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A collaboration between artist Jacolby Satterwhite and musician Nick Weiss—one-half of Teengirl Fantasy—PAT takes its name from Satterwhite’s mother Patricia, who suffered from schizophrenia and died in 2016. She left behind hundreds of a capella recordings on cassette tapes as well as abstract drawings of home goods, such as wet wipes, sugar cubes, and toothbrushes. Incorporating her recordings into their work, Satterwhite and Weiss remixed and manipulated Patricia’s voice into propulsive, electronic dance tracks featuring a range of other collaborators.

Inspired by projects like Tricky’s album Maxinequay—which, like Love will find a way home, is based partly on the artist’s relationship with their deceased mother—and Daft Punk’s feature-length animated film Interstella 5555, which was released with their recording Discovery, Love will find a way home will coincide with Satterwhite’s Pioneer Works exhibition You’re at home, opening on October 4, 2019. It will feature a cover shot by Wolfgang Tillmans and a booklet containing Patricia lyrics and drawings, as well as images of the cassette tapes and ephemera she left behind. Love will find a way home is, like Interstella 5555, similarly multi-pronged; it is both a fully-produced album of its own and a score for a related, four-part animated series of films, Birds in Paradise.

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A1 Ulla Straus — I Forgot to Take a Picture ( 12:03 )
A2 Ulla Straus — Becoming Warm ( 6:24 )
B Oceanic — Three Sides Of A Shell ( 19:21 )
↳ 1. Aperture
↳ 2. Columella
↳ 3. Sea If You Can Hear

The fourth Plafond sees fine-crafted contrasting pieces complement each other in courtesy of Ulla Straus and Oceanic. Along the wide arbitrary landscape of listening or 'ambient' music, it is a delight to have two artists, separated by the vast Atlantic, contributing quite opposite interpretations of such to the series. Perceptual time feels as a recurrent theme which binds them, albeit in a whole different modus operandi.

In her iconic tactile productions, Straus excavates levels of advanced musical complexity in the seemingly most simple. Throughout two tracks her crude and beautiful technique riffles, compositions that remain prone to the transient, combining field recordings with morphing saxophone and guitar. This is deeply evocative music that turns its recipient into a mode of contemplation. ‘I Forgot to Take a Picture’ breathes melancholic romanticism, ‘Becoming Warm’ feels lorn yet hopeful. Pastoral haze over a rouge-tainted barren, the crackling insides of a wooden forest house. Picturesque and minimalist, Pennsylvania’s Straus manages to temporarily stop the sand from gravitating downwards.

Oceanic antagonises Straus with the triptych ‘Three Sides of a Shell’, recalling different emotions adhering to the fourth dimension. As a performing artist, Oceanic masters the element of suspense. Here, over the course of nineteen minutes, a three-note sequence is explored within the producers imaginatory, chapterised, providing moments to navigate through his fictitious galaxy. Stuttering melodies across azure waters, synthesised bleeps as flickering stars over a moonlit mountain pass. Oceanic’s music feels advanced through actively incorporating contemporary futurism, whilst never losing the glacial glance that is so familiar to its early nineties foregoers. It is as if listening to ‘Three Sides...’ heightens the senses, towards possibility, innovation even, triggering illusions of time dilation, shattering the hourglass.

Comes in hand printed dreamy, pink sleeve, including Obi-strip, by the BAKK Innerspace Ink Station. 
Credits
Music: Ulla Straus / Oceanic
Design: Mike Kokken and Heer Badoux
Words: Luke Cohlen

WHAT THE PRESS RELEASE SAYS:

Another human subset

- NOT in alphabetical order

- CR78 is was and always will b with DX7 because DX7 and an implementation of the TB303 was the string to tie each of these pieces together with…

- SH101 red

- (Basso profundo)

dreamboat music video created by the artist!

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Botánica de Balcón (balcony botanics in spanish) is the crystalisation of a long shot project by Rafa Ramos Sania and Edu Comelles. Both musicians put together strings, wood and minimal electronics on a new project born from field recordings and sonic textures. The aim is to submerge form that starting premise into sonic territories closer to New Classic, a certain experimental folk and the shreded expresiveness of the double bass, confortably sitting on eastern tonalities and subtle winks ot the japanese Shakuhachi. Digital and tensed string songs.

Composed, performed and recorded by Rafa Ramos Sania & Edu Comelles, between January and May 2019 in Valencia, Spain.
Rafa Ramos Sania: Double Bass, Acoustic Guitar and Oud.
Edu Comelles: Electronics & Field Recordings.
Mastering by Fraser McGowan

Archives62 // ArchivesCD43
Archives / 2019

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Born and raised in South London, Hector Plimmer is a multi-faceted producer, composer and DJ whose sound is drenched in tribal rhythms and beautifully crafted bass. Influenced by beat-makers like Flying Lotus and Theo Parrish, but with the subtleties of the classic Metalheadz era drum and bass, his second album 'Next To Nothing' is released on 25th October 2019. The album features guests Ego Ella May, Emma-Jean Thackray, Pie Eye Collective, Alexa Harley; and Andrew Ashong who guests on new single ‘Somebody Else’.

