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Produced by Maurice Fulton
“An Original Dr. Scratch Mix”
Written by Maurice Fulton except for “Japanese Indian Shrimp Curry” & “ D To The A Train” written by Jimi Tenor and Maurice Fulton. Publishing by Buttrubb Music. Recorded and Mixed at BubbleTease Communications, Sheffield UK.
Players Maurice Fulton, bass drums keyboards guitars Shamisen and percussion
Jimi Tenor flute and percussion on “Japanese Indian Shrimp Curry” and Flute on “D To The A Train”
Special thanks. God,Mutsumi, Joi, Mim Suleiman, Danae, Sarah Ellison, Nelson Vercher, Karo Brandi, Jason Kincade & Paul, Luciana Galindo, Chantress, Michele Holcombe, Mona Diallo, Birgit Boogie, Mario & Soley, Naoka Fukumoto & Emi, Dj Nori, Dj Jnett, Cat Soulcat, Marcellus Pittman, Peggy Gou, Fiona Thwaites ,Lloyd , Dj Hogi, Rita Marmor, Abby Alvarez Kelly Cooke Tony Humphries and Tika.

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After many years of working as a DJ and producer in the Japanese dance music scene, Kaoru Inoue has now released the new album under the name of Chari Chari after 18 years, a collection of organic-electronic compositions filled with an exotic designs welling up in the middle of nowhere. 

500 LTD self-mastered Compact Disc in paper sleeve + Digital. 
Bandcamp only / 48kHz-24bit high-resolution audio. 
The vinyl edition will follow from Groovement Organic Series (Portugal)

Everything, done by Kaoru Inoue 

except.. 
Luna de Lobos: 
additional e.guitar & gut guitar solo by Takamasa Tomae 
Fading Away: 
additional e.guitar & e-bow by Takamasa Tomae 
Black Shrine: 
percussions by Makoto Miyata 

9 & 10 Mixed by Yoshiaki Onishi in 2016 
12 Mixed by Yoshiaki Onishi in 2000 

Artwork by Shun Horiki



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Hush Hush is honored to present 'Parallel Worlds,' a mesmerizing collaborative effort between recent Hush Hush alums Tukico and Julian Zyklus.

Tukico is an alias of Berlin-based Japanese violinist, composer, electronic producer, and Tangerine Dream member Hoshiko Yamane. Following numerous releases under her own name on revered neo-classical label 1631 Recordings as well as a collaborative release with Icelandic musician Mikael Lind for Time Released Sound, Hoshiko unveiled her debut EP 'become' (HH122) under the Tukico alias earlier this year on Hush Hush Records that proudly displayed her bold fusion of traditional classical music with innovative electronic production techniques.

Julian Zyklus is an emerging Italian electronic musician who has been studying piano and synthesizers for decades. A student of engineering and electronic music, he's served as a member of the veteran Italian alternative rock band A Toys Orchestra since 2014, where he's enhanced the band's dynamic and theatrical sound as their primary piano and synth player. Last summer he joined the Hush Hush family for the release of his debut solo album 'Four Dimensional Waves,' an expansive and ambitious record that confidently mixed serene ambient passages and hypnotic neo-classical arrangements with propulsive techno rhythms in stunning fashion.

Drawn together by a deep mutual admiration of each other’s debut releases for Hush Hush, the two connected online earlier this year to discuss the possibility of bringing their evocative and cinematic styles together on a shared release. Working from their respective apartments in Berlin, Germany and Bologna, Italy, Tukico and Julian Zyklus each swiftly composed two original pieces for 'Parallel Worlds' and then entrusted each other to contribute their own unique interpretations. Although the works were written in their own independent silos during the COVID-19 lockdown, their shared transportive and whimsical sonic sensibilities – a key sonic element that unites Hush Hush’s international roster – find a perfect harmony alongside each other and symbolizes the beauty and power of collaboration, even when operating in 'Parallel Worlds.' 
Credits
All songs composed and produced by Hoshiko Yamane (aka Tukico) and Julian Zyklus.

