Rắn Cạp Đuôi - Ngủ Ngày Ngay Ngày Tận Thế
“sleeping through the apocalypse”
[Subtext Recordings - SUB039]
Based in Ho Chi Minh City, Vietnam, Rắn Cạp Đuôi have been challenging their city's perception of sound art and musical experimentation since 2015, when they were all just 16 years old.Made up of multi-instrumentalist and composer Phạm Thế Vũ, bassist and producer jung buffalo (aka Đỗ Tấn Sĩ) and multi-instrumentalist and producer Zach Sch,RCĐwrite and perform music that's experimental not for experimentation's sake, but because they're thirsty for fresh combinations of sounds and techniques.
The trio's debut "Ngủ Ngày Ngay Ngày Tận Thế" is a surreal and psychedelic thrill-ride through Vietnamese traditions and culture; co-produced by Berlin's Ziúr, it's a firework display of history, genre and complex emotionality that's daubed expressionistically with absurdist humour.
The band wields a breathless energy that's been honed from relentless live performance. Notorious improvisers,they performed at a local gallery for two days without breaks. On "Ngủ Ngày Ngay Ngày Tận Thế", this is routed into a series of interlocking... vignettes that melt layered collages of samples with pop and trap, and unique infusions of traditional music with the raw power of Boredoms, Ecco2k and Otomo Yoshihide.
Reflecting pools of liquid ambience are channelled through beating percussion and alien electronics, while chattering voices twist and turn through scorched digital wreckage.Themes and harmonies fluidly mutate from traditional Vietnamese music forms and into cataclysmic pressurized club.
The album was mostly penned by Zach Sch following the death of his father, but refuses to dwell on darkness, instead offering a multi-faceted celebration of life.
Fleshed out by jung buffalo,Spencer Nguyen, and Phạm Thế Vũ to reflect the kinetic communication of thegroup’s dynamic, the tracks were subsequently reduced to a cinder by Ziúr, who beamed them into the fifth dimension.
"Ngủ Ngày Ngay Ngày Tận Thế " is a vivid, unique record that introduces a powerful new force in experimental music. By raking through the distant past's cultural artifacts and reshaping them with contemporary cybernetics, Rắn Cạp Đuôi’s music plots a course to the far future. more

Vocals tracked @ Randall with Doug's mic. Tape loop in Dreamy #ex Code tracked @ Elastic Arts. Everything else happened in a bedroom in West Humboldt Park, Chicago, USA, from 11/2018 to 07/2019.
Composition, lyrics, recording, vocals, electric & acoustic guitar, fretless bass, keyboards, circuit-bent junk, tapes, virtual studio technologies, production, mixing, art direction, photoshopping, & layout by Angel Marcloid / Fire-Toolz.Saxophone source on Dreamy #ex Code by Curt Oren / Guitar on (((Ever-Widening Rings))) by Euglossine / Sporadic meows throughout by the late great Breakfast / Mastering by Patrick Klem / 3D modeling by Jeremy Coubrough.
Thanks to Doug, Max, Manda, Keith, Seth, Ben, Cafe Mustache, The Hideout, The Empty Bottle, Elastic Arts, MGF Audio, RedEye, Rick, Irene, Meg, Mom, Dad, Süki, Porcelina, Basket, & every person who has or ever will support Fire-Toolz. Special thanks to Breakfast.

HAUSMO111 - 2xLP / CD / CS / DIG / MERCH
A - Gateless X-1: tracks 1-7
B - Amygdala Mandala: tracks 8-13
C - Interfaith Fatigue: tracks 14-19
D - Home For Now: tracks 20-25

