1
Meitei - Hao
2
Meitei - Shin-Oiran
3
Meitei - Shin-Sadayakko
4
Meitei - Shin-Warosoku
5
Meitei - Kyugeki
6
Meitei - Shin-Oiran II
7
Meitei - Shin-Edogawaranpo
KITCHEN. LABEL is proud to present AGATE, the latest album by Japanese artist MEITEI, marking a deepening of the world he first shaped through his Kofu trilogy released between 2020 - 2023.
Named after the mineral agate, a stone formed through slow accumulation, pressure, and time, the album reflects MEITEI’s patient approach to sound. AGATE brings together extended and newly rearranged works from across the Kofu cycle alongside new compositions and passages, refining material developed through years of performance and sustained practice.
The album presents seven tracks:
HAO¯ (Previously unreleased track)
SHIN-OIRAN (Remodeled from Oiran I, Kofu 2020)
SHIN-SADAYAKKO (Remodeled from Sadayakko, Kofu 2020)
SHIN-WAROSOKU (Remodeled from Wa-rosoku, Kofu III 2023)
KYU¯GEKI (Remodeled from Shinobi and Akira Kurosawa, Kofu II 2021)
SHIN-OIRAN II (Remodeled from Oiran II, Kofu 2020)
SHIN-EDOGAWARANPO (Remodeled from Edogawa Ranpo, Kofu III 2023)
Across these works, MEITEI expands the musical vocabulary first introduced in Kofu, a sound he once described as “lost Japanese mood.” While Kofu drew from fragments of folklore, theatre, ghost stories, and forgotten urban memory, it was never an act of historical reconstruction. Rather, it reflected a sensibility of the past observed from the present. With AGATE, this worldview is clarified as Shinpu, a process of discovery in which historical awareness becomes a foundation for contemporary creation rather than a constraint.
During five years of Kofu tours across Japan, Europe, and Asia, MEITEI performed this material in a wide range of spaces, from underground live houses and listening rooms to culturally significant sites. These environments influenced pacing, dynamics, and structure, shaping how the material evolved over time. AGATE is therefore not only a studio album, but the result of material refined through repeated performance.
If the Kofu albums were windows into forgotten eras, AGATE explores what lies beneath, sediment and strata formed through time and pressure. MEITEI’s approach to sound mirrors the nature of agate itself. Grains become texture. Texture becomes narrative. Voices drift through decaying layers of sound, while ancient instruments are used in non-traditional ways, forming distinctive percussive rhythms and melodies that appear and vanish without fixed resolution.
The album’s visual materials were developed under MEITEI’s direction through physical art-making processes. The cover artwork originates from a letterpress print created by Kamisoe, a Karakami atelier in Nishijin, Kyoto, using Kyo-karakami paper. The original artwork, produced through traditional woodblock techniques on handmade washi, was subsequently reproduced on print for the album edition. Kamisoe continues to reinterpret this historical Kyoto craft with a contemporary sensibility.
The title calligraphy was created by Bio Xie, whom MEITEI personally invited to participate in the project. During his performances abroad, MEITEI encountered in Taiwan a lingering atmosphere reminiscent of “Shitsunihon” — a sense of old Japanese memory that quietly endures beyond time. He was deeply drawn to Bio Xie’s distinctive use of Chinese characters, which resonated with this experience, and asked him to contribute to the visual expression of AGATE.
In parallel, MEITEI continues to reinterpret Japanese sensibility through his concept of “Shitsunihon,” presenting it as a contemporary musical language. The refined Kyoto motifs envisioned by Kamisoe and the distinctive calligraphic expression by Bio Xie intersect with MEITEI’s singular artistic direction, weaving together a newly articulated worldview.
The accompanying visual imagery, including the liner photographs, was created by photographer Hiroshi Okamoto, who was also responsible for the visual direction of MEITEI’s previous work, “Sen'nyu.” It draws from MEITEI’s lived experiences of winter seas, solitary cliffs, and breaking waves. These scenes symbolize the inner conflicts of the ten years he spent living in Hiroshima, and his confrontation with solitude and the sounds he creates.
AGATE will be released on 17 April 2025 via KITCHEN. LABEL on 180g vinyl, CD, and digital formats. The album is mastered by Kelly Hibbert, known for his work with Flying Lotus, Madlib, and J Dilla.
With AGATE, MEITEI returns to the material of Kofu with greater focus and discipline, continuing an ongoing process of working forward with inherited material.
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
Named after the mineral agate, a stone formed through slow accumulation, pressure, and time, the album reflects MEITEI’s patient approach to sound. AGATE brings together extended and newly rearranged works from across the Kofu cycle alongside new compositions and passages, refining material developed through years of performance and sustained practice.
The album presents seven tracks:
HAO¯ (Previously unreleased track)
SHIN-OIRAN (Remodeled from Oiran I, Kofu 2020)
SHIN-SADAYAKKO (Remodeled from Sadayakko, Kofu 2020)
SHIN-WAROSOKU (Remodeled from Wa-rosoku, Kofu III 2023)
KYU¯GEKI (Remodeled from Shinobi and Akira Kurosawa, Kofu II 2021)
SHIN-OIRAN II (Remodeled from Oiran II, Kofu 2020)
SHIN-EDOGAWARANPO (Remodeled from Edogawa Ranpo, Kofu III 2023)
Across these works, MEITEI expands the musical vocabulary first introduced in Kofu, a sound he once described as “lost Japanese mood.” While Kofu drew from fragments of folklore, theatre, ghost stories, and forgotten urban memory, it was never an act of historical reconstruction. Rather, it reflected a sensibility of the past observed from the present. With AGATE, this worldview is clarified as Shinpu, a process of discovery in which historical awareness becomes a foundation for contemporary creation rather than a constraint.