Tukico 'become'
hushhushrecords.bandcamp.com/album/become

Julian Zyklus 'Four Dimensional Waves'
hushhushrecords.bandcamp.com/album/four-dimensional-waves

Mastered by Adam Straney at BreakPoint Mastering.
breakpointmastering.com
Artwork by Julian Zyklus.
Tape artwork and layout by Michael Tenzer.

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To say we are "excited" to get this phenomenal album by Double Geography out would be a monumental understatement - it has been on rotation here at INVINC HQ pretty much constantly for a couple of months now and still never ceases to amaze and impress.

Double Geography is Duncan Thornley, one half of Weird Weather who have released on Emotional Response, Going Good and their own Whip+Lash imprint, exploring sometimes hypnotic, sometimes abstract experimental tech-tronica.

Double Geography, however, takes us deep into the undergrowth, into the world of plants. With tracks named after a variety of flora the music could loosely be described as laidback ‘balearica'. However, where much of that genre (if it can even be called a genre) has spawned so much insipid, mediocre coffee table ‘lounge music', The Indoor Gardener has retained that crucial element of tripped out psychedelia that transports us just that little bit higher.

The music feels warm, melodic, emotive.....but listen closely and underneath the surface is a complex depth where you'll find a lot more is going on and it gives the whole piece of work an edginess undeniably synthetic in nature. Like an organic, analogue paradise re-imagined through the mind of an artificial intelligence. The atmospheres created being less a hazy "dreaminess" than a dreamlike cinematic soundtrack to a mystical reality.

Technical wizardry is also very much apparent. Thornley's day job as an audio engineer has paid off well here. The unique character of many of the sounds we're hearing seem as rich, complex and diverse as the natural world that inspired their creation. His mastery of the equipment at his fingertips is obvious.

So relax, take a deep breath and take a wander round this botanic paradise - a psychedelic Garden of Eden for the 21st century.

Artwork by Penny Klein 

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Bring mindfulness to your movements.

Each track on this four-part album has a tempo of 172bpm. The aim of the music was to provide an evolving background to a meditative run. In its rhythmic, repetitive and relaxing nature, it is can support any form of movement. Let this music be the background to your thoughts.

Credits
Music written and performed by Ruby Lulham
Mindful Movement recorded, mixed and mastered by Ruby Lulham
Cover art by Ruby Lulham and Patrick Turnbull

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Watch the interactive video for 'Nero': www.laurencepike.net

The music on Prophecy was made during an intense period of climate-related disasters in my home of Australia last summer that seemed to represent the beginning of a strange new way of existing on Earth.

The pieces were developed in the space of four weeks at my home, and then captured in a single day of studio performances. As a result, the music is as much an assemblage of moments from the days leading up to the recording (stepping into my garden to be greeted by a dark pink sun against a brown sky, and ash gently raining on me) as it is a reflection of how I felt in the moment playing them live in the studio.



In the short time since, we’ve gone from staying inside and wearing face masks because the city was completely surrounded by fire, and the air filled with acrid smoke, to staying indoors to stop the spread of a global pandemic.

Prophecies often foretell of the end of the world, and it wouldn’t be unreasonable to say things have felt a little apocalyptic down here for the last several months. Yet, despite decades old studies predicting catastrophic bushfire seasons in Australia, we’ve been living in an era where science seems be have become an ideological choice for those elected to represent our best interests.

Put simply, I believe recent events are all part of the broader theme of sustainability. In the face of this, it’s inevitable to question the very purpose of making music, and how it can contribute to the discourse at a time like this. I’m not a scientist, nor a policy maker. I don’t even consider myself to be an activist. I’m a musician. Music has been the prism of my existence as long as I can remember, and I think at its heart music should be a form of storytelling.

It seems to me that humans are inherently dynamic in nature, and that our current culture in many ways has
stalled in its dynamism. We’re searching for a narrative to direct us in the face of an uncertain future. For some this means retreating to the past, turning inward, and for others, it means looking forward, opening up. I’ve come to realise that the pursuit of performing solo over the last few years has been my unconscious response to the feeling of cultural stasis that’s pervaded the world as a result.