On his adventurous first new album in 5 years, Vladislay Delay renders an extreme ecology of electronic sound inspired by time spent above the arctic circle, surrounded by tundra and the raw force of nature and visually given life by Ripatti's wife, Antye Greie-Ripatti, aka AGF.
Although it features no location recordings, ’Rakka’ clearly imparts its theme thru a riveting palette of weathered textures, unyielding rhythms and the kind of reverberating, widescreen sound design that’s defined his catalogue of cult, contemporary music since the late ‘90s. While Vladislav been notably absent from release schedules in recent years - aside from working on the soundtrack to ‘The Revenant’ (2015) recording with Sly & Robbie (more of that to come) in 2018 - this new album is surely a bracing reminder of his knack for creating utterly immersive environments at the poles of ambient, dub, and noise.
Inspired by the struggle to survive in unforgiving conditions, the music patently resembles a number of styles associated with music from northerly latitudes. Elemental traces of Scandinavian black metal, Pan Sonic or Deathprod-like power electronics and Thomas Köner-esque ambient isolationism are all detectable in the album’s brutal panoramas, and evidently speak to a shared conception of the extreme arctic’s uncontrolled and uncorrupted wilds, and their frighteningly magnetic sort of push/pull on the senses.
Titled in Vladislav’s typically alliterative style, the tracks cascade in aggressive iterations of gravel-swilled rhythm and tonal attrition. The barely-harnessed might of opener, ‘Rakka’ triggers a chain reaction on events that follows into a sort of blast-beaten ambience in ‘Raajat’, and what sounds like throttled blvck metvl vocals meshed with flashcore in ‘Rakkine’, whilst ‘Rampa’ hammers home a martial noise techno tattoo, and the final couplet take this sound to its logical end-of-earth degrees with breathtaking form.
‘Rakka’ is certain to both reaffirm and upend what listeners know and love about Vladislav Delay, while firmly galvanising his sound for an unsure future.

Channelling temperaments of dislocation and wanderlust, filtered through impressions of distinctly American landscapes – coasts, cities, prairie – and the sonic material of everyday experience, defamiliarized by crisis, the New York based composer and multi-instrumentalist, Lea Bertucci, delivers A Visible Length Of Light.
Conceived across much of 2020, A Visible Length is the product of real-time reactions to, and reflections upon, the instability of the year, distilled into a series of prescient auditory typographies that shimmer with life and hope.
Recorded at Bertucci’s home in New York City and in Omaha, Nebraska, during her residency at the Bemis Center for Contemporary Art, A Visible Length Of Light comprises seven condensed works – deploying bass clarinet, alto sax, manipulated tape, organ, a venu wooden flute, and field recordings made in places as wide-ranging as Rio de Janeiro, the California coast, and Dead Horse Bay – surrounded by four “Refrains” – brief, minimal segments that capture Bertucci improvising, via whispers of flute, with the sounds upfolding outside her apartment. Foregoing the long-form compositional approach that has marked her previous albums, it emerges as one of her most pointedly melodic, harmonically rich, and structurally... distinct efforts to date.
Laced with subtle nods to Bertucci’s long-standing immersion in early 20th century American traditional music (folk, bluegrass, jazz, and gospel), vast washes of spatial ambience, long-tones, pointillistic texture, and delicate interplay, weave an abstract vision of place in the face of displacement – what the composer describes as “the feeling of physically inhabiting a space, when the relationship to that space has become overwhelming, and provokes the desire to seek truth, transcendence, and moments of comfort, disquiet and catharsis through confusion” – that doubles as an intimate contemplation of collective experience and what it means to be American during turbulent times.
Indulging beauty, while simultaneously challenging notions of what that might be, fleeting impressions of emptied city streets in the midst of lockdowns and the overwhelming sprawl of the American midwest, merge with tense, aural metaphors for the necessary social unrest that has underscored their disarming quiet over the last year.
A Visible Length Of Light marks the relaunch of Bertucci’s Cibachrome Editions, conceived as a home for various projects and art objects, including recordings and music scores. It will be issued on vinyl in a standard edition of 475 copies and a deluxe edition of 25 copies that includes a custom-printed endless loop cassette containing an extended version of the track “Threshes”, as well as digital formats. more

The return of storied Southern Gothic electronic entity Telefon Tel Aviv is as unexpected as it is impressive. Their three influential albums of the 2000's-Farenheit Fair Enough, Map Of What Is Effortless, and Immolate Yourself-charted an increasingly turbulent and textured vision of post-IDM synthetic songcraft, until the sudden passing of founding member Charlie Cooper in 2009 ceased the project, presumably forever. During the decade since, co-founder Josh Eustis has performed with, produced, mixed, and mastered countless artists, from high-profile institutions (Nine Inch Nails, Puscifer, Apparat) to underground fixtures (Belong, Vatican Shadow, Drab Majesty, Tropic Of Cancer), in addition to his own solo and collaborative work in Sons Of Magdalene and Second Woman. But years of reflection and processing gradually seeded in him a desire to revive TTA and venture a fourth full-length, in the spirit of what they started: Dreams Are Not Enough. From the shuddering software oscillations of the opening piece, "I dream of it often," the classic Telefon palette of hyper-modern sound design and smoky nocturnal emotion feels vividly revitalized. The songs stand apart but belong together, threading a veiled narrative of loss, anger, and age-the crumbling of constancies, shifting sands slipping through the hourglass. The album's fragmented track titles relate a recurring dream that's haunted Eustis since childhood, based on a murky incident during a family vacation to a remote Alabama coastline when he was eight. In the dream he swims alone through the waves past the sandbar to where the ocean shelf abruptly drops away into a gradient of infinite darkness; awed, he peers into the depths and sees himself down at the bottom, mouth open and eyes blank, standing motionless like a corpse. An undercurrent of eerie melancholy flows through the album, manifested in shivering widescreen meditations, depressive twilit modern pop, and devotional industrial abstractions. Melodies emerge and evaporate; rhythms lock in step then fracture and fade; centers cannot hold.