During five years of Kofu tours across Japan, Europe, and Asia, MEITEI performed this material in a wide range of spaces, from underground live houses and listening rooms to culturally significant sites. These environments influenced pacing, dynamics, and structure, shaping how the material evolved over time. AGATE is therefore not only a studio album, but the result of material refined through repeated performance.
If the Kofu albums were windows into forgotten eras, AGATE explores what lies beneath, sediment and strata formed through time and pressure. MEITEI’s approach to sound mirrors the nature of agate itself. Grains become texture. Texture becomes narrative. Voices drift through decaying layers of sound, while ancient instruments are used in non-traditional ways, forming distinctive percussive rhythms and melodies that appear and vanish without fixed resolution.
The album’s visual materials were developed under MEITEI’s direction through physical art-making processes. The cover artwork originates from a letterpress print created by Kamisoe, a Karakami atelier in Nishijin, Kyoto, using Kyo-karakami paper. The original artwork, produced through traditional woodblock techniques on handmade washi, was subsequently reproduced on print for the album edition. Kamisoe continues to reinterpret this historical Kyoto craft with a contemporary sensibility.
The title calligraphy was created by Bio Xie, whom MEITEI personally invited to participate in the project. During his performances abroad, MEITEI encountered in Taiwan a lingering atmosphere reminiscent of “Shitsunihon” — a sense of old Japanese memory that quietly endures beyond time. He was deeply drawn to Bio Xie’s distinctive use of Chinese characters, which resonated with this experience, and asked him to contribute to the visual expression of AGATE.
In parallel, MEITEI continues to reinterpret Japanese sensibility through his concept of “Shitsunihon,” presenting it as a contemporary musical language. The refined Kyoto motifs envisioned by Kamisoe and the distinctive calligraphic expression by Bio Xie intersect with MEITEI’s singular artistic direction, weaving together a newly articulated worldview.
The accompanying visual imagery, including the liner photographs, was created by photographer Hiroshi Okamoto, who was also responsible for the visual direction of MEITEI’s previous work, “Sen'nyu.” It draws from MEITEI’s lived experiences of winter seas, solitary cliffs, and breaking waves. These scenes symbolize the inner conflicts of the ten years he spent living in Hiroshima, and his confrontation with solitude and the sounds he creates.
AGATE will be released on 17 April 2025 via KITCHEN. LABEL on 180g vinyl, CD, and digital formats. The album is mastered by Kelly Hibbert, known for his work with Flying Lotus, Madlib, and J Dilla.
With AGATE, MEITEI returns to the material of Kofu with greater focus and discipline, continuing an ongoing process of working forward with inherited material.
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 Meitei
1
Meitei - Ichi-no-yu
2
Meitei - Ni-no-yu
3
Meitei - San-no-yu
4
Meitei - Yon-no-yu
5
Meitei - Oyu
6
Meitei - Go-no-yu
In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory. Invited to create onsen ambient music commemorating Beppu’s 100th anniversary, he immersed himself in the city’s geothermal psychogeography, where sound rises from the ground and time clings to mist.
Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyu, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.
Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyu, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.
Unfolding as a single, continuous piece, Sen’nyu drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.
Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyu is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyo ongaku, environmental music born from place, shaped by it, and inseparable from it.
As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.
Sen’nyu marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title One Hundred Lost Views of Japan, a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.
Sen’nyu continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.
The album will be released on 8 August 2025 on 180g LP and CD, with mastering by Stephan Mathieu.
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
Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyu, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.
Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyu, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.
Unfolding as a single, continuous piece, Sen’nyu drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.
Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyu is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyo ongaku, environmental music born from place, shaped by it, and inseparable from it.
As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.
Sen’nyu marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title One Hundred Lost Views of Japan, a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.
Sen’nyu continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.
The album will be released on 8 August 2025 on 180g LP and CD, with mastering by Stephan Mathieu.
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 KITCHEN. LABEL
1
Meitei - Ichi-no-yu
2
Meitei - Ni-no-yu
3
Meitei - San-no-yu
4
Meitei - Yon-no-yu
5
Meitei - Oyu
6
Meitei - Go-no-yu
In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory. Invited to create onsen ambient music commemorating Beppu’s 100th anniversary, he immersed himself in the city’s geothermal psychogeography, where sound rises from the ground and time clings to mist.
Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyu, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.
Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyu, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.
Unfolding as a single, continuous piece, Sen’nyu drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.
Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyu is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyo ongaku, environmental music born from place, shaped by it, and inseparable from it.
As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.
Sen’nyu marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title One Hundred Lost Views of Japan, a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.
Sen’nyu continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.
The album will be released on 8 August 2025 on 180g LP and CD, with mastering by Stephan Mathieu.
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
Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyu, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.
Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyu, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.
Unfolding as a single, continuous piece, Sen’nyu drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.
Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyu is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyo ongaku, environmental music born from place, shaped by it, and inseparable from it.
As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.
Sen’nyu marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title One Hundred Lost Views of Japan, a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.
Sen’nyu continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.
The album will be released on 8 August 2025 on 180g LP and CD, with mastering by Stephan Mathieu.
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
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The Nightlife finds Honey Dijon exploring the space between house music’s past, present, and future — blurring boundaries, bending conventions, and inviting an all-star cast of collaborators to help redefine what club culture sounds like for today. Rooted in the lineage of house yet never confined by it, the album moves effortlessly from sweat-soaked basement energy to lush strains of soul and R&B — and into unexpected spaces in between. It’s not a strictly house record; it’s an expression of nightlife itself: fearless, fluid, and in constant evolution. At once reverent and forward-looking, The Nightlife honors the foundations of the dancefloor while pushing its possibilities outward. It captures the communal pulse, the intimacy, and the transformative power that only music at night can hold. A love letter to the dancefloor.
