#ecstatic electronica

[splendontcore]

drawing them as kids is so fun to me because just look that stupid glue-eating faces

[mysticalblizzardcolor]

Listen/purchase: Tikki Masala - Medicina (Album) by Tikki Masala

Tikki Masala - Medicina (Album) by Tikki Masala https://tikkimasala1.bandcamp.com/album/tikki-masala-medicina-album

[crazyrabbitrecordings]

(Dj Dragons Tears - Ecstatic dance dj and producer)

[burlveneer-music]

Paradise Cinema - returning, dream - a Gondwana Records release from September that I missed; more ecstatic than the label's usual stately fare

Paradise Cinema is a project led by multi-instrumentalist Jack Wyllie (Portico Quartet/Szun Waves) with contributions from Khadim Mbaye, Tons Sambe and Laurence Pike. The first, eponymous, Paradise Cinema record, released in 2020, was recorded in Dakar and featured the dense rhythms of Mbalax music combining with Wyllie’s textural saxophone and synth playing. New album ‘returning, dream’ was created in London by Wyllie with additional recordings from Dakar and Sydney. While Wyllie’s other projects move between tight-knit electronica, widescreen minimalism and improvised ambient sounds, ‘returning, dream’ contains nods to Jon Hassell, Terry Riley, Don Cherry and Midori Takada as well as more contemporary electronic, ambient and non-western music and even draws inspiration from physics and science fiction.

[thesobsister]

Underworld, "Born Slippy .NUXX"

Live in Tokyo in 2010. An ecstatic crowd feeds the band, and the band roils the crowd. One of the best tunes to come out of the '90s, generally, and "electronica," specifically.

[astralsynergyproductions]

The Book 80 pages, hard cover. The book is a collection of personal stories reflecting the healing journey which has inspired the writing of this whole album, illustrated with some of her most favourite nature photographs taken over the past 14 years that she’s been living in Norway. At age 37 Rúnahild is finally being diagnosed with autism, after a lifetime of navigating this world in the dark. This release is the expression of this journey of self discovery and self acceptance, shedding light on some aspects of how she experiences life from the inside. From the desperation at the heart of a meltdown to the ecstatic joy at the heart of an ethereal dream. Language: English. The CD CD with 8 tracks: 01 - A Whole Universe Within 4:30 02 - Mirror of the Soul 5:29 03 - Shadow Work (stripped down version) 2:54 04 - Of Darkness and Light 4:50 05 - In Between Worlds9: 16 06 - Shadow Work4: 25 07 - Otherworldly 5:26 08 - Sjelefred 2:08 Read More: https://astralsynergy.com/astralsynergy/product/runahild-of-darkness-and-light-cd-and-book-bundle/?feed_id=114&_unique_id=66cdb3c6da353 Posted by: Gustav Holberg AutisticArtist Book DownTempo Electronica EtherealFolktronica MasteredatAstralSynergy MasteredbyGustavHolberg Meditate MixedatAstralSynergy MixedbyGustavHolberg Relax Runahild

[moochilatv]

Eve Essex presents: The Lieutenant Nun

Brooklyn Eve Essex criss-crosses disparate genres across her upcoming album The Fabulous Truth out next Friday 6/21 via Soap Library— electronics, jazz, theater, vaudeville, avant-garde classical, etc — for a sweeping journey with some real ebbs and flows. 

Legendary Arthur Russell-collaborator Peter Zummo guests on album closer “Honeypot” as well. 

The Tom Waits-esque single “The Lieutenant Nun” is out next Tuesday ahead of the album as well; an open invite to Eve's musical theater. Her music sets jewel-like portraits of rebellion against a velvet-black background of stormy electronics and uneasy minimalism.

BIO:

The Fabulous Truth is an homage to the anti-hero — an eight song suite that explores moral ambiguities, life in the shadows, and the possibility of escape from social expectations. The second full-length album by composer and multi-instrumentalist Eve Essex, The Fabulous Truth is both an ecstatic paean to liberty and an intense look at the psychological prices paid for seeking independence in an unforgiving world.

Drawing on influences as diverse as trip-hop, outlaw country, kosmische, spiritual jazz, avant-garde classical, and—yes—musical theater, Essex sets jewel-like portraits of rebellion against a velvet-black background of stormy electronics and uneasy minimalism. Intimate lyrics—confessional in tone, literary, striking in their bold mutations of classic songwriting genres—are contrasted with brooding compositions that evoke long journeys across vast landscapes and continents; wagon trains and ship voyages taken in pursuit of a new life, the view from a satellite orbiting the Earth at high speed. The Fabulous Truth is an album about freedom and boundaries, intimacy and security, raising questions about who you let into your life and why. 