Life and society emerge where water tessellates over land and provides fertile soil. The chances of evolution that made them interact as they did could have had meaningful environmental consequences had things developed differently. For Lyra Pramuk, that fertile geology provides the ground for her albums. Fountain was that burst of water and swell of energy that propelled her to critical acclaim. Delta is a new take on a traditional remix album, centred on transgenerational dialogue and global storytelling, and will be released again via Iceland’s Bedroom Community label. Projecting Fountain through prisms, wordless songs fractalize into lush creations that blossom with new life.
On Delta, a dozen artists across four continents freely interpret Fountain across a double LP, again featuring Donna Huanca’s surreal artwork, and the unearthly graphic manipulations of Nufolklore Studios. Remaining faithful to Fountain’s presentation, Lyra’s curation reflects her commitment to stylistic diversity, with the old guard and the next wave alongside each other. Where some artists chose to rework existing works, others composed new material from fragments found across the record. The results showcase the very themes of wordless identity conflict and technological concerns that Lyra and her foremothers have projected.
Valgeir Sigurdsson marries elements of Lyra’s entire catalogue into work that combines the limitless highs of Sigur Ros and the steady pulse of The Knife. KMRU cloaks Lyra in a hazy film, soundtracking the depths of space embedded within the ghosts of jungle past. Gabber Modus Operandi expose the realities of artificial nature in a multicoloured rave dystopia. Eris Drew’s double opus takes the tenets of her philosophies into both ambient and peaktime expressions of the trip, the things that lead to the decision before, and the portals that can open up after.
Ben Frost dissolves Cradle’s deep and tremulous hymn in analogue warble, distressed tape spooling out of control and breaking up over the heavens, while remaining oddly serene. Heaven In Stereo conjures up post-rock with trap drums out of Gossip, buried in bass weight and dub space. Nailah Hunter and Tygapaw transform New Moon into an earthbound ode to nature and a pounding trance state induction, while Caterina Barbieri and Hudson Mohawke extract and amplify Tendril’s mind and soul. Vessel takes what feels like the entire album and builds it up to a frantic climax before subsuming into Enoesque pastoralia.
Alongside Delta, Lyra has collaborated with Spitfire Audio to develop Siren Songs, a free plug-in for their LABS series made from playable samples from Fountain, able to work across DAWs in multiple formats. By removing barriers to access, the listener can craft their own responses to the album’s themes, or use its language to express their innermost feelings in their own works.
The ability to have such sheer diversity of material in one place is thanks to the global increase in accessible technologies, fueling an explosion of creativity and genre exploration that was thought of as unthinkable in our lifetimes. Like its namesake, Delta is a point where creative flows meet and triangulate, where global and personal folk histories are presented in novel ways, where transcultural collaboration is celebrated, where many worlds emerge from the depths below.

On her most fully realized album to date, the prolific Chinese artist serves up an enthralling blend of dread and beauty that feels quintessentially her own.

Turn of Phrase is rooted in place and bound by time, yet is simultaneously unstuck in both of these things. The record spans a range of locales; the remote coastal town of Morecambe and its harshly beautiful surroundings, the technicolour glamour of the heart of LA, and London - a city whose maze of contrasting environments and tunnel-visioned bustle offers a totally blank slate.
The music however is anachronistic, technically guided by a strict set of rules based in time, the record’s memories and environments are allowed to wander and overlap. The familiar and the personal swirl and collide within an unfamiliar soundscape. The result acts something like a decaying memory, brief shining moments of clarity fighting against something unclear and untethered.
Artwork designed by Nicola Tirabasso
Mastered by Rashad Becker
releases April 16, 2021