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
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
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Following the strong reception of their second album, Totem of Quiet Mystic (2023) Jiyu have earned praises from outlets such as Jazzwise, Enlace Funk and The Chillout Tent, as well as support from a wide range of iconic DJs including Patrick Forge & Chris Coco. The singles to this new album, Cumulus & the Subterranean, Smell of Fire and Deep Woods, have immediately been embraced—drawing glowing reactions and airplay from dj's like, Phil Cooper, Dj Vadim, Fred Everything, David Patterson, Jon Kennedy and Curtis ColinOn this third album from Jiyu, the Copenhagen band stretch their cosmic–spiritual jazz language into deeper, wilder terrain. Dropping April 10th on vinyl and digital via Dubsoul Records, the record captures six musicians in full telepathic flight, recorded at 12 Ton Studio in Copenhagen. Across eight tracks, elastic basslines, jazz-dub-soul—tinted drums and percussion, Wurlitzer and jazz-guitar glow and flute-swept atmospheres drift between grounded groove and open-sky improvisation, while guest vocalist Mai Lan Doky adds dreamlike textures on Cumulus & the Subterranean. From the shuffled broken-beat pulse of Smell of Fire to the slow-burn haze of Deep Woods, the Wild Things album is a rich analogue-soul excursion—earthy, exploratory and tuned to the outer frequencies.
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
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
territories : ww -fr -benelux
Format: LP
Genre: Electronic
UPC: 3516628517761
Tracklist
1. Dreams 4:08
2. Falling 4:27
3. Johanna’s Blues 3:56
4. Feel Inside 6:10
5. Only Love Is Real 5:22
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Nearly four years after Floating on Silence - his acclaimed EP for the label that quickly became a staple in DJs’ sets and underground all-night club sessions - Dreams follows the same inspired path while raising the bar even higher. Joined by a carefully selected group of collaborators, including American producer Kareem Ali (praised by Rolling Stone, Pitchfork, and Boiler Room), pop/R&B soul singer Nic Hanson, and Lithuanian producer and musician Cyan Lu, Tour-Maubourg blurs the lines between jazz and house. The result is a deeply musical, immersive EP that reinforces a sound signature now unmistakably his own, designed for both intimate listening and late-night dancefloors.
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
Format: LP
Genre: Electronic
UPC: 3516628517761
Tracklist
1. Dreams 4:08
2. Falling 4:27
3. Johanna’s Blues 3:56
4. Feel Inside 6:10
5. Only Love Is Real 5:22
6. Things 4:01
Tour-Maubourg returns with a new 6-track EP, Dreams, further cementing his place as a key figure in today’s electronic music scene. Known for blending soulful house with rich jazz influences, the French-Belgian producer showcases both his DJ sensibility and refined production skills on this long-awaited release for French deep house label Noire & Blanche.
Nearly four years after Floating on Silence - his acclaimed EP for the label that quickly became a staple in DJs’ sets and underground all-night club sessions - Dreams follows the same inspired path while raising the bar even higher. Joined by a carefully selected group of collaborators, including American producer Kareem Ali (praised by Rolling Stone, Pitchfork, and Boiler Room), pop/R&B soul singer Nic Hanson, and Lithuanian producer and musician Cyan Lu, Tour-Maubourg blurs the lines between jazz and house. The result is a deeply musical, immersive EP that reinforces a sound signature now unmistakably his own, designed for both intimate listening and late-night dancefloors.
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
Silver Vinyl!
Tracklist:
1.Bed on Mars
2.Lost 05:26
3.The Age of Sampling
4.Movement
5.UMI
6.Golden
7.Deception Dance
8.Azimuth (John Taylor)
9.Fifteen
Following the jazzy library vibes of 2023’s collaborative Dolphin LP with Greg Foat and Moses Boyd, the venetian maestro Gigi Masin returns to the ambience for which he is renowned, with Movement - his first solo full-length since 2020’s Calypso, and his Sacred Bones Records debut. Fuelled by creative reinvention and rhythmic motion, he moves seamlessly between melancholy electronic notes, technoid robotics, groovy liminal cloudscapes, and fathoms-deep ambient aquatics.
Since early beginnings in obscurity, his 1986 debut album Wind slowly built an organic following on late night radio, later bolstered when “Clouds” was sampled by artists like Björk, Post Malone, and more. He now counts Oneohtrix Point Never, Devendra Banhart, Caroline Polachek, and the late Kenny Wheeler as fans.
The new album Movement reflects on Masin’s place within the pantheon of ambient masters, his ongoing artistic ambitions, and his aspirations for a scene which he’s seen grow exponentially from humble beginnings. The LP is also an ode to literal movement, both in nature, and in human physical expressions to sound. Masin strived to make ambient music for movement, not in the standard dance music sense, but “dynamic music, with a beating heart full of love.” Reconfiguring ambient’s association with solitary listening and cold academia, Gigi went outwards, channeling something somatic that connects with the body, not just the mind.
“Bed on Mars” sets the titular tone for Masin’s renewed curiosity, with cosmic atmospherics evoking the sensation of waking up on a new planet unafraid, whilst the poignant synthesized trumpet and suspended liminal limbo of “Lost” feels like floating adrift in an unknown sea. Delving further into off-centre beats is the celestial techno funk of “Deception Dance,” which sounds like Sun Electric jamming with Carl Craig and Kraftwerk. The bright beaming light of “Golden” radiates warmth, sounding like the bossa nova brother of Göttsching’s Balearic classic E2 E4.