I often think of something that the great saxophonist/composer Wayne Shorter said: “Play and write music the way you want the world to be”. If nothing else, I’d like my music to present the possibility of a way a being; a space that is dynamic in its intent – drawing on the language of the past, yet responsive to the moment, interpreted with tools of the present, and open to the narrative of the future being one that has yet to be told.

Despite the seismic shifts that society is currently experiencing, I sense an exciting opportunity for progress rather than retreat, and as an artist, I can only contribute the best way I know how; to make music in the way I want the world to be. 
Credits
Solo performances by Laurence Pike
Drums/Percussion/Drum pad sampler
Written and produced by Laurence Pike (copyright control)
‘Nero’ contains recordings of Angus Andrew, and ‘Prophecy’ contains recordings of Jack Wyllie, both used with their kind permission.

Recorded by Brent Clark at Oceanic Studios, Sydney 12/12/19
Mixed by Richard Belkner at Free Energy Device Studios, Sydney 20/01/20
Mastered by William Bowden, Launceston 9/03/20

Album cover image ‘Goldens‘ (2018, Acrylic on board) by Gemma Smith

Courtesy of the artist and Sarah Cottier Gallery, Sydney

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CREDITS:

Gimgigam
soundcloud.com/gimgigam
gimgigam.bandcamp.com
twitter.com/gimgigam
www.instagram.com/gimgigam_9/

Featuring:
YOKO.T (Track.2)
soundcloud.com/yoko-t-201142980
twitter.com/YOKO0000T

Takara Araki (Track.3)
soundcloud.com/takara-araki
twitter.com/takara___araki
www.instagram.com/takara___araki/
open.spotify.com/artist/4zrhCIR7dXL2KhQx8OhlEs

uami (Track.4)
soundcloud.com/uami-645464179
twitter.com/maskdorenisuru
music.apple.com/jp/artist/uami/1483552334
open.spotify.com/artist/3xiMlcfR162PpRFXtCV6fE
uamicu.bandcamp.com

KYOYO (Track.5)
soundcloud.com/kyoyo
twitter.com/K_Y_O_Y_O
linkco.re/q1ny2Qd7
www.instagram.com/iamkyoyo/

Lisa (Track.6)
soundcloud.com/waiwaimusicresort
twitter.com/as_illness
twitter.com/yymusicresort

サコウリョーマ (Track.7)
soundcloud.com/ryoma-sako
twitter.com/ryoma_sakoh
www.youtube.com/watch

Artwork:

禺吾朗
twitter.com/guugorou
guugorou.tumblr.com
www.instagram.com/guugorou/

MV:

N n Pa (feat. YOKO.T)
youtu.be/6WAQ66EobXU

OTP/オトピ
twitter.com/otp_otopi
otp-works.tumblr.com
www.instagram.com/otp_otopi/

はらわた ちゅん子
twitter.com/chung_kang
www.instagram.com/chung_kang.0302/

Life (feat. Lisa)
youtu.be/jn8CLYOln88

ミヤオウ
twitter.com/memememeoww
soundcloud.com/memememeoww
www.instagram.com/memememeoww/

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New York-based record label Youngbloods presents Violent Flowers, a glistening collection of Experimental Dream Pop from Israeli singer, songwriter, and film composer Zoe Polanski. Written in collaboration with producer Aviad Zinemanas, Violent Flowers uses Polanski’s tranquilizing voice as a guide across a vibrant landscape of inner musings that reflect her visual, and often cinematic, approach to songwriting.

Born to a musical family in the tense northern city of Haifa, Polanski sought from an early age an escape from everyday life through music, first learning cello then piano and eventually guitar. In contrast to her family's affinity for jazz and world music, Polanski was drawn to the entrancing and transportive effect of ethereal, lo-fi sounds. After her obligatory service in the IDF, Polanski moved to New York City to record with the band Katamine and enrolled for a summer course in cinematography at the School of Visual Arts. Becoming enraptured with music’s ability to enliven a visual scene, she returned to Israel settling in the liberal, multicultural hub of Tel Aviv and started her new project named after the renown Hungarian avant garde filmmaker Béla Tarr. Like the project’s namesake, the music was imbued with a sense of slow cinema verité, juxtaposing dark lyrical observations against the surreal aura generated by spacious, floating guitar lines soaked in reverb.