Title track “The Fabulous Truth,” featuring guitarist jenghis, opens the door with threatening deep bass drones underpinned by heartbeat-like kicks. Essex’s soulful and controlled vocals glide above the low-end menace, singing of disappearance, hinting at a difficult choice between needing security and wanting freedom. “Disturbing Absence” holds the listener in the same sonic space of programmed drums and synthetic textures, punctuated with bursts of percussive melody from kalimba and saxophone. For the ambient instrumental “Soft Cage,” featuring guitarist Luke Moldof, Essex places her melodically-inventive approach to saxophone front and center, taking the listener deeper into zones of anxiety, tumbling and rolling across waves of organ reminiscent of an all-night-flight by Terry Riley.

“Virginia Reed” is the first of the album’s three biographical vignettes. From the moody, nocturnal electronica of the opening tracks emerges a piece of impeccably scored chamber pop, featuring woodwinds, strings, bass, drums, piano and intricate backing vocals. Essex sings from the perspective of Virginia Reed, who, aged 13, survived the ill-fated Donner Party. Traumatized by her gruesome experiences traveling west, she writes a letter to her cousin warning of the grave dangers she faces on the trip to California. Here, Essex’s voice swoops and soars, channeling a vivid sense of trouble and pain. “Room With a View” returns the listener, briefly, to the electronic space of the opening suite of songs, as a shimmering, slowly-evolving organ and bass refrain gradually gives way to a tense and urgent piccolo. The song expresses a desire for privacy and independence, but it also evokes a state of paranoia — the feeling of being physically and digitally surveilled, and an ambiguous pleasure taken in the collapse of real, electronic, and mental space.

The second portrait, “The Lieutenant Nun,” is written in the style of a classic outlaw country ballad. In the only track accompanied by a live backing band, Essex tells the real-life story of Antonio de Erauso, a renegade nun who escaped convent life and became a fugitive and a soldier, living for years disguised as a man, until being arrested and forced back into the religious order. Where the title and lyrics of “Room with a View” subtly allude to Virginia Woolf’s classic essay A Room of One’s Own, the third song in the album’s biographical gallery is adapted from Woolf’s novel Orlando. A gentle waltz for autumnal strings and plaintive woodwinds, embellished with delicate cascades of pedal steel, the song fluctuates between sweet melody and jarring dissonances—one foot in 1920s England, the other in 1970s America—an oblique formal nod to the novel’s time-traveling, gender-fluid protagonist. 

Closing the album is the stately torch song “Honeypot,” featuring downtown New York music legend Peter Zummo on trombone and euphonium. “Honeypot” is the ballad of a ransomware hacker, sensual, jazzy, and shot through with a sense of threat. “I’ll make my terms clear,” Essex sings, “let you know how I’ll waste you to rubble.” The elusive ‘fabulous truth’ this album searches for is liberating and disquieting in equal measure. 

Eve Essex is a composer and multi-instrumentalist based in Brooklyn, NY. She performs with woodwinds and voice, accompanied by instrumental ensembles, and by arrangements that use synthesizers, drum machines, live processing, and other sounds. Her work slides easily from structured electronic pop to open-ended melodic improvisation and big-band arrangements. She has scored film soundtracks, written music for installation and performance art, and explored prog, jazz, and electroacoustic ideas with groups including The Fabulous Truth, Das Audit, and a host of other collaborations. Essex’s debut solo album, Here Appear, was jointly released by Soap Library (cassette) and Sky Walking (LP) in 2018. In the summer of 2024, she will be Composer In Residence at Crosstown Arts in Memphis, TN. As a featured instrumentalist, she has contributed to works by The God In Hackney, Peter Gordon & Love of Life Orchestra, James K, Kevin Kenkel, Liturgy, Colin Self, Mike Shiflet, UCC Harlo, and Peter Zummo, among others.

The Fabulous Truth releases on June 20, 2024 via Soap Library in digital, cassette, and LP formats — a first for the label. Cassettes are accompanied by an embroidered patch that mirrors James JA Mercer’s cover artwork.