Despite the passing of his wife after a long illness, and losing his musical archive in a flood, Gigi remains pure-at-heart and positive, pouring his soul into the pursuit of beauty. The latest in a slow starting but steadily building career, Movement sees Masin continue to secure his seat at the table of true ambient greats.
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:
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3.The Age of Sampling
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Following the jazzy library vibes of 2023’s collaborative Dolphin LP with Greg Foat and Moses Boyd, the venetian maestro Gigi Masin returns to the ambience for which he is renowned, with Movement - his first solo full-length since 2020’s Calypso, and his Sacred Bones Records debut. Fuelled by creative reinvention and rhythmic motion, he moves seamlessly between melancholy electronic notes, technoid robotics, groovy liminal cloudscapes, and fathoms-deep ambient aquatics.
Since early beginnings in obscurity, his 1986 debut album Wind slowly built an organic following on late night radio, later bolstered when “Clouds” was sampled by artists like Björk, Post Malone, and more. He now counts Oneohtrix Point Never, Devendra Banhart, Caroline Polachek, and the late Kenny Wheeler as fans.
The new album Movement reflects on Masin’s place within the pantheon of ambient masters, his ongoing artistic ambitions, and his aspirations for a scene which he’s seen grow exponentially from humble beginnings. The LP is also an ode to literal movement, both in nature, and in human physical expressions to sound. Masin strived to make ambient music for movement, not in the standard dance music sense, but “dynamic music, with a beating heart full of love.” Reconfiguring ambient’s association with solitary listening and cold academia, Gigi went outwards, channeling something somatic that connects with the body, not just the mind.
“Bed on Mars” sets the titular tone for Masin’s renewed curiosity, with cosmic atmospherics evoking the sensation of waking up on a new planet unafraid, whilst the poignant synthesized trumpet and suspended liminal limbo of “Lost” feels like floating adrift in an unknown sea. Delving further into off-centre beats is the celestial techno funk of “Deception Dance,” which sounds like Sun Electric jamming with Carl Craig and Kraftwerk. The bright beaming light of “Golden” radiates warmth, sounding like the bossa nova brother of Göttsching’s Balearic classic E2 E4.
Despite the passing of his wife after a long illness, and losing his musical archive in a flood, Gigi remains pure-at-heart and positive, pouring his soul into the pursuit of beauty. The latest in a slow starting but steadily building career, Movement sees Masin continue to secure his seat at the table of true ambient greats.
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
Max Sinàl - Reflection
2
Max Sinàl - Maya
3
Max Sinàl - Alone
4
Max Sinàl - Healing Ft Liv East
SQR021 Draft
Soul Quest Records proudly presents SQR021 – Healing EP, the first release of 2026 from
label co-founder and London deep house torchbearer Max Sinàl.
More than just a collection of club-ready cuts, Healing EP is a deeply personal body of work.
The project is built around a narrative of Max’s mental health journey, with each track
representing a different chapter in his life, moments where his mental wellbeing was tested,
reshaped and ultimately strengthened. Sonically, each record inhabits its own distinct space,
reflecting the emotional contrasts of those periods, before culminating in a closing statement of
healing… a journey that, as Max emphasises, remains ongoing.
Opening with “Reflection”, Max sets the tone with smooth, lush deep house built around warm
Rhodes chords and a rich, rolling groove. Longtime friend and collaborator KingCrowney adds
soaring trumpet lines, elevating the track into a heartfelt conversation between keys and
brass… timeless, musical and deeply soulful. As the title suggests, it mirrors a period of
introspection, setting the emotional foundation for what follows.
“Maya” shifts gears into deeper, jacking territory, driven by a punchy, garage-inflected bump. A
tribute to Max’s daughter, the track balances dancefloor toughness with unmistakable warmth,
weaving swung drums and hypnotic bass into a celebration of love, responsibility and legacy. It
captures a transformative chapter where fatherhood became both grounding force and
motivation.
On “Alone”, Max ventures into broken beat territory, showcasing his versatility as a producer.
Clever but mournful vocal sampling floats over infectious chords, intricate rhythms and detailed
percussion, creating a moment of vulnerability and introspection. Rooted in West London’s bruk
legacy yet firmly future-facing, the track represents a time of isolation and internal struggle…
one of the EP’s most exposed emotional landscapes.
The title track “Healing” featuring Liv East marks the inevitable reunion following 2025’s
breakout anthem “Intentions,” still amassing millions of streams and being crowned Record of
the Year by many DJs, music lovers and press alike, including the iconic title Blues & Soul Mag.
The pair’s chemistry remains undeniable. “Healing” channels that same magic, pairing Liv’s
unmistakable vocal depth with Max’s signature soulful production. As the EP’s closing chapter, it
doesn’t offer a neat conclusion, but rather acceptance, a reminder that healing is not a
destination, but a continual process of growth.
With over 25 years behind the decks, roots on East London’s pirate radio circuit, and accolades
including DJ Mag’s Best Emerging Artist and Blues & Soul’s #1 ‘Artist of Note’ for 2025, Max
Sinàl continues to define the modern soulful house sound. With ‘Healing EP’, he goes one step
further… turning the dancefloor into a space not just for movement, but for reflection, honesty
and emotional release.
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
Soul Quest Records proudly presents SQR021 – Healing EP, the first release of 2026 from
label co-founder and London deep house torchbearer Max Sinàl.
More than just a collection of club-ready cuts, Healing EP is a deeply personal body of work.
The project is built around a narrative of Max’s mental health journey, with each track
representing a different chapter in his life, moments where his mental wellbeing was tested,
reshaped and ultimately strengthened. Sonically, each record inhabits its own distinct space,
reflecting the emotional contrasts of those periods, before culminating in a closing statement of
healing… a journey that, as Max emphasises, remains ongoing.
