エクスペリメンタル

Booty Dancer

1. Bob Marley- Reggae Intro
2. Chronixx- Smile Jamaica
3. Tarrus Riley- She's Royal
4. Christopher Martin- Never Cheat
5. Marlon Asha- Ganja Planter
6. Shaggy ft Beres Hammond-  Fight This Feeling
7. Movado- Always on my mind
8. Beres Hammond- Dancing Beauty
9. Busy Signal- Reggae Music Again
10. Estelle ft Sean Paul- Come Over
11. Alaine- What A Lot of Love
12. Christopher Martin- Cheaters Prayer
13. Busy Signal- Come Over
14. Vybz Kartel- Freaky Gyal Pt 3
15. Kranium- Nobody Has to Know
16. Movado & Jadakiss- Just Like Magic
17. Erup- Sex on the Beach
18. Pamputtae & Ranco- Mi Love Off the Touch
19. Propa Fade- Tell Mi How You Like It
20. Alkaline- 123
21. Vybz Kartel- No Games
22. Alkaline- Move Mountains
23. Kalado- Pum Pum Bring Life
24. Alkaline- Things Mi Love
25. Kalado- Take a Ride
26. Alkaline- Gyal Bruk Out
27. Macka Diamond- Dye Dye
28. RDX- Naughty Girl
29. Flavour- Odiro Easy
30. Popcaan- Unruly Rave
31. Konshens- I'm Coming
32. KesTheBand- Endless Summer 
33. Gyptian- Stunta
34. Ricky Blaze- All I Need
35. Zoelah- Sell Off
36. Flavour- Nwa Baby Ashawo Remix
37. QQ- One Drop
38. Kiprich- She Waan Fuck
39. 3 Star- Party Me Say
40. Bushman- Always on my Mind
41. Busy Signal- Whining Feva
42. Vybz Kartel- You Want Me
43. Alkaline- Fuck You
44. Tommy Lee- Party Non Stop
45. Konshens- On Your Face
46. Aidonia- Jook So
47. Major Lazer- Watch Out For This
48. Adrian Dutchin- I Am a Guyanese
49. Adrian Dutchin- Soca Do Me
50. Busy Signal- All Night Long
51. Bunji Garlin- Carnival Tabanca
52. Bunji Garlin- Differentology
53. Benjai- Feter
54. Denise Belfon- Wining Queen
55. Machel Montano- Life of the Party
56. Bunji Garlin- Truck on D Road
57. Skinny Fabulous- Behaving the Worst
58. Kerwin Du Bois- Spoil Myself
59. Kerwin Du Bois- Too Real
60. Flipo- Doh Tell Meh Dat
61. Kcee- Limpopo
62. D'Banj- Oliver Twist 
63. Yemi Alade- Johnny
64. Timaya ft Machel Montano- Shake Yuh Bum Bum (Remix)
65. Iyana ft Flavour- Jombolo
66. Boarman- Push Yuh Hands Dem
67. Destra- Just A Little Bit
68. Blaxx- Leh Go
69. Kerwin Du Bois- Press A Button
70. Machel Montano- EPIC

Vybz Kartel|Yuh Love|Kranium|Conjugal Visit|Gal Policy|Nobody Has To Know|Bruk Off Yuh Back|Popcaan

KATELYN CLARK & MITCH RENAUD, Ouroboros, LP
Hallow Ground
Vinyl / digital, catalogue nr. HG2406
Ltd. vinyl / digital
Release date: 04.04.2025

On Katelyn Clark and Mitch Renaud's »Ouroboros,« astronomical and astrological phenomena, concepts and symbols such as the Great Year or the Eternal Return serve as the starting points for sonic explorations and experimentations. Focusing on a uniquely tempered range of frequencies, from low-end drone rumbles to airy pipe swirls, the duo develops a minimalist and highly evocative sonic universe on their debut album for Hallow Ground.

Working as composers, improvisers and curators in Canada's vibrant experimental and early music scenes, Clark and Renaud began developing »Ouroboros« through extensive improvisation with a reduced setup. Clark, who has worked extensively with historical keyboards since her studies in Amsterdam and Siena, played a small pipe organ modeled after a 14th-century instrument while Renaud brought a modular synthesizer and his interest in feedback systems to the collaboration. Later, the duo further refined their artistic dialog and the sonic interactions of the two instruments through the shared space of a two day recording session in Vancouver. Subtle crackling, acoustic beating and other (psycho-)acoustic effects in five pieces document this encounter, giving the music a profound physicality while hinting at the bodily presence of the two collaborators.