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[musicarenagh]

Feast on Ferocity with Living With The Storm’s 'New Animal Culture' In the savage storm of musical mediocrity, Jim Bryant as Living With The Storm "New Animal Culture" erupts like a voltaic bolt, riotous and unapologetic. This art-pop colossus soars within its pixilated crescendos before crumbling into an effervescent sea of synthetic symphonies; electronic pop rendered with feral beauty. https://open.spotify.com/album/4svZd4RGKLbElf9Od0za1U "Mewling kitten to roaring puma in nine dizzying tracks!" The album ignites ferociously with "No Maps," weaving ghost whispers from forsaken refugee camps. It pirouettes on the edge of discordant catharsis, voicing unheard echoes against faceless oppression. Stark realism cut with electronic tempered steel but swaying findly as a dervish caught in populist melody. Snap! Just as gravity loses strength under feathery synths and celestial harmonies -- we crash back to earthbound mortality: “When did it get so dark?". This electro-dirge bathed incandescently in light laments teetering between haunting entropy and hopeful dream-state elation encapsulates Bryant's lunatic audacity – tickling us till laughter bleeds into tears! [caption id="attachment_55508" align="alignnone" width="1105"] Feast on Ferocity with Living With The Storm’s 'New Animal Culture'[/caption] Fearlessly slamming soulful evocations alongside algorithmic tonality - motley flavors mashed-up inside a hallucinogenic Richardsonian prism 'til they bleed eidetic turquoise. Astonishing! Short yet ample enough for gourmands to feast upon this delirious spectral banquet--a smoky tourmaline aurora that will continue to dance maddeningly behind closed eyelids at dawn’s first blush. Wash your ears aggrieved by today’s sludge-red homogeny in this Sea-of-Forgetfulness-green melody-shower — Living With The Storm ecstatic phantasmagoria: A reverie echoing through intersections of Byzantine electronica, baroque pop stagecraft and damned-if-I-care lyrical audacity; Scorn-euphoria-rapture! Each palaverous note a scintillating dervish spinning out cosmic insights, daring you to tame this 'New Animal' – welcoming you boldly into the eye of its storm...one sonic cyclone at a time. Follow Living With The Storm on Facebook and Twitter.

[minourakentaro]

#Repost@recordsbeer@kazuyasuwa ・・・ NEW RELEASE!! BRB-08

suwaWander CD "weapon" 15th March 2024 out

1. not I me 2. kuramanta 3. zeno 4. tal 5. koyori 6. fubtada 7. dhāra

Original Artwork : Kentaro Minoura Design : pootee Mastering : mermaid

Here comes a collection of strangely pop -flavored new electronica recordings by the dark horse of the Tokyo DIY world!

suwaWander, formally known as suwakazuya, is an electronic music composer based in Tokyo, Japan.

Known for his recent live performances using smart phones and effectors, he has gone back to his roots - this seven-piece composition, created with his beloved Roland MC-505, presents a parallel vision where the mysterious and the primitive intermingle.

The album opens with the music concrete 'not I me,' followed by 'kuramanta,' which could be described as a suwawa version of Gorje, 'zeno,' a forest-bathing ambient-tech track, 'tal,' a bare-bottomed diving track, 'koyori,' a high-speed trance boogie, 'fubtada,' a breakbeats that is both relaxing and ecstatic, and the nail-biting chill-out 'dhāra'.

[cruel-nature-records]

PRE-ORDERS COMING FRIDAY

Hello

Hope all is well. We have some exciting new releases available to Pre-Order from Friday (which also happens to be a Bandcamp Friday).

They are:

1) AVI C. ENGEL “Too Many Souls” - the eagerly awaited new album. Genre-agnostic, handmade music that is playful, sorrowful, and ecstatic. Essential

2) AIDAN BAKER “Everything Is Like Always Until It Is Not” - Baker’s latest solo work sees him still heavy with the low end but with added shoegazey ambient ethereal atmospherics.

3) NNJA RIOT “Violet Fields” - Multi-disciplined London-based Lisa McKendrick’s solo project makes it’s CN debut. Interweaving the raw energy of noise with melodic layers and pulsating beats to create shamanic experimental songscapes.

4) H.R. GIGER COUNTER “What Do The Atoms Hold For Us?” - Wonky electronica/ambient from Andrew Gladstone-Heighton (waheela, Radio Free Ul-quoma) and Jeremy Hunt (QOHELETH, Aint Pancakes).