Opening with “Reflection”, Max sets the tone with smooth, lush deep house built around warm
Rhodes chords and a rich, rolling groove. Longtime friend and collaborator KingCrowney adds
soaring trumpet lines, elevating the track into a heartfelt conversation between keys and
brass… timeless, musical and deeply soulful. As the title suggests, it mirrors a period of
introspection, setting the emotional foundation for what follows.
“Maya” shifts gears into deeper, jacking territory, driven by a punchy, garage-inflected bump. A
tribute to Max’s daughter, the track balances dancefloor toughness with unmistakable warmth,
weaving swung drums and hypnotic bass into a celebration of love, responsibility and legacy. It
captures a transformative chapter where fatherhood became both grounding force and
motivation.
On “Alone”, Max ventures into broken beat territory, showcasing his versatility as a producer.
Clever but mournful vocal sampling floats over infectious chords, intricate rhythms and detailed
percussion, creating a moment of vulnerability and introspection. Rooted in West London’s bruk
legacy yet firmly future-facing, the track represents a time of isolation and internal struggle…
one of the EP’s most exposed emotional landscapes.
The title track “Healing” featuring Liv East marks the inevitable reunion following 2025’s
breakout anthem “Intentions,” still amassing millions of streams and being crowned Record of
the Year by many DJs, music lovers and press alike, including the iconic title Blues & Soul Mag.
The pair’s chemistry remains undeniable. “Healing” channels that same magic, pairing Liv’s
unmistakable vocal depth with Max’s signature soulful production. As the EP’s closing chapter, it
doesn’t offer a neat conclusion, but rather acceptance, a reminder that healing is not a
destination, but a continual process of growth.
With over 25 years behind the decks, roots on East London’s pirate radio circuit, and accolades
including DJ Mag’s Best Emerging Artist and Blues & Soul’s #1 ‘Artist of Note’ for 2025, Max
Sinàl continues to define the modern soulful house sound. With ‘Healing EP’, he goes one step
further… turning the dancefloor into a space not just for movement, but for reflection, honesty
and emotional release.
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
Florian T M Zeisig - Dad Is Painting Again
2
Florian T M Zeisig - Giving/Receiving
3
Florian T M Zeisig - Dip Pool
4
Florian T M Zeisig - Conversationalist
Limited Repress!
Music For Parents is a low-frequency, vibroacoustically informed album developed through research into sound, rest, and nervous system regulation. Composed between 2019 and 2020, the record explores slow-moving bass structures and reduced harmonic density, inviting a form of listening that is felt as much as heard.
The work emerged from a personal process, shaped by a desire to support rest and release through sound. Music For Parents takes its title reflecting on the dynamics of parent–child relationships - formative environments that shape emotional, sensory, and relational orientation, often without clear language or shared understanding.
While effective on standard playback systems, the album can also be paired with vibroacoustic devices such as bass transducers or wearable low-frequency systems for enhanced somatic engagement.
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
Music For Parents is a low-frequency, vibroacoustically informed album developed through research into sound, rest, and nervous system regulation. Composed between 2019 and 2020, the record explores slow-moving bass structures and reduced harmonic density, inviting a form of listening that is felt as much as heard.
The work emerged from a personal process, shaped by a desire to support rest and release through sound. Music For Parents takes its title reflecting on the dynamics of parent–child relationships - formative environments that shape emotional, sensory, and relational orientation, often without clear language or shared understanding.
While effective on standard playback systems, the album can also be paired with vibroacoustic devices such as bass transducers or wearable low-frequency systems for enhanced somatic engagement.
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:Lo Recordings
Cat-No:LoSE1LP
Release-Date:22.05.2026
Genre:Electronic, Electronica
Configuration:BOX
Label:Lo Recordings
Cat-No:LoSE1LP
Release-Date:22.05.2026
Genre:Electronic, Electronica
Configuration:BOX
Repress!
Format:
- Linen Paper, Foil Printed Box Set
- Includes 6 Double LPs + 1 Single LP
- All LPs Pressed on Colour Vinyl
- Each Disc is Housed in a Printed Inner with PMS Print, Finished with Spot Gloss Printing. Each Sleeve Features an Abstract of the Original Album’s Artwork
- Also included are a 4 page Insert + Poster
Albums Included:
Magic Thread [1998]
Image 1983-1998 [1998]
Sakura [1999]
Grinning Cat [2001]
Will [2001]
The Boy and the Tree [2002]
Laputa [2003]
Skintone Edition Vol.1 commences a project that involves reissuing 14 albums from Yokota's Skintone label, originally released between 1998 and 2012. These albums represent Yokota's most seminal work, and are highly sought after, with most of the albums not seeing a repress until now. These fourteen albums will come out individually over the next 18 months, along with two boxsets, each containing 7 of the albums. As well as vinyl there will also be a CD release for each album + 2 CD box sets.
Skintone Edition commemorates the singular talent of this music pioneer with the re-release of all of his albums released via his own Skintone label.
Over a 20 year period Yokota released 30 albums and countless 12s under a variety of aliases, across more than a dozen pre-eminent labels. Yokota received domestic and international acclaim as a house and techno DJ and producer throughout the nineties. Part of the vanguard of the Tokyo scene, his influential release Acid Mt. Fuji inspires techno artists to this day.
In 1998 though, at the height of his success, he established his Skintone imprint, which came to eclipse all of his previous achievements. Skintone shone a light on the diverse new directions in which his creativity had blown, from delicate, cyclical tape-loop meditations to neo-classical compositions. It also gave him the autonomy to combine his visual and music-making practices and, importantly, to create at his own pace. The label was a great success and his experiments proved foundational in the global 00s ambient canon.