Just as the cyclicality of natural phenomena or the repetition of planetary movements is both a scientific fact and of the cultural imaginary, the sound worlds of »Ouroboros« are fundamentally rooted in time and space while transgressing the idea of a »here and now« through their conceptual links to geological and planetary time. The interplay of portative organ and modular synthesizer, which merge fluidly and in ever-changing ways, leads to a kind of circularity, a timelessness, a no-time. At the same time, the movements and subtle changes undermine the idea of repetition in the negative sense. After all, the Eternal Return, as Gilles Deleuze writes in regard to Nietzsche, is not the return of the same but a repetition of repetition. The only constant is change, the production of new intensities, of new forms of life – and of new frequencies.

Credits:
Music by Katelyn Clark and Mitch Renaud
Recorded and mixed by Aaron Klassen at Monarch Studios in Vancouver
Mastered by Stephan Mathieu (Schwebung Mastering)
Artwork by Laurin Huber

Ouroboros

Katelyn Clark & Mitch Renaud - Ouroboros (HG2406)

Twin Color (vol. I)

Going Home (IRCAM version)

From Throb, shiver, arrow of time
Listen / Buy: https://lnk.to/rvngnl116

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INSTAGRAM: https://www.instagram.com/ollycoates/

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©2024 RVNG Intl. // https://www.rvng.com

Throb, shiver, arrow of time

Radiocello

Mun Sing - Frolic EP
ID009

https://munsing.bandcamp.com/album/frolic-ep

Mun Sing’s forthcoming ‘Frolic’ EP adopts the drama and intricacy of his productions to create a surreal, demented fairytale. In this world, fun and indulgence come at a price; a shadow of consequence is embodied in the form of a sinister blue faced scarecrow. He is a boogeyman of sorts, akin to the beasts scaring children into good-behaviour in bed time stories, but now finding his form in adulthood. The Scarecrow reminds us that everything comes at a price, and punishes those that have too much fun. He is the embodied voice of guilt after you choose one more drink, one more episode. He lays dormant, silently watching until it’s time to strike. Can we ever really escape this lurking figure? In the times we have succeeded, how long does it last?



‘Frolic’ follows a narrative that begins with indulgence and moves through to consequence; starting with euphoric melodies and big room drops ('Frolic', 'Didn’t Need U Anyway') and ending in moments of unravelling reflection ('Scrolling', 'The Hypocrite'). The Scarecrow reveals himself for the first time during the breakdown of the EP’s centrepiece ‘Somersault’; a theatrical club epic in which the scarecrow cackles the lines “You plead a pregnant passage yet frolic and frot without consequence!?” summarising the spirit of the EP succinctly. 



The concept of indulgence has fuelled the composition of ‘Frolic’ as a whole, where Mun Sing would lean into singalong melodies and satisfying drops using a more inclusive musical language in favour of the grief-inspired awkwardness of last years debut album ‘Inflatable Gravestone’ (Planet Mu). ‘Frolic’ is inspired by big stadium pop concerts for its large-scale storytelling and pantomime-esque audience participation. After years of navigating loss and spirituality, Mun Sing found the natural next step to be writing music which explores the dialogue of joy and escapism.

Mun Sing - The Scallywag

The initial seed for this project was planted in 2020 when Nicolás Jaar wrote the song “Piedras” for a concert at the Museum of Memory & Human Rights in Santiago, Chile, which commemorates the victims of human rights violations during the military dictatorship led by Augusto Pinochet between 1973 and 1990. Between 2022-2023 it took on a new form as a radio play entitled 'Archivos de Radio Piedras', which was shared on a dedicated Telegram channel. In 2024, the play was converted into a 24 channel installation at the University Museum of Mexico City (MUAC), where it was exhibited for 5 months.

Piedras 1 and 2 is a collection of the tracks featured within the play, all new music by Jaar, but partly presented within the play as the music of Salinas Hasbún (the name a composite homage to Jaar's grandmothers, Graciela Salinas and Miriam Hasbún).

