Halo
Playtime: 00:07:10
Explicit Lyrics: No
ISRC: UK6821719517
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Ionoscan
Playtime: 00:04:09
Explicit Lyrics: No
ISRC: UK6821719520
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 4
Artist: Alva Noto; Ryuichi Sakamoto
Title: By This River
Playtime: 00:04:03
Explicit Lyrics: No
ISRC: UK6821719521
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Naono
Playtime: 00:11:20
Explicit Lyrics: No
ISRC: UK6821719522
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Monomom
Playtime: 00:05:31
Explicit Lyrics: No
ISRC: UK6821719525
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: D // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Kizuna
Playtime: 00:05:42
Explicit Lyrics: No
ISRC: UK6821719526
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Microon III
Playtime: 00:03:02
Explicit Lyrics: No
ISRC: UK6821719523
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 2 // Side: C // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: By This River – Phantom
Playtime: 00:08:14
Explicit Lyrics: No
ISRC: UK6821719524
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:InFiné
Cat-No:IF1104CD
Release-Date:20.02.2026
Genre:Electronic, Electronica
Configuration:CD Excl
Label:InFiné
Cat-No:IF1104CD
Release-Date:20.02.2026
Genre:Electronic, Electronica
Configuration:CD Excl
territories : ww -fr -uk -benelux
Genre
• Electronic
Format
• CD
Tracklist
01_Aiwa - 04:56
02_Hypercube - 04:52
03_Yucon - 02:49
04_Bialystok - 04:29
05_The Ice House - 01:24
06_Sunlight On Saturn - 03:13
07_You’ll Find a Way - 03:18
08_Baltasound Feat. Dextro - 04:37
09_Orbiting Meadows Feat. Clark - 02:05
10_Slow Yamaha - 09:00
11_Black Drift (Outro) - 01:11
As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.
The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.
Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.
The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.
‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract.
There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Genre
• Electronic
Format
• CD
Tracklist
01_Aiwa - 04:56
02_Hypercube - 04:52
03_Yucon - 02:49
04_Bialystok - 04:29
05_The Ice House - 01:24
06_Sunlight On Saturn - 03:13
07_You’ll Find a Way - 03:18
08_Baltasound Feat. Dextro - 04:37
09_Orbiting Meadows Feat. Clark - 02:05
10_Slow Yamaha - 09:00
11_Black Drift (Outro) - 01:11
As Nathan Fake rises from the nocturnal subterranea and rave catharsis of his previous records, on Evaporator, he resurfaces into the domain of daylight, bringing a tangible sense of air rushing against your face, of big skies, and endless landscapes.
The idea of pop accessibility that trickled into 2023’s Crystal Vision is refracted here through the prism of sweeping ambient, deep electronica, and trance uplift. Evaporator is Fake’s idea of “airy daytime music”, with each track a different barometer reading across the album’s varying atmospheres, which range from vibrant sunbursts, bracing rainscapes, and fine mists of clement melodics. “It’s not overtly confrontational electronic club music,” states Fake. “It’s quite pleasant, it’s accessible. As I was progressing through making the tracklist, I called it a daytime album. It doesn’t feel like an afterparty album.” For the past decade Fake has been gingerly introducing collaborations with heroes and friends alike into his lone, idiosyncratic working process.
Border Community alumni Dextro AKA Ewan Mackenzie transmutes his ferocious drumming for Pigs Pigs Pigs Pigs Pigs Pigs Pigs into the blurred choral thump of ‘Baltasound’. ‘Orbiting Meadows’, meanwhile, is his second collaboration with Clark, an eerily idyllic duet where microtonal 18EDO piano clangs slowly twirl around wailing pads. Evaporator marks the junction point of old technology and ever fresh creativity for Nathan. The trusty “dinosaur” age software, particularly Cubase VST5, that has powered two decades of music is rarely updated. “I used to sort of feel a bit ashamed of using such old software, and then I kind of had an epiphany – that’s just how I work”, comments Fake. “That’s just how I play. I’m very fond of these old tools, and I get the most joy out of them, but now I’ve incorporated new technology too.” When an artist accumulates so much synergy with their instrument, music making becomes instinctual. By Fake’s account, much of Evaporator just fell into place. The album title arrived randomly in his head (“it felt completely perfect. Airy.”), ideas looped and developed until things locked into place and just felt right. ‘The Ice House’ is a fleeting glimpse of the sonic world he taps into in this creative state, its glassy FM synths built around a counterpoint between rough-hewn crystalline arpeggios and sparse yet gravitas-bearing bass. “That riff I just wrote out on the keyboard, I just played it forever and ever and ever.