Skintone Edition will be available as 2 box sets - the first volume coincides with the 10th anniversary of Yokota’s untimely death and the 30th year of Lo Recordings. All music has been fully re-mastered. This edition is presented with the generous assistance of the Yokota family.
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
Format:
- Linen Paper, Foil Printed Box Set
- Includes 6 Double LPs + 1 Single LP
- All LPs Pressed on Colour Vinyl
- Each Disc is Housed in a Printed Inner with PMS Print, Finished with Spot Gloss Printing. Each Sleeve Features an Abstract of the Original Album’s Artwork
- Also included are a 4 page Insert + Poster
Albums Included:
Magic Thread [1998]
Image 1983-1998 [1998]
Sakura [1999]
Grinning Cat [2001]
Will [2001]
The Boy and the Tree [2002]
Laputa [2003]
Skintone Edition Vol.1 commences a project that involves reissuing 14 albums from Yokota's Skintone label, originally released between 1998 and 2012. These albums represent Yokota's most seminal work, and are highly sought after, with most of the albums not seeing a repress until now. These fourteen albums will come out individually over the next 18 months, along with two boxsets, each containing 7 of the albums. As well as vinyl there will also be a CD release for each album + 2 CD box sets.
Skintone Edition commemorates the singular talent of this music pioneer with the re-release of all of his albums released via his own Skintone label.
Over a 20 year period Yokota released 30 albums and countless 12s under a variety of aliases, across more than a dozen pre-eminent labels. Yokota received domestic and international acclaim as a house and techno DJ and producer throughout the nineties. Part of the vanguard of the Tokyo scene, his influential release Acid Mt. Fuji inspires techno artists to this day.
In 1998 though, at the height of his success, he established his Skintone imprint, which came to eclipse all of his previous achievements. Skintone shone a light on the diverse new directions in which his creativity had blown, from delicate, cyclical tape-loop meditations to neo-classical compositions. It also gave him the autonomy to combine his visual and music-making practices and, importantly, to create at his own pace. The label was a great success and his experiments proved foundational in the global 00s ambient canon.
Skintone Edition will be available as 2 box sets - the first volume coincides with the 10th anniversary of Yokota’s untimely death and the 30th year of Lo Recordings. All music has been fully re-mastered. This edition is presented with the generous assistance of the Yokota family.
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
AGAINST ALL LOGIC - Illusions of Shameless Abundance (feat. Lydia Lunch)
2
AGAINST ALL LOGIC - Alucinao (Feat. Estado Unido & FKA twigs)
AAL Single 12" on Other People featuring Lydia Lunch and FKA twigs.
Tracklist EP
A Illusions Of Shameless Abundance
Featuring – Lydia Lunch
B Alucinao
Feat. Estado Unido & FKA twigs
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist EP
A Illusions Of Shameless Abundance
Featuring – Lydia Lunch
B Alucinao
Feat. Estado Unido & FKA twigs
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!
Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.
But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.
And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.
The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.
Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”
That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”
Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.
Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?
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
Sometimes the title of an album tells you everything you need to know. Laurence Pike’s Possible Utopias for Jazz Quintet is like that: The music within represents a search for freedom, potentiality—liberatory strategies that transcend the ego and the solitary, atomized figure.
But in this case, the album title is also a red herring, because there is no jazz quintet here—just Pike, his drums, and his machines, not so much an ersatz ensemble as a purely notional one, a thought experiment equipped with drumsticks, circuitry, and the desire to go beyond hardwired limits.
And the results, strictly speaking, aren’t really jazz, though they incorporate the vocabulary of jazz, along with that of ambient, electronica, and post-rock. They are some other thing, cognizant of genre but never beholden to it. Again, we’re talking about a search for freedom here.
The Sydney-based musician has a long history of coloring outside the lines, not just in his solo recordings—including four albums for the Leaf label between 2018 and 2024—but also in the trio Pivot (later PVT); Szun Waves (alongside saxophonist Jack Wyllie and Border Community’s Luke Abbott); Triosk, which recorded an album with Jan Jelinek in 2003; and even post-punk titans Liars, whom he joined in late 2018.
Of his first album for Balmat, Pike says, “My loose concept was: What does music sound like when the expectations of late capitalism are removed from it? How might a jazz musician from an idealised culture of the future, or even another world, utilise musical language when the conventions of style and marketing are no longer a factor in music making?”
That inquiry, he says, connects to his “guiding principle: that the purpose of music is to access something bigger than the individual, and reveal a sense of possibility and freedom in the world to the listener. To create an understanding that the future can be something other than what we imagined or expect, even unconsciously.”
Heady ideas, but plug into his stream-of-metaconsciousness flow and you may start to intuit what motivates him. There is a deeply lyrical expression in these pieces—in the ruminative piano of opener “Guardians of Memory,” for example—but also a sense of exploded perspective, of ideas approached from more angles than any one mind could dream up. Of a collectivized consciousness, of mycelial networks branching across tone and rhythm and timbre, of ideas articulated in distributed fashion, nodal points dancing across drum heads.
Pike’s imaginary quintet is hardly without precedent; it’s a continuation of concepts floated across Jan Jelinek’s Loop-Finding-Jazz-Records, Burnt Friedman’s many guises, and much of the recombinant improv of the International Anthem roster, not to mention the far corners of ECM’s catalog in the late 1970s and 1980s, which Pike says have been integral to his development since he was a teenager. Possible Utopias for Jazz Quintet is a point in a continuum, a voice in a conversation, a question with no obvious answer: How can the search for otherness in music manifest something true about ourselves?