The play follows two friends mourning the disappearance of Salinas Hasbún, a musician and writer who vanished in the early 2020s. Although they live in a future where technology is advanced, they resort to DIY radio methods because the anonymous group “Las 0cho” has launched a worldwide attack on undersea internet cables, causing a global internet blackout.

The play's central theme revolves around the idea that truths, memories and identities speak from the cracks (“rasgaduras”), or the "in-between" spaces ("en el entre"). This concept is supported by the way much of the narration unfolds - in the liminal spaces between radio frequencies. The instability and transitory nature of a constantly shifting radio dial becomes not just a metaphor but the structure of the play itself. It’s in these moments of noise, static and interference that the deeper revelations of the story emerge. This disjointed, ever-changing medium mirrors the way memory and trauma operate within the play - non-linear, slipping through the gaps, found in fragments or ordinary moments, rather than direct transmissions of “official” historical accounts.

This notion reaches its climax at the end of the narrative, when a text is discovered in which Salinas speaks of finding a new number in a small pond in a cave mentioned in the first episodes of the radio play. This pond, inside the “cochlea of the world”, is seen as a way to introduce real-life randomness to computation. Embodied in the salt lakes of northern Chile, home to the world’s oldest bacteria, this randomness disrupts the rigid order of binary code, paving the way for a transformation of digital life.

Piedras 1 

Piedras

From The Invisible Road: Original Recordings, 1985–1990

Listen / Buy: https://lnk.to/rervng15

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INSTAGRAM: https://www.instagram.com/sussandeyhim/

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©2024 RVNG Intl. & Freedom To Spend // 
https://www.rvng.com & https://www.freedomtospend.org/

The Invisible Road: Original Recordings, 1985–1990

Smelting Loop 6

Taken from SBKT067: 96 Back - tender, exit
Release date: 27th November 2024
Limited vinyl + digital

---

For his sixth 96 Back LP, Evan Majumdar-Swift found himself writing “a long form eulogy” to his years living in Manchester while preparing for an imminent move to London. Initially intended as a series of technical exercises, which saw the artist radically stripping back his established production setup, over the last two years tender, exit gradually took on the form of an emotional landscape, mapped in transit between two cities. “The overarching concept of the record is cycles, recognising them, loving them, and tearing yourself away from them,” he says. Heard together, the project takes on the pace and cadence of a passionate conversation with a loved one.

Full press release - https://svbkvlt.bandcamp.com/album/tender-exit

---

Photography: Ana Radtsenko
Design: Luke Griffiths
Mastering: Raphael Valensi

tender, exit

96 Back - Peruvian feat. LINTD & terrashotta

Buy/stream: https://kompakt.fm/releases/pop_ambient_2025_lp_dl

Hello Everybody,

In recent years, the introductory texts for the Pop Ambient compilation series, which is released every year on Kompakt as the last release before the Christmas break, often began with the sentence "Every year again...".

“Every year again”, a quiet, almost unnoticed maxim of self-evidentness. Because this is already the 25th issue to be published this year.

25 years in increasingly fast-moving times in the even faster-moving music business is an eternity that doesn't just feel like it. It is all the more remarkable how I, as someone who is always restless and often driven by this fast pace himself, pleasantly almost haven’t realised how - in pop-ambient contexts - time does not pass (or passes differently) in the best sense.

When compiling the 25th edition I was asked, among other things, what it was like that I was still doing this and whether I had a favorite track. In the spirit of bringing all the tracks together I don't have a favorite track, or all of them. But I have a favorite part (moment) that I played. In this case it was a broad chord in a change of key at minute 2:55 in the piece Circles by Max Würden. A moment of majesty and familiarity that, at that moment, contains the entire Pop Ambient cosmos, that just works and doesn't explain anything - and I said: “...that's the reason why I'm still doing this.. .”

Pop Ambient is a statement without demands. Is promise without expectation. Is a path without a destination.         Every year again.

Wolfgang Voigt, October 2024

As always, the indispensable final mastering by Jörg Burger ensures that everything is brought together and the sound is fine-tuned.