Flying Lotus' full-length Warp debut, Los Angeles appears to be much more of a mission statement than a simple introduction – laying the foundation for a field on which an entire generation of artists would soon be playing. While that album was an introspective, moody travelogue through the Californian metropolis, it certainly hinted at Flying Lotus inclination to expand his sound beyond terrestrial means. As you may deduce from the title of his latest opus, he s done just that. Not only has an entirely new range of sounds been unlocked by our intrepid astral traveler, but every genre touchstone associated with his name has been merged into a self-described space opera. Seamless in execution and too wide in scope to properly describe, it is the authentic embodiment of his unique musical heritage. Expect collaborations with relative Ravi Coltrane, bass virtuoso Thundercat and the brilliant harp prodigy, Rebekah Raff as well as Erykah Badu and Outkast string arranger Miguel Atwood-Ferguson PLUS guest vocalists Thom Yorke and a returning Laura Darlington (featured on Los Angeles epic closing track Inifinitum ) help deliver Cosmogramma to dizzying new heights.

出品人：杜大宁 佟妍
策划推广：郑达真
出版发行总监：刘顺强
编辑：鲁常浩
制作：刀马旦音乐厂牌
出品发行： 广州市涂鸦文化传播有限公司
九州音像出版社
作曲：梁奕源&李带菓
录音：李云中
音频编辑：梁奕源
后期技术支持：Michael Robert Winkler
母带处理：李云中
平面设计：白冈冈
演奏：李带菓（人声及呼麦、琵琶、康特勒琴（Kantele）、小提琴、中提琴、口弦、手指琴、葫芦丝、黑管、筚篥、唢呐）
梁奕源（人声、小提琴、中提琴、扬琴、吉他、口弦、康特勒琴（Kantele）、月琴、卡祖笛（Kazoo）、锣、钹）

Ziúr’s music has always been difficult to classify. A longtime fixture in Berlin’s nightlife, the musician, producer and DJ has cut through decades of threads to arrive on a sound that accurately represents her journey. She’s sung, played guitar and drums and reduced club music to a burning cinder; with “Antifate”, her third album under the Ziúr moniker, she approaches electronic music without any preciousness or reverence to genre.
2019’s acclaimed “ATØ” re-introduced songs to her canon, contorting her vocals over an undulating electronic backdrop. On “Antifate”, she takes this idea further, pushing abstracted pop forms into mists of digital euphoria and extracting unexpected instrumental flourishes from collapsing clouds of distorted rhythm. Electronic instrumentation is melted into acoustic sounds and vice-versa, creating a breathing organic universe that’s entirely Ziúr’s.
“Antifate” is an abstract reference to the mythical land of Cockaigne, a utopia where wine flows freely and houses are made of cake, that provided escapist fantasy for medieval peasants. As the space between our private worlds widens, this fantasy becomes alluring once more - a place where we feel free, with the people who allow us that freedom. With this in mind, Ziúr crafts a soundtrack<span><span class="bcTruncateEllipsis">...</span></span><span class="bcTruncateMore" style="display:none"> that’s fantastical and magical, hinged on the idea of closeness and connection at a time when distance is mandatory.
Ghostly voices echo wordlessly over clattering beats and dubwise bass on opener ‘Alive, Unless?’, while the album’s title track sings a more epic fanfare, with a chorus of voices echoing into glittering synthesizer pearls and volcanic kicks. “Antifate” is almost even theatrical at times, something never more evident than on the Talk Talk-esque ‘Fringe Casual’ with its dreamy piano and plucked bass and on closing track ‘The Carry’, where flute is introduced into Ziúr’s rapidly expanding narrative.
It’s tempting to say that this is the album Ziúr has been destined to make, but “Antifate” rejects this concept. Rather, this is the album that Ziúr needed to make now, surrounded by the people that have been able to offer her the place to do it. In mapping out her mythical paradise, Ziúr has produced an album that is deeply tender and inescapably human. It’s an album about freedom, and she has never sounded so free.</span><span>&nbsp; <a>more</a></span>releases May 7, 2021

The album is mixed by James Ginzburg & mastered by Rashad Becker, featuring artwork by Stefan Fähler.
Hand drum on Antifate: James Ginzburg
Piano & bass on Fringe Casual: James Ginzburg
Flute on Sister Lava & The Carry: Adam Sinclair
Clarinet & saxophone on Aka Doctor Opp: Sam Wilder