印度孟买、土耳其伊斯坦布尔、有关大巴扎（集市）的神秘传说......
《Tales From The Grand Bazaar 大巴扎的传说》，印度孟买民族乐团 Bombay Dub Orchestra（BDO）孟买混音乐团 2013年最新民族音乐专辑，这也是该乐团的第三张专辑。
Bombay Dub Orchestra（BDO）孟买混音乐团 ，来自印度孟买的民族乐团，现居住在英国。
Bombay Dub Orchestra（BDO）孟买混音乐团 ，由电子乐、管弦乐作曲家 Garry Hughes 加里·休斯 和 Andrew T. Mackay 安德鲁·麦凯 二人组成。
土耳其首都伊斯坦布尔大巴扎，建于1461年，是世界上最大、最古老的巴扎之一，近4000家商店、60条街道纵横交错，身处其中，就仿佛置身于迷宫一般，极易迷失方向。

After nearly two decades of releasing on other people's labels, Icelandic producer Aðalsteinn Guðmundsson aka Yagya now launches his own new Small Plastic Animals imprint with a brand new album, Old Dreams and Memories.
This album marks another subtle move away from the icy dub techno sounds he has dealt in before, hence the need for a new label. It follows full lengths such as Stars and Dust and Sleepygirls, both on Delsin, as well as 2019's Stormur on A Strangely Isolated Place, and plenty of vital work as part of the Thule Musik collective. This acclaimed album specialist is known for his mastery of atmosphere, melody and mood and ability to create soothing and escapist soundtracks that make for utterly mindful experiences.
The new record still has a slowly propulsive rhythm underpinning every track, but they are only a small part of the overall picture. Some of the tracks are brought to life with vocals by Natsuko Yanagimoto and poems by Michizō Tachihara, while others are rich with naturalistic found sounds and saxophone by Óskar Guðjónsson.
Opener For The First Time has spoken words snippets that bring a real sense of intimacy to the sombre dub, 'Mountain Story' has gorgeous strings performed by Pablo Hopenhayn, who also appears on 'Reminiscent' with more solemn playing that brings a real melancholic beauty to the track. 'Memories of Old Dreams' is a beautiful ambient passage of spoken word that soothe the soul, 'Light And Shadow' is orchestral dub techno with a wandering lead that drifts like a cloud and 'Wandering In The Fog' has the sound of flowing water, gently lilting trumpets disappearing into thin air as soft drums roll on below. 'Rainbow And Human' pairs more whispered vocals with muffled crowd noises and yawning synths that bring the joy of a new day and the three closing tracks offer exquisite piano playing, warm but somehow also frosty dub landscapes 'Beauty In Loneliness' and a forlorn, violin-laced closer with 'Overflowing Darkness.'
Old Dreams and Memories is a rich symphony of luxurious sound, with transportive rhythms and hugely evocative layers of melody, the human voice and cinematic sampling all showing a further evolution in the art of this standalone producer.

After the 2020 release of Old Dreams And Memories, Icelandic dub techno linchpin Yagya returns for a second release on his emergent label, Small Plastic Animals. This latest venture marks a new chapter in the artist’s accomplished career, having released on Delsin, Subwax BCN and A Strangely Isolated Place as well as forming a core part of the Thule collective alongside his partner in Sanasol, Thor. As those associations ably point out, the music Yagya crafts is spacious and atmospheric, using the techno tradition as a vessel for meditative as well as emotional exploration and experimenting with sound design according to a specific, patiently cultivated style.
Always Maybe Tomorrow finds Yagya ruminating on the behavioural energy of environments as viewed from afar – the man-made electricity of urban expanses and the interconnected flora and fauna of ecosystems. Looking to his chosen tools as a means to express these ideas, he employed a non-linear approach to each of the four tracks on this EP, choosing to create musical systems in constant flux rather than composing each piece in a conventional left-to-right narrative. Yagya’s trademark voluminous chords and vast pads ebb and flow through filters controlled by LFOs and randomness, creating their own micro-incidents and macro evolution as though holding a mirror up to the environments the initial inspiration was drawn from.

Known to many for his infamous ambient dub techno album, ‘Rigning’, Yagya’s landmark release took us deep amongst the rain-drenched forest. The beautiful, slowly shuffling atmospheric masterpiece set a blueprint for the notorious style we now know him best for. Fast forward ten years, and the gently falling rain from Rigning has now intensified. Yagya has shifted to something with more energy, a more defined groove, and a growing euphoric state: Stormur.
Stormur, sees Yagya continue to evolve his sound into the pure techno realm. His unique palette still identifiable, but the focus now on the swirling hypnotism, the delicate tonal progressions, whispering vocals, and the underlying current that transports you. From the forest floor to the soaring treetops, the dense whirlpools of mist, and the breathtaking landscapes are now seen from above.
Confident in its simplicity and efficiency, Stormur is focused on the subtle flow and progression between tracks akin to a full DJ set, transporting you from one chapter to the next. Each track taking its cue from the previous. The tonal shifts are minimal, resulting in a trance-like state throughout the ten movements, best absorbed in one sitting, with guest vocalist Hatis Noir providing an angelic voice amongst the shifting patterns, swirling synthesizers and driving grooves.