As she became more involved in the electronic and ambient music scenes of Tel Aviv, Polanski started to experiment with sound design, honing in on compositions created for singular movements and moments in time. She began to perform live, becoming a regular supporting act for the likes of Tame Impala, Swans, Mark Kozelek, Alessandro Cortini, Bayonne and Lætitia Sadier of Stereolab. On a chance, Béla Tarr’s cinematographer Fred Kelemen caught her live show, intrigued by the project’s name. Impressed by her style, Keleman hired Polanski to score his upcoming film, further pushing her creative trajectory toward a deeply delicate, visual, and personal place.

Through several serendipitous encounters Polanski befriended local sound designer and producer Aviad Zinemanas. Their friendship, initially cemented by a mutual appreciation for shoegaze and ambient music, would blossom into trading Ableton sessions and shared explorations into broadening Polanski’s productions. They would begin to write and refine Polanski’s demos, culminating in what would become Violent Flowers.

Their approach to sound design and songwriting pays homage to Polanski’s love for cinematography in romantic fashion. Together they’ve designed an expansive atmosphere that nurtures, and deepens, the lush intentional simplicity of Polanski’s compositions. The album’s title track, alongside its subsequent pieces (“Pharaoh’s Island” and “Closer”), demonstrate the duo’s creative balance most clearly, pairing Polanski’s hypnotic vocals and shimmering guitar with Zinemanas’ blend of implied rhythms, soft percussion, and weaving keyboard pads. Even without Polanski’s gentle singing, the creative pair’s talent for penning accessible melody is evident through the album’s instrumental works “Ya’ar Bein Olamot (Forest Between Worlds)” and the more traditionally theatrical “Humbolt Current”.

Where luminescent temperaments characterize the first half of Violent Flowers, the album’s conclusive pieces permit a glance at the dark clouds in Polanski's robust universe. “Apple Hill” and “The Willows” reflect a different side of the same coin, trading pinks and vibrant blues for grey, marbled reflections of relationships come and gone. “Slopes” acts as a wispy, contemplative nod to Polanski’s work scoring film, focusing on ambiance and auditory distance as emotive characteristics. Violent Flowers soars to a thunderous finale in “Bubbles”, vocalizing aspiration for a less-divisive, understanding future.

Polanski finds adventure in her experimentations, and hopes that the tonal vulnerability of Violent Flowers invites others to join her in casting lights across the geography of her memories and ideas. With a keen ear and open heart, they too will find pleasure in the various shadows and shapes they make.

Violent Flowers by Zoe Polanski will be available from Youngbloods on limited edition 12” vinyl LP across digital channels worldwide on 17 July 2020. The first single “Pharaoh’s Island” will be available starting 5 June and the second single “The Willows” will be available starting 26 June. 
Credits
All lyrics written by Zoe Polanski
"Humboldt Current" & "Bubbles" composed by Aviad Zinemanas
All other songs composed by Zoe Polanski
"Closer" produced by Aviad Zinemanas & fortyforty
All other songs produced by Zoe Polanski & Aviad Zinemanas
Recorded in Tel Aviv during 2018-2019
Mastered by Steve Kitch at Audiomaster in London

Cover photograph by Nadav Yahalomi
Sleeve photograph by Assaf Tager
Design and layout by Nicholas Concklin
Executive Produced by Nicholas Concklin & John Moses

Published by Mushpost LLC (ASCAP)
P&C 2020 Youngbloods
weareyoungbloods.com

Thanks to: Avi Schneebaum, Hagit Emma Werner, Eli Shaked, Assaf Tager, Gili Ron, Alon Tiran, Nadav Direktor, Marina Charchiyan, Yali Sobol, Tal Hasson, Ruth Patir, Michael Alcalai, Adiva Koenigsberg and my family.