And like every year, the 25th edition is of course wrapped in an abstract, floral magic creation by Veronika Unland. Over the years, the grace of her imagery has increasingly merged with the musical aura to form an unmistakable magical symbiosis.  In addition to the official vinyl and CD edition, there will be a limited edition of 100 pieces in transparent vinyl - including a hand-signed fine art print by Veronika Unland, available exclusively at Kompakt Mailorder.

Pop Ambient 2025

In Defense Of Symbolic Value 1

Jens-Uwe Beyer - In Defense Of Symbolic Value 1

The Undreamt-of Centre

Introit (Live)

Vitio

J'Appartiens

James Marrs - Silo Sprinkles

Даррен Дж. Каннінгем (англ. Darren J. Cunningham); 23 серпня 1979), відомий під сценічним іменем Actress, — британський музикант, що працює в жанрі електронної музики. Його дискографія включає альбоми: Hazyville (2008), Splazsh (2010), R.I.P. (2012), Ghettoville (2014), AZD (2017), LAGEOS (спільно з Лондонським сучасним оркестром; 2018), 88 (2020), Karma & Desire (2020), які були випущені на лейблах Ninja Tune, Honest Jon's Records і Werkdiscs — останній він заснував у 2004 році. А також LXXXVIII (2023) — під лейблом Ninja Tune, і Statik (2024), виданий через Smalltown Supersound. Альбом Splazsh отримав звання «Альбом року» за версією журналу The Wire.

Архівний ПЕРЕВИПУСК №5:    Actress - Дарен Дж. Каннінгем

BALKAN PRINCE CHRONICLES VOL. 2

SWEATY

Heith - The Scrollkeeper (PAN 147S2)
Label: PAN
Cat.No.: PAN 147S2
Release Date: 15 April 2025
Purchase: pan.lnk.to/TheScrollkeeper

Heith shares 'The Scrollkeeper', the second single from the upcoming album 'Escape Lounge', out via PAN on April 25th, 2025 - accompanied by a new music video.

Written and produced by Heith and Leonardo Rubboli
Drums by Jacopo Battaglia
Harmonica and Synthesizer by Leonardo Rubboli
Mixed at TWS
Mastered by Amir Shoat
Artwork by Heith and Nicola Tirabasso

Heith - The Scrollkeeper (PAN 147S2)

TACA

Care

Ast (Ludwig Wandinger Remix) [feat. Coby Sey]

NEW SOPHIE SINGLE L.O.V.E.

Stream on YouTube – http://nmb.rs/L.O.V.E.-YT

SERIES OF SINGLES TO BE RELEASED AS SILICON PRODUCT

VISIT SOPHIE MERCHANDISE SHOP http://shop.msmsmsm.com 
SILICON BUBBLE CASE, CD, VINYL, DIGITAL ON NOV 27 2015

STREAM
Spotify – http://smarturl.it/SOPHIE-Spotify
Apple – http://smarturl.it/SOPHIE-Apple
YouTube – http://smarturl.it/SOPHIE-YT

http://soundcloud.com/msmsmsm
http://twitter.com/sophiemsmsmsm
http://www.facebook.com/msmsmsmsophie
http://soundcloud.com/nmbrs

PRODUCT

L.O.V.E.

SOPHIE SHOP

In the dim glow of an after-school classroom, the first band formed by a 15-year-old Genesiskhode was already turning heads.
“Your songs are cinematic,” producers would rave in unison. But they always added the same devastating footnote: “If only it weren’t for the vocals.”
That voice was the one anchor holding his cinematic sound earthbound.
The setback became rocket fuel. At university, he gutted a six-tatami dorm room and rebuilt it into a “starship studio.” There, he stitched lo-fi, trap, and city-pop into beats that smelled of back-alley asphalt under a galactic sky.
Under an alias, he slipped tracks into indie films and fashion videos—projects fronted by actresses who are now household names. His reputation spread through the underground like neon static.
And so, to turn his former complex into his greatest weapon, he chose to liberate himself from his own voice.
Rebooted as a “voiceless singer-songwriter,” he now carves his inner monologue into his tracks.
Listeners hear the emotional resonance and call it “a soulful voice.”
But the voice isn’t human.
It’s a new kind of soul, forged by technology—from vocaloids to the cutting edge of synthetic voice creation.
The universe may be infinite, but his bedroom keeps finding new corners of it.
And the world is starting to dance in its orbit.