After featuring on Brownswood Bubblers 11, curated by Gilles Peterson, Hector proved his talent when he was selected as a winner of the PRS Steve Reid InNOVAtion award. At a performance at ‘Sounds Of The Universe’ Record store, Hector caught the attention of Albert's Favourites' label heads Adam Scrimshire & Dave Koor. A conversation was started which led to the transfer of almost a whole album's worth of material and resulted in his debut full length record ‘Sunshine’.

'Sunshine' was met with rapturous acclaim. The record went on to be awarded Gilles Peterson’s album of the week on his BBC 6 Music show and was championed by both Lauren Laverne and Tom Ravenscroft on the station as well as Jamie Cullum on BBC Radio 2. Its success on the airwaves transcended to streaming with the inclusion in the top 50 viral US chart on Spotify.

As a DJ Hector has a monthly slot on NTS radio. He has played alongside the likes of Gilles Peterson, Kutmah, Alexander Nut, MNDSGN, Onra, Dego, Kaidi, Max Graef & Glenn Astro; Hector finds himself in the good company of those talented selectors who play genres across the spectrum of Hip-hop, Beats, Funk, Soul, Disco, Afro-beat, House and Jazz.

Last year saw the launch of his live performances. Flanked by Dave Koor and Tim Doyle on keys and percussion, with Vocalist And Is Phi heading up the quartet. Recent performances have included supporting Nightmares on Wax, Amp Fiddler, Yussef Dayes and Flako. Key festival performances include Glastonbury, The Great Escape and Brainchild. 

Credits
Released by Albert's Favourites
Publishing by Manners McDade
Management by One House Artists

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The wait is finally over for new music by Teebs, aka Mtendere Mandowa. It’s been 5 years since his last body of work, but 25 October will mark the release of his next full length album “​Anicca”.​ With the help of a host of musical friends including ​Panda Bear (Animal Collective), Sudan Archives, Ringgo Ancheta aka MNDSGN, Miguel Atwood-Ferguson, Anna Wise, daydream Masi, Former Boy, Pink Siifu, Jimetta Rose and Thomas Stankiewicz, the 4​7 minute LP fuses Teebs’ signature bright and fluid productions with the grounded and colorful elements of his collaborators.

With roots at the ‘My Hollow Drum’ collective, Dublab, and Low End Theory, Teebs is a staple in Los Angeles music. “My creative family in LA is so important,” he explains. “It’s a part of who I am when I step outside and how others in LA view me. I love the feeling of community and trying to understand how I can be useful in it.”

A consummate artist with a completely unique style, his ideas seemingly flow from a cloudy hidden realm of the ether straight through the medium and onto the canvas. As both a producer and a painter, his projects possess a flawless consistency that pull one deep into the worlds he creates.

Reflecting on his 5 year hiatus from releasing music, he says: “It feels like it [the music] comes from a different place now. My inspiration to work has changed and my choices with it. I’ve explored more with what tools and instruments I used and tried to be more open to collaboration.” ​The record showcases just how effortlessly his work lays landscapes for his guests’ contributions to blend in with his own production and Teebs himself is full of admiration for his collaborators. For example, of Panda Bear from Animal Collective, who is featured on lead single ‘Studie’ he explains that: “Everything he decides to do is pure gold or fine wine.” It’s a similar story with kindred spirit Sudan Archives who graces ‘Black Dove’ - of whom he says, “She really is a scary genius who deserves the world’s ears and eyes.”

The album was recorded mostly at home using his Roland SP-404 sampler, Mellotron M4000D synthesizer, seprewa (Ghanaian harp-lute), guitar and laptop - “If you listen closely you might hear my daughter speaking or my wife typing on a laptop on the record,” Teebs says smiling.

Family is at the heart of Mtendere’s life now and they are his primary source of inspiration. “My daughter was born the year after ‘Estara’ and taking time to watch her grow meant everything to me...” he explains. “Also my relationships with my wife,mother, brother, and the friends around me, and the mistakes I’ve made through my life have all inspired Anicca.” He also cites the American poet David Antin and his 1976 work “Talking at the Boundaries” as a notable read and a quote about art, nature and form from Hans Arp’s “Notes from a Dada Diary” that struck a chord with him during the making of the record.

As for the title - “Anicca” - it describes the impermanence of all being in Buddhism. Recognition of the fact that ‘anicca’ characterizes everything is one of the first steps in the Buddhist’s spiritual progress toward enlightenment. “It’s a reminder to myself that nothing is permanent,” he says.