5) THE LAST SOUND “Veered” - Started in 2006, finished in 2023. To say this album has been a journey is an understatement. Whirling Hall Of Knives Barry M’s hidden opus finally sees the light.

6) POUND LAND “Mugged” - With their first full band studio album, Pound Land are back dishing out a 48-minute whirl of raw frustration, kitchen-sink surrealism and filthy noise-punk sludge, soundtracking vitriolic stream of consciousness societal observations.

Our January tapes are also out Friday, although copies have / are nearly gone through pre-order:

1) CHARLIE BUTLER “Wild Fictions” - 3 copies left

2) EXSANGUINATED ROOMMATE “Lurking” - 5 copies left

3) POPPY H “Grave Era” - Sold Out, copies will be available from https://poppyh.bandcamp.com from Friday

4) ORCHARD “’Til You Fall Down” - 9 copies left

All over at https://cruelnaturerecordings.bandcamp.com

Steve xx

[plungermusic]

A thrill-ride across the border into Terra Incognita ...

Phenomenal Canadian singer/songwriter/guitarist Terra Lightfoot is probably best known for her blend of bobbysox-drugstore-chocolate-malt pop and freeway-cruising rock but her new single Cross Border Lovers (from her upcoming album Healing Power) takes her material into new territories, while still delivering the classic ‘Terra tingle’. 

The high chanting and hefty syn-drum kick-and-snare stamp-and-clap intro (sounding like a tribal elder conclave making free with the nitrous) tells us "We’re not in Ontario anymore, Toto", underscored by the entrance of Old Skool synths churning out a relentless throbbing New Wave electronica riff (think Human League/Depeche Mode/OMD) that somehow still bears a whiff of top-down-sundown-Sunset-Strip-cruising with Pat Benatar at the wheel, and that West Coast undercurrent bubbles to the surface in the chugging, muted plucking of the chorus (seemingly the only deployment of Terra’s fabulous guitar throughout). 

One constant though is Terra’s fabulous champagne-fizz voice: liquid velvet at lower registers, seductive and warm (but still with enough oomph to punch through sheet steel), with thrilling higher peaks and ecstatic sinuous line extensions, combining in gooseflesh-raising multi-part harmonies in the closing bars before a crisp dead-stop.

There’s a real 80s polished positive vibe to Cross Border Lovers (we found ourselves mysteriously drawn to Don Henley’s solo works shortly after) as well as Terra’s usual vibrancy and joie de vivre among its genre-hopping eclecticism. So for Plunger it’s still “like being fire-hosed with ice cold Dom Pérignon while flying at zero feet over sunflower fields strapped to the front of a Lockheed Starfighter…” only this time with our jacket sleeves pushed up.

Cross Border Lovers is available to stream now on Spotify, Deezer, YouTube Music, Apple Music and other sites.

Watch the video for the single (co-directed by Lyle Bell and Terra) here: https://www.youtube.com/watch?v=nn-gX3C3huA

The new album Healing Power will released 13th October on Sonic Unyon Records - pre-save your copy here: https://orcd.co/terralightfoot-healingpower

[splendontcore]

After two days of hard work....Going to be honest with yall, i feel so happy drawing this AU :)

Since i have college bills to pay, consider support me on Ko-fi, rewards such as linearts or full colour art will be given 💕💕💕

[burlveneer-music]

Caterina Barbieri - Ecstatic Computation (Editions Mego)

Caterina Barbieri is an Italian composer who explores themes related to machine intelligence and object oriented perception in sound through a focus on minimalism. Following 2017’s acclaimed 2LP “Patterns of Consciousness”, “Ecstatic Computation” is the new full-length LP by Caterina Barbieri. The album revolves around the creative use of complex sequencing techniques and pattern-based operations to explore the artefacts of human perception and memory processes by ultimately inducing a sense of ecstasy and contemplation. Computation is turned from being a formal, automatic writing technique into a creative, psychedelic practice to generate temporal hallucinations. A state of trance and wonder where the perception of time is distorted and challenged. Equally nervous and ecstatic, the fast permutation of patterns can create a state where time stands still whilst simultaneously being in motion. Is this propulsive music moving forward or backward? As long as the perception of the present is constantly enhanced and refreshed in an endless sense of loss, re-discovery and the search for self-orientation this question lies mute aside the thrilling and perplexing moment of the matter at hand.