The original track ended up being really short. Here you go, and it’s gone!” These unplanned channellings of sound call forth records from Fake’s past while he looks ahead, perhaps getting at the very essence of his musicianship. The opener ‘Aiwa’ (“the breeziest,” he muses) reminds of the introspection that characterised Providence, excited by the fire and grit of Steam Days’ textural experiments, its chunky slams and clatters surging into a flood of harmonic buzzing as they reach out for old wisdom. ‘Hypercube’ stampedes in a similar chronological confluence, infusing an incessant synth line reminiscent of the golden age of rave with the crackling, ecstatic energy of modern festival anthems. Like the vaporisation of liquid to particles, everything that Evaporator presents has a mutant desire to be amorphous. Sounds rarely settle; the irradiated garage beat of ‘Bialystok’ is pitched downwards to driving, rebounding effect, while ‘You’ll Find a Way’ warps static into shivering energy, cinematic synth strings building anticipation into a gradual gush of chords. This translates into a more expansive stereo field than Fake has explored before.
‘Slow Yamaha’ saves the wildest, most kinetic transformations for last with a cornucopia of crispy melodies and fried drums; a sibilance of cymbals on the left, a susurrus of shakers on the right, and kaleidoscopic lasers pulsing and fizzing all around. Evaporation culminating in pure excited atoms. In a world where music has increasingly become background content, making albums remains lifeblood for Fake: “It makes me realise how long; twenty years is ages! It’s weird to see how much the world has changed. Release day back then you did fuck all, now you spend all day on socials. When I grew up the people who made the electronic music I was into were quite mysterious, and the artwork was very abstract.
There was a massive distance between you and that music, and that was a key part of it, really. Now it helps to be an extrovert, and I'm just not, but the album marks the first time my face has graced the cover art. I’ve never wanted to do this before, I'm very shy, and generally I don’t like being seen,” he professes. “But, twenty years in, I supposed I could try something new. I'm very lucky that I'm somehow surviving in this world, where the media world favours extroverts and interesting looking people. It’s not my world but somehow I’m still in it.” Evaporator continues to prove Nathan’s necessary presence, with some of his most engaging, varied, and magical music yet.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Alva Noto + Ryuichi Sakamoto - Siisx
2
Alva Noto + Ryuichi Sakamoto - Mur
3
Alva Noto + Ryuichi Sakamoto - ax Mr. L
4
Alva Noto + Ryuichi Sakamoto - City Radieuse
5
Alva Noto + Ryuichi Sakamoto - Veru 1
6
Alva Noto + Ryuichi Sakamoto - Veru 2
LP - RE MASTER - Part of the V.I.R.U.S series
GENRE/S: Ambient/ Electronic
Info
Initially released in 2006, ‘Revep’ is the third collaboration album between Alva Noto and Ryuichi Sakamoto and the third installment of V.I.R.U.S.’s five albums series.
Remastered in 2021 in collaboration with Calyx Studio, the album’s recordings are accompanied by three new compositions titled ‘City Radieuse’, ‘Veru 1’, and ‘Veru 2’.
‘City Radieuse’ was composed for the 2012 short cinematic essay titled ‘Cité Radieuse’ and part of Carsten Nicolai’s ‘future past perfect’ series.
The video shot at le Corbusier’s Unité D’Habitation in Nantes (called ‘cité radieuse’) takes the viewer through the modular system and design applied to the residential buildings. The film’s narrative unfolds
through a sequence of images tracking the apartments’ indoor space and details, and points to the different benchmarks of standardized production as they correlate to their environment and its inhabitants.