A highly respected visual artist, Teebs created the artwork for “Anicca” just as he has done for his previous albums. “I’m using the two disciplines [music and art] together to explore the worlds of communication and semi abstractions” he explains. The artwork for “Anicca” started as a drawing about his wife and mother and evolved into an enamel pin that transformed again as he collaborated with his friend Megan Geer-Alsop to make a stained glass replica. That work later got photographed and digitally enhanced to make the cover. “The artwork is so special to me because of all the hands working together to create an idea,” says Mtendere. “The piece went through so much change and landed in a state of constant change being made out of glass with its colors and reflections… no matter how you look at it or what time of day it is, it’s always something different, yet the same... quite like nature works. It felt like life, like semi abstractions and like the album title.” 

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It’s a strange new post-everything musical landscape we occupy. The machines - you could argue - have been playing the humans for some time, and the conversation has become pretty one-sided. The focus now is metrics not moments. A million transcendent dance floor events condensed into monetisable data, the compost in which ‘likes’ and ‘solid socials’ are grown, but little else.

Being regularly bludgeoned with forgettable new music has taken its toll. But not everyone is singing from that hymn sheet. Sheffield's Thatmanmonkz enjoyed the apprenticeship at "House PLC" more than the opportunity to progress to middle management.

Itchy musical feet meant extended exploration of fertile avenues of interest like the Madison Washington & Pan Amsterdam Hip Hop projects, meanwhile the pull of the 4/4 was never far from the studio door, and, all accomplished with an assured versatility that shines through. Musical alliances have been formed in the disparate but related playgrounds of Sheffield, Detroit, Berkeley and Atlanta, all underpinned by an emphasis on seeking out collaborations and gigs which represented a real exchange of energies, rather than a bank raid.

Letting things percolate in this more measured way means we’ve arrived here, a follow up of sorts to 2016’s ‘Columbusing’. This is 'monkz allowing the ear ringing of gigs to feedback organically into bright dance floor flashes, which by virtue of their careful crafting are destined to last much longer.

It’s a pick 'em and stick 'em ride of individual gems and a cohesive whole too. The opposite of thrown together, this has been worked and weathered, naturally.

The House always wins, but sometimes... just sometimes.
 
Credits

All tracks Engineered, Arranged, Produced, and Mixed by thatmanmonkz.

1 written by S.Moncrieff, P.Simpson, M.Ameer, L.Thomas. 2 written by S.Moncrieff, S.Covington. 3 written by S.Moncrieff, P.Simpson.6 written by S.Moncrieff, S. Fletcher. 11 written by S.Moncrieff, S.Covington, B.Holland. All other tracks written by S. Moncrieff.

Music by thatmanmonkz. Additional instrumentation : Keys, bass on 1 by P.Simpson, Trumpet by L.Thomas. Bass on 3 by D.Campbell, Saxophone on 3 by M.Ward. Keys, bass on 7 by P.Simpson. Keys on 11 by B.Holland.

Original Cover Art by Gilbert Mkapule, Design by MuSol.
Additional Mixing by Ross Orton.

WHAT THE PRESS RELEASE SAYS:

Tokyo is big. Tokyo is messy. Tokyo is futuristic. Tokyo is everything all at once. It’s this image of Japan’s capital that Noah draws inspiration from for her latest album, Thirty.

From the sweeping, mystical feel of the intro – like a portal into the world of the city – to tracks like ‘メルティン・ブルー’ that clank deliciously with ‘80s Hong Kong pop minimalism, Noah’s tracks also feature a mellow Chinese taste.

Following a trip to Chinatown, she noticed the bustling feel of the place, its life and its noise, and for her it became a microcosm of Tokyo: an associated image. Thirty is named for the age around which Noah was making these tracks and is a culmination of three years living in Tokyo.

Noah is originally from the snow and ice of Hokkaido. Tokyo is another world for her, somewhere that clinks with decadent vaporwave majesty and glitz, but equally somewhere cluttered with people and their dreams. Urgency runs through Thirty, whether it’s the panic of ‘愛天使占’, the analogue electro-disco feel in ‘像自己’, or the rapid-fire hi-hats that typify many of the tracks, sufficiently summoning city life.

But, like the faded neon of the past and vaporwave of inspirations, the draw to Noah’s Tokyo is idealised, both in its grit and in its glamour—take the late-night romance of ‘夢幻泡影’, for example, or the slow, decayed collage of beats and synth in ‘風在吹’.

