Telephones
From The Vaults 1998-2018 Vol. 2

Jin Mu is taken from the Chinese Zodiac and translates to the elements of Metal (Jin) and Wood (Mu). this is essentially the concept of this record.. Tucceri plays a selection of wooden and metal flutes and Zeitgeist plays drums and cymbals. In this sense it's a musical connection to the natural elements and spirits embodied in these instruments.Having worked together for several years on the project ‘Zeitgeist Freedom Energy Exchange’ Zeitgeist and Tucceri come together here in a very intimate and vulnerable setting. This recording offers a place of reflection and healing amongst an ever imposing and disposable pop culture. In a time where we fight for each others attention in 10 second social media grabs. The duo offer something of the opposite. An opportunity to tap out of the technological bombardment and allow the listener the place to reflect, to ponder, to imagine. This record is especially poignant at a time of rising tensions in Australia about the acknowledgment and rights of the indigenous peoples and an ongoing fight for the settlement of refugees in what is essentially a nation of immigrants.

Dread / And Soon The DarknessBasic Rhythm

Le label Born Bad a sorti une compilation rendant hommage à l’europop et à la proto-house française des années 1990 à 1995.Curaté par les DJs Belec et Sainte Rita, l’album revient sur l’histoire de « la variante franchouillarde de la dance pop anglaise », s’interrogeant sur l’arrivée de la house en France et ses liens avec la variété de la fin des années 80, alors que les premières musiques électroniques étaient à la fois omniprésentes et diabolisées.Au programme : dix pépites nostalgiques francophones agréablement kitsch aux influences new beat, dream house, pop, trip hop et rap, reflétant parfaitement l’ambiance ingénue et rêveuse du début des années 90.While the French were building towards the global explosion of French Touch and the arrival of Daft Punk on the world stage, the British were busy getting off their tits in fields up and down the country to a mix of rave, breakbeat and jungle. This fascinating collection is the sound of a load of French artists essentially having a go at British dance music, aping rave culture and emulating club trends. It's curious and fun, with melodic tracks, expansive grooves and plenty of sinewy synths all making a new dance language that is familiar yet different to the one we all know and love. Importantly, it all works well.

The singular expressions of music across Indonesia are seemingly limitless, though few are as dynamic and hold such a colorful history as jaipongan of West Java. The form of jaipongan we know today was born from the fields of Java where an early form of music called ketuk-tilu echoed over fields during harvest times. Known for intense and complex drumming coordinated with equally dynamic solo female dancing, ketuk-tilu performances included a rebab (a small upright bowed instrument), a gong, and ketuk-tilu (“three kettle gongs”). Though the original performance context of this music revolved around planting and harvesting rituals, with the singer accepting male dancing partners, over time ketuk-tilu became an outlet for village life expressing fertility, sensuality, eroticism, and, at times, socially accepted prostitution. Activities in the first half of the twentieth century that were best suited amongst the elements of harvest and outside of urban criticism.Fast forward to 1961, the year the Indonesian government placed a ban on Western music, most specifically rock and roll, ostensibly to revive the traditional arts and have the country refocus on Indonesian ideals. Though, this attempt to reclaim, and in many ways conservatize, musical output had an unexpected musical outcome. In the early 70s the composer and choreographer Gugum Gumbira (1945-2020) took it upon himself to retrofit and creatively expand the core elements of ketuk-tilu into a contemporary form. One that would harness ketuk-tilu’s core dynamics and nod to the government’s pressure to revive traditional forms, while creating a fresh and socially acceptable art form where enticing movements, intimate topics and just the right degree sensuality had a collective musical expression. Born was jaipongan.Musically, Gumbira added in the gamelan thereby augmenting the overall instrumentation especially the drums. Importantly, he brought a new and very focused emphasis to the role of the singer allowing them to concentrate solely on their voices opposed to dancing as well. These voices weren’t there to narrate upper class lifestyles or Western flavored ideals (and colonial mentalities in general), but the worldview and woes of the common people of West Java. Intimacy, love, romance, money, working with the land, life’s daily struggles and the processes of the natural world were common themes in jaipongan that ignited the hearts of the people and directly spoke to both the young and old. The two timeless voices that would define the genre and fuel it to echo out across the globe were Idjah Hadjijah, featured here, and Gugum’s wife, Euis Komariah (1949-2011), two nationally cherished voices that catapulted the genre into the sensual, elegant and other-wordly.Movement-wise, Gumbira included some of the original sensual moves of ketuk-tilu and intertwined them with movements based on the popular martial art called pencack silat. With just enough new and just enough old, and just enough safe and just enough bold, men and women danced together in public in ways never allowed before. The genre and its performances were an oasis for the optimal amount of controlled intimacy and sexual nuance to be socially acceptable. Jaipongan was embraced by a country longing for new societal norms and creative expressions.All these elements combined rooted Jaipongan in the hearts of West Java and set the genre on fire. Gumbira established his own studio, Jugala studio in the city of Bandung, where a cast of West Java’s best players resided. This record, as well as hundreds more that have defined music in West Java of every style, were recorded there. Radio, a booming cassette industry, and live performances of jaipongan flooded the country, so much so that the government's attempts to reel it in were futile. Jaipongan had tapped into the hearts, daily worldview, airwaves and clubs of West Java and wasn’t going anywhere. And by listening here, it’s still as alive as ever.REWORKSIn the lineage of vast sonic experimentation that has filled Indonesian music history and still continues today, electronic musicians and modular sythesists were invited to rework sounds found in these recordings. With the help of the musicians in Java, Riedl and Lyons made the original live recordings in a multi-track format enabling future composers to work with specific elements of each song. The musicians doing reworks were given freedom to work with the recordings in anyway they saw fit, a freedom that has suited music well over time to produce countless creative collisions, and musical conversations, that we all hold dear.

Space and Awareness is the debut release on Tonight’s Dream Records, a record label and mix series based in Brighton UK, focusing on forward thinking, unique music within the realms of ambient, downtempo and electronica.Space and Awareness is the eighth album from Inhmost, the alias of producer Simon Huxtable. With over 24 years experience Huxtable has released a huge array of music. However, now Huxtable uses Inhmost to serve up deep immersive ambient and downtempo music. Space and Awareness is filled with deep baselines and downtempo breaks that are perfectly balanced with the atmospheric ambient textures making it a thoroughly engaging listen.In the producers words “Space & Awareness was made at a time when I felt particularly conscious and receptive of the space around me and I wanted to create an atmosphere that reflected this organically. A mixed approach of using analogue and digital hardware both in and out of the box along with captured field recordings was used to create a broad and changeable soundscape. I did not want this album to just be purely ambient so the use of downtempo beat structures and rhythms felt like a more appropriate way to convey the variety of emotions that I was feeling at the time.”The album has been mastered by prolific producer and mastering engineer Rafael Anton Irisarri at Black Knoll Studio who has worked on albums for artists such as Juliana Barwick, Grouper, Steve Hauschildt, Loscil, Telefon Tel Aviv and Tycho amongst hundreds of others.