Music composed and produced by Caterina Barbieri. Vocals in track 4 are performed by Annie Gårlid and Evelyn Saylor and recorded by Stefano Tucci at Failsafe Studio. Mastered by Rashad Becker at D&M. Artwork by Ruben Spini

[homagecollage]

Four Tet: “Everything Ecstatic” 🔊💜Today, May 23, 2005, Four Tet released his fourth studio album “Everything Ecstatic.” This album did not chart, but on Apple Music, there are three songs starred as fan favorites: ‘Smile Around the Face,’ ‘Clouding,’ and ‘And Then Patterns.’ In August 2005, a track from “Everything Ecstatic” called ‘Sun Drums and Soil’ peaked at no. 24 on the US Billboard Dance Singles Sales Chart.

[wyattvsmusic]

Black Star - No Fear Of Time ALBUM REVIEW

There have been many mythical albums in hip hop that have been teased for so long that fans realized they were never actually coming out—until they did. Among these albums are the third Dr. Dre album that came out in 2015, Jay Electronica’s debut album which eventually came out in 2020, and then there was the second Black Star album. In 1998, Yasiin Bey (fka Mos Def) and Talib Kweli released their album as Black Star together at a time where hip hop was changing drastically. It was increasingly becoming more commercialized and profitable (not to the level it is now obviously) and although I was not born at the time of that album, I am aware that the first Black Star album was a breath of fresh air for rap fans. It is now highly regarded as a classic and is personally one of my favorite hip hop albums ever. Since the release of that album, Yasiin and Kweli obviously went on to do their very successful solo careers and did all sorts of different things along the way. They would sometimes link up for a collaboration here and there but there wasn’t even a real possibility of a second album coming out for a while. When Madlib first announced that he was producing the entire second Black Star album, I never thought that it would actually come out as he and Yasiin Bey have a history of not putting out the music they announce. I even didn’t believe it when Talib announced it was finished. After 24 years, the album is finally out and they released the album through Luminary, a podcasting platform that is also home to their Midnight Miracle podcast. I understand why they went this route instead of releasing it through standard streaming platforms as they don’t properly compensate their artists and therefore undervalue them for the art they create. I still think a podcasting platform is kind of odd because it is still subscription-based for one album. I feel like releasing it directly through their website similar to how Kweli released Fuck The Money would have maybe been more effective. Aside from that, I am very excited that this album came out and is produced entirely by Madlib. However, it is only a brief 9 songs long. I am all for short albums and I think this album is really good but 9 songs after a 24-year-long gap is a bit of a head-scratcher. In terms of the actual music which is really all I care about, I think the music is great. Madlib’s production is fantastic and very fitting for the direction that Yasiin and Kweli chose to go in. It sounds completely different from their debut but that was expected as they have moved in separate directions in their solo careers. If you are a fan of Yasiin’s The Ecstatic album which Madlib produced on, you will like this album a lot. It is great to hear Yasiin really rap again because his last full-length project was this weird singing album that I hated aside from his museum-only album. He is back to rapping and doing it extremely well on this album. On some songs, he sounds more energized and that is when he really shines. He also sings a bit like on the opening song which I actually think he sounds good on. Talib Kweli has been more consistent over the years in terms of quality but this album is also some of his best rapping in years, probably since Radio Silence as he wasn’t rapping like this on Gotham. Talib is very consistent and never raps badly but he really took his rapping to a level he hasn’t taken it to in a while. Some of the best verses on this album are Talib verses. What I think the great thing about Black Star is that they bring the best out of each other. Talib’s rapping pushes Yasiin to actually rap and not do any weird Dec 99th music as he sounds very focused and Yasiin’s exceptional verses push Talib to bring his A game. I think Madlib is the perfect producer for this album because not only is he my favorite, but he brings a mix of weird and classic which compliment each member perfectly as both have a history of working with him. I did find it interesting that the song My Favorite Band uses the exact same Madlib beat as Westside Gunn’s Ferragamo Funeral because it would’ve been nice to hear all new Madlib beats but I probably wouldn’t have brought it up if the album was longer. The opening song,  o.G. is fresh Black Star and I love how Yasiin sets it off with his verse and goes right into the hook which he sings. Kweli attacks the beat very differently which is something I always appreciate about Black Star songs. So be it sounds like vintage Madlib and Yasiin sounds more energized than usual on the song which I like because his flows in his recent music are usually super laidback as you can hear on other songs. I liked Kweli’s scheme where he used the months in order, reminiscent of Yasiin’s number scheme on Mathematics. I love the song but what would have made it better is if it was mastered better. I think the sound quality would have made the album a bit more enjoyable but Madlib and Yasiin Bey have a history with unmastered/lo-fi music. The mixing and mastering choices are definitely artistic ones but I think I would have preferred the music turned up a bit but the music is so good that it is barely a problem. The only other thing I disliked about this album was the hook on The main thing is to keep the main thing the main thing. The slower and soulful Sweetheart. Sweethard. Sweetodd. shows Kweli and Yasiin effortless floating over the beat, rhyming about women, which is something both rappers are very good at. The album finishes incredibly strong with its two final songs. Freequency is a masterclass in excellent lyricism as Black Star recruit Black Thought for a historic collaboration. Black Thought sets it off with a verse that blends perfectly with the Black Star style of rapping and kills it like he always does. Talib follows up with a killer verse that I think might be the best on the album. His rhyme schemes are incredible and manages to fit in multiple slight changes in his flow over such a minimal loop. Yasiin provides his best verse on the album quickly after. You can tell that steel sharpened steel on this album as you cannot slack on a song with Black Thought, Talib Kweli, and Yasiin Bey. The final song No Fear Of Time is simply a beautiful closer as it features a beat with a bit more musicality and vocals from Yummy Bingham that tie the album together as they are the same as the hook on o.G. The beat uses the same loop to Royce Da 5’9”’s Young World but this song makes a completely different song with it even though it is the exact same loop. This album is definitely worth the wait as there was so much hype behind it and even though I wish it was longer because of that wait, I still enjoyed what I got and the short length of the album enhances the replay ability for me. 