Norway-based composer, producer and multi-instrumentalist Swoop and Cross joins piano and coffee records to release his sophomore full-length album Les Fauves.
Since the release of his acclaimed debut album with Time Released Sound in 2018, Swoop and Cross has been working on a new project entitled Les Fauves. As the name indicates, this project was profoundly influenced by fauvism, which inspired the use of heavy saturation, unconstrained orchestral segments and pointillistic revolving melodies and orchestrations.
Like the first renown fauvist exhibition in 1905, this album combines ‘in the same room’ various stylistically aggressive pieces with a more conservative track (CLVLL), highlighting the ferocious nature of the remainder tracks of the album. It is, ultimately, a depiction of visual and auditory noise in nowadays’ automaton-like societies, and an attempt to prove that inner quietness, here in the form of gentle melodies, can permeate and eventually overrule such noise.
This album was composed, recorded and mixed between 2018 and 2021, in London, UK, mastered at Black Knoll Studio, and will be available on the 4th of February on limited edition CD and digital format, featuring artwork by Celia Bayo that depicts a vestal virgin, which inspired track #4 Vestal, clashing restrained and feral styles.

Heady and smooth, fuzzy and empty all at once. Starting his musical undertaking in 2003, Joel Cachero, a Kansas based musician and producer of Golden Living Room continues his musical voyage with his third full length release "Post-Internet". GLR bases his style on hazy loops and synths that are brilliantly orchestrated to tie into each other and back again in this full length endeavor. GLR plugs into your nostalgic heart and captures the thoughts you believed were your own. You find yourself in a continuous haze stripping your ego from your body and returning it to a living room near you. You are more than welcome to live here. Go ahead. Welcome home

A carefully assembled and curated sound sculptures for a limited event and performance at Detroit's Elixir event during movement, festival, detroit, mi. usa. 05/29/2022
These 2 albums feature over 2 hours of live reworks, exclusive new material from forthcoming vinyl releases, remixes and redesigns all dubbed to infinity using a wide array of vintage analog circuits; on that note, we'll let the music do the talking....
timeless.
sonic.
art.

Flare is the most recent project of Norwegian Erik K. Skodvin, otherwise known as Svarte Greiner, or as one half of Deaf Center…
Skodvin is pretty prolific (the CV on his website is vast), and would certainly be familiar to anyone with more than a passing interest in the Miasmah label, as he runs it, as well as doing graphic design and web work for this label and others to boot.
Flare opens with a brooding, percussive “Etching An Entrance”, great exercise in layering – plenty of implied melody and a staggering amount of instrumentation fading into solitary piano part. As far as opening tracks go, it a great foreboding piece that welcomes you inside and draws you in further.
The piano continues on with the introduction to “Matine”, slowly accompanied with some further stringed percussion. At this point the expansive mix becomes apparent – there’s a lot going on here, and it fills every corner of the speaker. That’s not to say cluttered either – the placement of all the parts is strong and everything is audible. There’s what sounds like bird noise or high-pitched strings as the track peaks, then recedes.
“Pitch Dark” follows, with some thumping and aggressive tones mixing in with some ethereal vocals drenched in reverb. The record has the all the characteristics of being recorded in an abandoned castle, deep underground in the desert. You can fairly hear the sand shifting…
“Failing Eyes” swirls around the speakers with plenty of bottom end, weight and depth. The track seems to go BACK a fair way, almost echoing off a distant wall.
“Neither Dust” is an insistent slow arpeggio with high tones creeping in from the edges to accompany sparse vocals and strings. The main instrument tone is intriguing – the first hint of any effects on any instrument that I could guess at.
“Graves” presents as treated percussion, with hiss dripping off it. Some guttural bass tones flicker in with more layers, building to an almost triumphant peak midway. For my money the standout track, and seemingly the heartbeat of the record, distinctive and menacing.
“Escaping The Day” lightens the mood somewhat, a spacious piano based affair with occasional sweeping and scraping strings.
“Stuck In Burning Dreams” is almost groove based, a byzantine mix of hammered strings and guitar tones. Dissonant and piercing, an incredibly assured bridge from track to track.
“Vanished” has the most outwardly drone like intro, before further chiming piano notes lift it out from itself, before submerging and rising again.
Closer “Caught In Flickering Lights” is a fairly maudlin and evocative piece to start, before again dropping into some fairly heavy hammering bass tones again. It’s quite a note to go out on.
The album as a whole bears the hallmark of someone who is not experimenting per se, but has a VERY CLEAR VISION of what is to be achieved at the end of the creative process. This record did not happen by accident, nor could it. I’d be curious to find out where and how it was recorded, as it has a really strong character of sound.
It is mentioned fairly regularly on articles on the net that this record represents a “friendlier” side to the artist, and is “only moderately dark”. I’d suggest to maybe not taking that statement at face value, as it is by nature pretty brooding, heavy and pensive. Those of you familiar with his work would not be surprised by what is on offer here, but those coming to it for the first time may find that it is not quite what they were expecting.
In saying that, it is a work of some considerable skill, and those not afraid of a few cobwebs and shadows will find the musicianship on offer rewarding. A perfect cinematic accompaniment to someone lost in the desert at night.
- Review by Alex Gibson for Fluid Radio