With her ghostly vocals weaving their way through everything, Noah tells us the story of the Tokyo she wanted to inhabit with a diary of lo-fi, synth-soaked songs pockmarked with drum machines and all the chaos and nostalgia the city has to offer. 
Credits

music by Noah
artwork by John Smith

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Kolida Babo is the collaboration between two Greek woodwind musicians from separate regions - Socratis Votskos is from Pella, and Harris P is from Athens. This, their debut album, was recorded in improvised live-take sessions beginning on the night of the “Kolida Babo” folk rituals of music and dance in northern Greece in winter 2013. The sessions proceeded over three years, exploring the ancient music of Armenia and the folk traditions of northern Greece’s Epirus and Thrace regions alongside abstract electronics and free jazz.

As musicians of modern Greece, the sonic palette is developed in part as a means of processing the country’s immediate actualities: its relation to its regional traditions, its urban centres and its humanitarian and economic crises. In this, the music is at once clearly located in traditional sounds and disjointed from them, at times contrasting or harmonious in both concept and sound.

The Armenian Duduk that anchors the project is a double-reeded woodwind instrument made of apricot wood with thousands of years of history and generations of venerable masters - the duo cite Djivan Gasparyan as a main influence, and Harris studied with Vahan Galstyan. Traditionally its music is played in duet: a melody on one duduk, a low drone accompaniment (“the dum”) on another. Kolida Babo preserves and extends the dual nature of duduk music in many ways, replacing the dum at times with the tones of a moog synthesizer to allow the two players to weave harmonies together in duet. And there is a persistent duality in the braid of Kolido Babo’s sonic associations - modern and ancient, local and global - sometimes underpinning one another, sometimes undermining. “Sometimes we mock modern times and sometimes the other way around”, they say - it’s a collision, or an engagement, romantic or pugilistic, and the sense is of an experiment without expectation, without preciousness or exoticism of folk culture. The elements challenge each other and the listener - while the music is very much about texture and tone, the sounds aren’t clearly modern or ancient: it’s futile to identify, we’re reminded, and instead we experience the immediate presence and power of the combination. Influences include Armenian Folk music, Greek Rebetiko, German Kosmiche, Spiritual Jazz, the Fourth World Music of Brian Eno and John Hassell, British Trip Hop, Electrified West African Funk. But where these can be identified they are as sidelong journeymakers through the borderless idiolect belonging to the dialogue between the two players and enabling its free and full execution, subtle markers used to co-ordinate the collaboration.

Words by Theodore Leanse

Credits:
HARRIS P: Moog Sub Phatty, Minimoog, Armenian Duduk, Frame Drum, Roland (Jupiter 6, JX10), Electronic Percussion, Atmospherics
SOCRATIS VOTSKOS: Clarinet, Armenian Duduk (Bb), Electric bass, Soprano Sax, Baritone Sax, Bagpipe (Gaida), Piano
NICK VARELAS: Armenian Dhol, Bendir, Daf
NICK PALLIS: Accordion (appears on “Passing By” only)

Kolida Babo recorded at Aridaia in 2013. All other tracks recorded at Aridaia, Thessaloniki and Athens between December 2015 – December 2017.
Mix and sound treatments by Harris P. at Spaceship Beats Studio
Mastered by Jason Goz at Transition Mastering

KOLIDA BABO Thanks:
Many thanks to our families: Marianthi, Vasilis, Myrofora, Melpomeni, Stamatis, Korina, Maria and the other Kolida Babo members Fotini, Maria Petroutsou for her Kolida Babo logo and QuickRadicalMind...with a collective spirit/attitude/philosophy, aiming for direct access to expression, creativity and art.

MIC Thanks:
Socratis & Harris, Laura Murray, Paul Camo & Maisie, Theodore Leanse, Theo Fabunmi-Stone, Jeyda Bicer, Kris Jones, SunCut, Jason Goz, Sheikh Ahmed, Ergin Hussein, Sam Blair and to the future stars of tomorrow Tate, Elise & Nelson.

Welcome to the latest radio show for the excellent Music For Dreams radio station and it starts with a selection of some of the globe's finest fusion with a look to the countries east of Europe's borders before we turn our attentions to the new sounds of Africa. Balearic boogie is then the order of the day before an ambient left turn, a touch of acid folk and a horizontal finale.

Baba ZuLa - Kosmogoni (Glitterbeat)
Guzz - 如梦如醒 Half-awake (Self Release)
Salamanda - Jenga (Tonal Unity)
ODD OKODDO - Aora Odinona Yo (Pingipung)
Isaac Birituro and The Rail Abandon - Bo Ma (Wah Wah)
Moon Duo - Flying (Sacred Bones)
An-2 - The Gift, D-Pulse Mediterranean Mix Pt. 1 (Theomatic)
Meetsysteem - Vraag Je Af (Nous'klaer Audio)
Karaba - Der Inder (Kryptox)
OHIO - Crépescule (12K)
Pan-American - Shenandoah (Kranky promo)
Wet Tuna - Roam (Three Lobed)
Hilyard - Somnolent (Stereoscenic)


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