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:Circus Company
Cat-No:ccs138
Release-Date:20.03.2026
Genre:Electronic, Electronica
Configuration:LP Excl
Label:Circus Company
Cat-No:ccs138
Release-Date:20.03.2026
Genre:Electronic, Electronica
Configuration:LP Excl
1
Rejoicer feat. Sam Wilkes & Tamir Barzil - A1. A traveling Light
2
Rejoicer feat. Sam Wilkes & Tamir Barzil - A2 - Ritual in G
3
Rejoicer feat. Sam Wilkes & Tamir Barzil - A3. Lion Water (feat. Avishai Cohen)
4
Rejoicer feat. Sam Wilkes & Tamir Barzil - A4. Grace Was Happy (I Found Nothing)
5
Rejoicer feat. Sam Wilkes & Tamir Barzil - A5. Further (with you) (feat. Nitai Hershkovits)
6
Rejoicer feat. Sam Wilkes & Tamir Barzil - B1. Handle with Care (Ice-Cream)
7
Rejoicer feat. Sam Wilkes & Tamir Barzil - B2. Southern Cross
8
Rejoicer feat. Sam Wilkes & Tamir Barzil - B3. Her Hair in the Air (Sahtain)
9
Rejoicer feat. Sam Wilkes & Tamir Barzil - B4. Early Porpoises
10
Rejoicer feat. Sam Wilkes & Tamir Barzil - B5. Oceanic Friends
LP
Genre : Electronic - Downtempo - Jazz
Tracklist :
A1. A traveling Light - A2 - Ritual in G# - A3. Lion Water (feat. Avishai Cohen) - A4. Grace Was
Happy (I Found Nothing) - A5. Further (with you) (feat. Nitai Hershkovits) - B1. Handle with Care
(Ice-Cream) - B2. Southern Cross - B3. Her Hair in the Air (Sahtain) - B4. Early Porpoises - B5.
Oceanic Friends
Short Info :
Yuvi Havkin aka Rejoicer returns with an exceptional collaborative album, California Space Craft. On
this aptly titled record, he joins forces with seasoned LA bass polymath Sam Wilkes — known for his
inspired studio work with Sam Gendel and his dynamic live performances alongside Louis Cole and
KNOWER — and drummer Tamir Barzilay, completing the LA-connected trifecta alongside a select
handful of key featured guests.
The idea for California Space Craft was born out of a series of inspired live sessions in Los Angeles
between 2019 and 2022, notably at Listen to Music Outside in the Daylight Under a Tree, where the
trio’s natural chemistry first began to bloom.
The resulting recordings encompass a wide variety of inspired sound stylings, as one would expect from
any of these accomplished artists on their own; however, the sum is truly greater than the parts here,
with the fluidity of their freeform improvisations over a dedicated three-day recording session feeling
remarkably focused as a cohesive whole.
Opening track “Traveling Light” sets the LP’s tone with equal parts Sly & Robbie-style, space echo–
drenched rhythms and the cozy kosmische, guitar-led feel of early-2000s genre-fluid explorers like
Tortoise. As we continue on to “Ritual in G#,” we are reminded that this is indeed a unique and timeless
sonic space the trio has created, as Havkin’s crisp Rhodes chords anchor an ever-evolving psychedelic
sound bed.
The soaring trumpet of Avishai Cohen adorns the Afrobeat-indebted “Lion Water,” with Barzilay laying
down a proper Allen-esque groove, while “Further (with you),” featuring Nitai Hershkovits on keys, offers
a defining look at the titular concept of the album — with pure Cali feels coalescing effortlessly into sciNew Release Information
fi narrative modes and a proper dose of Rejoicer futurism. Elsewhere, “Her Hair in the Air” shines with
fresh polyrhythmic intention, illustrating the balanced bond between the three collaborators at their
conversational peak, and the brisk synth strokes of “Early Porpoises,” alongside LP closer “Oceanic
Friends” — again ideally named — double as a grand, in-stereo ride into the blissful Pacific sunset
horizon.
California Space Craft embodies the power of open, collective intention and musical kinship, offering
memorable, uplifting moments and an aural glimpse of hope, warmth, and loving melodious calm in an
otherwise quite chaotic time for humanity.
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 - Downtempo - Jazz
Tracklist :
A1. A traveling Light - A2 - Ritual in G# - A3. Lion Water (feat. Avishai Cohen) - A4. Grace Was
Happy (I Found Nothing) - A5. Further (with you) (feat. Nitai Hershkovits) - B1. Handle with Care
(Ice-Cream) - B2. Southern Cross - B3. Her Hair in the Air (Sahtain) - B4. Early Porpoises - B5.
Oceanic Friends
Short Info :
Yuvi Havkin aka Rejoicer returns with an exceptional collaborative album, California Space Craft. On
this aptly titled record, he joins forces with seasoned LA bass polymath Sam Wilkes — known for his
inspired studio work with Sam Gendel and his dynamic live performances alongside Louis Cole and
KNOWER — and drummer Tamir Barzilay, completing the LA-connected trifecta alongside a select
handful of key featured guests.
The idea for California Space Craft was born out of a series of inspired live sessions in Los Angeles
between 2019 and 2022, notably at Listen to Music Outside in the Daylight Under a Tree, where the
trio’s natural chemistry first began to bloom.
The resulting recordings encompass a wide variety of inspired sound stylings, as one would expect from
any of these accomplished artists on their own; however, the sum is truly greater than the parts here,
with the fluidity of their freeform improvisations over a dedicated three-day recording session feeling
remarkably focused as a cohesive whole.