Welcome to Palm Mall! Our newest and biggest shopping mall in Hiraeth! Make sure you buy those new "黒猫" watches and when you feel it's time for a break; go get a coke and burger at マクドナルド!

Rocks grind, winds howl, the ocean rages, and the viking violin plays on.
Taking inspiration from Finnish folk tales of giants, Vongoiva composed Jatuli Observatory as she sheltered from a winter storm for five days on Jurmo, a tiny sliver of an island in the Baltic Sea, home to just a dozen people.
Layering windy, violent and ominous oceanic field recordings with his use of the Jouhikko, the viking violin, Vongoiva gifts us with a transformative journey over the seven compositions comprising Jatuli Observatory.
"Jatuli is an old Finnish word and means "giant". There are old rock formations all over Finland which are called giant´s gardens "jatulintarha" which gave inspiration to this album," he explains.
In the eye of a Jurmo storm Vongoiva has conjured a singular version of these mythical gardens from the elements: stone, wind, water.
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Jatuli Observatory is an audio visual collaboration. Each piece features a magnificent video by Ville Westerlund. Visit each track for the link.
Vongoiva (Heikki Lindgren) is based in Finland.
For more:

Wolven is a modern interpretation of the 2009 release "Wolfskin" by Ian Hawgood. "Wolfskin" contained a series of sketches inspired by childhood dreams and nightmares. The modern interpretations were based on these original sketches.
Disc 1 is an interpretation written and arranged by Ian Hawgood, with the help of Aaron Martin, Dag Rosenqvist, Spheruleus, Pillowdiver, y0t0 and Hakobune. All original music performed, arranged and mixed by Ian Hawgood.
Disc 2 is an interpretation written and arranged by Brock Van Wey (bvdub). All music by bvdub.

SACD Hybrid Remastered CD of the1994 album, Into The Labyrinth by Dead Can Dance. It contains 15 songs, of which only four appeared on their previous albums, and two of which were later re-recorded and included on Lisa Gerrard's first solo album, The Mirror Pool. The others previously existed only in live performances and unofficial bootlegs, but were not officially released until Toward the Within. Along with Perry and Gerrard were a number of musicians who had performed with them on other occasions.

Röyksopp, are a Norwegian electronic music duo from Tromsø formed in 1998. The duo consists of Svein Berge and Torbjørn Brundtland. Berge and Brundtland were introduced to each other through a mutual friend in Tromsø, Norway. They enjoyed the same films and music, and shared an interest in electronics.

The emotive and eponymous project from Pete Rogers, of leading drum & bass outfit Technimatic
Wardown is not so much a musical album as a diary of smeared memory; an account of physical, temporal, familial, musical and sentimental dislocation.
Created by Technimatic’s Pete Rogers, the self-titled Wardown project uses his childhood home of Luton as a psychological fulcrum upon which he balances feelings of loss and yearning for the town, for now-passed family members and for the music of his youth which inextricably bound these things together.
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"It was my own countryside, and I loved it with an intimate feeling, though all its associations were crude and incoherent. I cannot think of it now without a sense of heartache, as if it contained something which I have never quite been able to discover".
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Embodying an ephemeral union with his Lutonian roots, the LP consists of mixtape cuts recorded from his teens, recordings of deceased family, clips from forgotten documentaries about Bedfordshire's rich free party heritage, recordings of brass bands and field recordings of the town-centre. The result is relentlessly beautiful, unashamedly personal and haunted with melancholy.
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"Melodies bring memories,
that linger in my heart and,
makes me think of home and such"
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Self-consciously littered with these recordings and other, deliberately familiar, samples, it would be easy to categorise Wardown as 'Jungle' in the flavour of early Good Looking / Lucky Spin / DeeJay Recs, but this would be to misunderstand the execution. Wardown is a resolutely modernist project, using these samples as memorial touchpoints through which independent narrative voices are introduced to the fabric of the work, layering a hazy, cinematic quality over the already beautifully evocative music.
Wardown is an attempt to capture what the Germans call 'sehnsucht', an "inconsolable longing in the heart for we know not what". Despite a profound sadness hanging over the album it delivers a collection of exquisitely elegant pieces that explore the complexities of physical, emotional and psychological drift.

A diverse array of musicians reinterpret a standout from the Italian synthesizer composer’s 2019 album Ecstatic Computation, but only a handful recreate the metaphysical wonder of her work.