Fav Tracks: o.G., So be it, Sweetheart. Sweethard. Sweetodd., Freequency, No fear of time

[ringo412]

four-tet / everything ecstatic(2005)

イギリス / CD・自宅オーディオ / 輸入盤(Domino、UK & Europe)・2005年盤  購入 : Linus Record(高円寺)

RCAケーブル交換・聴き直しの5枚目。 00年代はフォー・テット。これもあえてジャンルを変えて、この頃に聞き出したエレクトロニカ。仕事帰りに良く新宿のタワレコよって、いろんなジャンルを視聴してた。でもCD自体はタワレコじゃあんまり買わずに、それぞれのジャンルの専門店みたいなレコ屋で買ってたから、多分これは高円寺のライナスレコードで買ったはず。

当時は中野の弥生町ってとこに住んでたけど、新宿駅からビール飲みながらよく歩いて帰ったなー。その時のBGMにエレクトロニカ聴いてた。20代はハードコアやらオルタナが中心だったけど、30代になってから、こういった音の方が聴きやすくなっていった。そしてこの頃からO-nestとかでも、ラップトップミュージシャンを見かけるようになった気がするなー。大きなレコ屋でも特集コーナーできたりで、エレクトロニカ自体がすごく盛り上がっていた時期だったかも。

よくこれを聴いていたのがイヤフォンだったり、小さなコンポだったりで、今とはかなり違っていることもあるんだろうけど、記憶よりずっとヘヴィーなサウンド。1曲目なんかエレクトロニカってより、ビッグ・ビートっぽいし。2曲目からはもう少し浮遊感のあるサウンドになってくけど、ドラム・パーカッションが結構アフロビートっぽくてダンサブル。ちょいサイケっぽい曲があったり、ドリーミーな曲があったりで、すごく楽しめた。

個人的に音楽を聴く環境ってすごく大事。それによってこんなに印象が変わるんだなって実感したよ。そして00年代になってPCで音を編集することが当たり前になったら、90年代前半までのスタジオ録音とは考え方・やり方が全く違うんだろうね。ジャンルによって聞こえ方や音の配置の違いはあるんだろうけど、この作品は音それぞれがくっきりと離れて聞こえる。スピーカーが発する音の空間を広げていくような意図があるのかはわかんないけど、低音から高音までの幅とか左右の位置関係ではなく、3D的ってな感じ。ドンシャリ感ってのか、コントラスト強めな色付けもちょっとだけ感じる。

Four-tet Official : http://www.fourtet.net Linus records : https://www.linusrecords.jp フルテック株式会社 : http://www.furutech.com/ja/