The album’s original recordings resulted from musical exchanges that began with ‘Vrioon’ and revolved around a collaborative arrangement of Sakamoto’s classic ‘Merry Christmas Mr. Lawrence,’ the theme music
to the 1983 movie starring David Bowie, Takeshi Kitano, and Ryuichi Sakamoto himself.
In ‘Revep,’ the piano takes the lead while the padded bass and pitched electronic frequencies mark sudden change. Deeply evocative and effortlessly colliding worlds of analog beauty and digital mastery,
this album is considered another indispensable record from the duo’s ongoing collaboration.
ALBUM ART DESIGNED BY CARSTEN NICOLAI
MASTERING BY BO @ CALYX
TRACKLIST:
LP Tracklisting:
Tracklisting
Tracklisting
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Siisx
Playtime: 00:07:24
Explicit Lyrics: No
ISRC: UK6821719499
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: City Radieuse
Playtime: 00:07:48
Explicit Lyrics: No
ISRC: UK6821719502
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Mur
Playtime: 00:08:14
Explicit Lyrics: No
ISRC: UK6821719500
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Veru 1
Playtime: 00:08:01
Explicit Lyrics: No
ISRC: UK6821719503
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: ax Mr. L
Playtime: 00:04:18
Explicit Lyrics: No
ISRC: UK6821719501
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Veru 2
Playtime: 00:05:15
Explicit Lyrics: No
ISRC: UK6821719504
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
GENRE/S: Ambient/ Electronic
Info
Initially released in 2006, ‘Revep’ is the third collaboration album between Alva Noto and Ryuichi Sakamoto and the third installment of V.I.R.U.S.’s five albums series.
Remastered in 2021 in collaboration with Calyx Studio, the album’s recordings are accompanied by three new compositions titled ‘City Radieuse’, ‘Veru 1’, and ‘Veru 2’.
‘City Radieuse’ was composed for the 2012 short cinematic essay titled ‘Cité Radieuse’ and part of Carsten Nicolai’s ‘future past perfect’ series.
The video shot at le Corbusier’s Unité D’Habitation in Nantes (called ‘cité radieuse’) takes the viewer through the modular system and design applied to the residential buildings. The film’s narrative unfolds
through a sequence of images tracking the apartments’ indoor space and details, and points to the different benchmarks of standardized production as they correlate to their environment and its inhabitants.
The album’s original recordings resulted from musical exchanges that began with ‘Vrioon’ and revolved around a collaborative arrangement of Sakamoto’s classic ‘Merry Christmas Mr. Lawrence,’ the theme music
to the 1983 movie starring David Bowie, Takeshi Kitano, and Ryuichi Sakamoto himself.
In ‘Revep,’ the piano takes the lead while the padded bass and pitched electronic frequencies mark sudden change. Deeply evocative and effortlessly colliding worlds of analog beauty and digital mastery,
this album is considered another indispensable record from the duo’s ongoing collaboration.
ALBUM ART DESIGNED BY CARSTEN NICOLAI
MASTERING BY BO @ CALYX
TRACKLIST:
LP Tracklisting:
Tracklisting
Tracklisting
Medium: 1 // Side: A // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: Siisx
Playtime: 00:07:24
Explicit Lyrics: No
ISRC: UK6821719499
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 1
Artist: Alva Noto; Ryuichi Sakamoto
Title: City Radieuse
Playtime: 00:07:48
Explicit Lyrics: No
ISRC: UK6821719502
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Mur
Playtime: 00:08:14
Explicit Lyrics: No
ISRC: UK6821719500
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 2
Artist: Alva Noto; Ryuichi Sakamoto
Title: Veru 1
Playtime: 00:08:01
Explicit Lyrics: No
ISRC: UK6821719503
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: A // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: ax Mr. L
Playtime: 00:04:18
Explicit Lyrics: No
ISRC: UK6821719501
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Medium: 1 // Side: B // Track: 3
Artist: Alva Noto; Ryuichi Sakamoto
Title: Veru 2
Playtime: 00:05:15
Explicit Lyrics: No
ISRC: UK6821719504
(P): 2022 NOTON
Country: Germany
Composer: Carsten Nicolai, Ryuichi Sakamoto
---------------------------------------------------------
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More