Opening track “Traveling Light” sets the LP’s tone with equal parts Sly & Robbie-style, space echo–
drenched rhythms and the cozy kosmische, guitar-led feel of early-2000s genre-fluid explorers like
Tortoise. As we continue on to “Ritual in G#,” we are reminded that this is indeed a unique and timeless
sonic space the trio has created, as Havkin’s crisp Rhodes chords anchor an ever-evolving psychedelic
sound bed.
The soaring trumpet of Avishai Cohen adorns the Afrobeat-indebted “Lion Water,” with Barzilay laying
down a proper Allen-esque groove, while “Further (with you),” featuring Nitai Hershkovits on keys, offers
a defining look at the titular concept of the album — with pure Cali feels coalescing effortlessly into sciNew Release Information
fi narrative modes and a proper dose of Rejoicer futurism. Elsewhere, “Her Hair in the Air” shines with
fresh polyrhythmic intention, illustrating the balanced bond between the three collaborators at their
conversational peak, and the brisk synth strokes of “Early Porpoises,” alongside LP closer “Oceanic
Friends” — again ideally named — double as a grand, in-stereo ride into the blissful Pacific sunset
horizon.
California Space Craft embodies the power of open, collective intention and musical kinship, offering
memorable, uplifting moments and an aural glimpse of hope, warmth, and loving melodious calm in an
otherwise quite chaotic time for humanity.
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
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
A: Open, A Clone Is A Clone, Palomitastep, Equation of Time, (La Voz) tan Tierna
B: Requiem for a Loop, Mutron Melody, Eulogy to Eunice, Close
The first time I met Acid Pauli, I didn't know it. I was in search of a lighter outside of the Salon Zur Wilden Renate, a bar in Berlin. It was quite late (or early, depending on how you look at it). I had been living in Germany for less than a week. I approached a man that had been moving some equipment nearby. He didn't smoke, he explained, but he produced a book of matches-- almost out of thin air. He had excited, Romanesque features that threatened to overwhelm his face as he spoke. He introduced himself as Martin.I moved to Berlin after quitting my job as a journalist covering culture for an inconsequential (albeit progressive) Middle Eastern magazine. Days after I left the region, the first protests began in Tunisia. I visited Renate that week because Nicolas Jaar recommended it when we met in London around Christmas time. When I mentioned that I might move to Germany, he brought up Acid Pauli-- which is how I first found out about his Johnny Cash interpretation, "I See a Darkness," and some of his other projects with The Notwist. A few nights later, I returned to Renate, observing from afar as Acid gently wrangled the dance floor. His set activated a space that was both free flowing and eclectic-- the opposite of what I had expected (however ignorantly) to find in Berlin.I tracked Acid down after he finished playing and introduced myself properly this time. Eventually, he explained that he had just completed an album for Clown & Sunset. He called it Mst. After pleading with him to let me listen, he handed over a miniature mirror that doubled as a USB drive.It was an appropriate medium for an album that acts reflexively. Each of the nine tracks coaxes your attention, and then plays with it like the hall of mirrors in a funhouse. Songs accelerate or breakdown without warning, before leaping right back into the rhythm or alternating into a new one. Acid Pauli's voice never appears, and so you substitute your own internal monologue-- whether you're waltzing to "(La voz) tan tierna" or weeping to "Eulogy to Eunice." I saw Acid Pauli a handful more times that spring before he began touring with Nico. And despite our conversations about the album, it was not until months later that I realized Acid isn't trying to tell stories with his work. His aim is more holistic than that. Mst extends the atmospherics past the dance floor, refracting the idiosyncrasies of our existence back into our everyday lives.
Lola Marie-Saint
New York
December, 2011
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
B: Requiem for a Loop, Mutron Melody, Eulogy to Eunice, Close
The first time I met Acid Pauli, I didn't know it. I was in search of a lighter outside of the Salon Zur Wilden Renate, a bar in Berlin. It was quite late (or early, depending on how you look at it). I had been living in Germany for less than a week. I approached a man that had been moving some equipment nearby. He didn't smoke, he explained, but he produced a book of matches-- almost out of thin air. He had excited, Romanesque features that threatened to overwhelm his face as he spoke. He introduced himself as Martin.I moved to Berlin after quitting my job as a journalist covering culture for an inconsequential (albeit progressive) Middle Eastern magazine. Days after I left the region, the first protests began in Tunisia. I visited Renate that week because Nicolas Jaar recommended it when we met in London around Christmas time. When I mentioned that I might move to Germany, he brought up Acid Pauli-- which is how I first found out about his Johnny Cash interpretation, "I See a Darkness," and some of his other projects with The Notwist. A few nights later, I returned to Renate, observing from afar as Acid gently wrangled the dance floor. His set activated a space that was both free flowing and eclectic-- the opposite of what I had expected (however ignorantly) to find in Berlin.I tracked Acid down after he finished playing and introduced myself properly this time. Eventually, he explained that he had just completed an album for Clown & Sunset. He called it Mst. After pleading with him to let me listen, he handed over a miniature mirror that doubled as a USB drive.It was an appropriate medium for an album that acts reflexively. Each of the nine tracks coaxes your attention, and then plays with it like the hall of mirrors in a funhouse. Songs accelerate or breakdown without warning, before leaping right back into the rhythm or alternating into a new one. Acid Pauli's voice never appears, and so you substitute your own internal monologue-- whether you're waltzing to "(La voz) tan tierna" or weeping to "Eulogy to Eunice." I saw Acid Pauli a handful more times that spring before he began touring with Nico. And despite our conversations about the album, it was not until months later that I realized Acid isn't trying to tell stories with his work. His aim is more holistic than that. Mst extends the atmospherics past the dance floor, refracting the idiosyncrasies of our existence back into our everyday lives.
Lola Marie-Saint
New York
December, 2011
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