Aphex Twin | 26 Mixes for Cash

26 Mixes for Cash is a compilation album of remixes produced by Aphex Twin. Most of the remixes were produced for other artists between 1990 and 2003. It was released on 24 March 2003 by Warp Records.

Despite becoming a sought-after remixer during the 1990s, James admitted to not actually using the original source material in the case of some of his "remixes" for artists he disliked (such as Nine Inch Nails), explaining: "I never heard the originals...I don't want to, either." In some cases, he submitted his own original work, or the work of his flatmate Global Goon in place of his own work.

Along with the 22 remixes on this release, four original Aphex Twin tracks are also included. Two are new versions of previously released tracks: "Windowlicker, Acid Edit" and "SAW2 CD1 TRK2, Original Mix". The other two were previously available only on Further Down the Spiral, the remix album by Nine Inch Nails: "The Beauty of Being Numb Section B" and an edited version of "At the Heart of It All".

In addition to the remixes featured on this release, James has also remixed tracks by Beck, DJ Pierre, and Soft Ballet, as well as additional remixes of tracks by Seefeel, Gavin Bryars, Jesus Jones, Saint Etienne, and Mescalinum United.

Today Nühn project celebrates 11 years

Today Nühn project celebrates 11 years, in 2019 the project became a record label and this was the first logo, creating sympathy for the moths, those beings appear on your life to bring you prosperity. The logo makes reference to a blend between influences and tastes in the electronic music.

Stones in Focus

Saint Raphael

Original working drawing - logo for Hospital of Saint Raphael, New Haven, CT (1984)

Ryuichi Sakamoto: Opus

Ryuichi Sakamoto: Opus, graphically rendered as Ryuichi Sakamoto | Opus, is a 2023 Japanese concert film directed by Neo Sora. It premiered out of competition at the 80th edition of the Venice Film Festival.

The film documents the last concert that Ryuichi Sakamoto, who was already struggling with cancer and who had not performed live for many years, held in late 2022, a few months before his death.

The film had its world premiere out of competition at the 80th Venice International Film Festival. It was later screened in other festivals, including the New York Film Festival, the BFI London Film Festival, and the Tokyo International Film Festival.

Bill Connors

Bill Connors 

(Born September 24, 1949) is an American jazz guitarist who was a member of Chick Corea's band Return to Forever. After leaving Return to Forever, he recorded three acoustic albums and then three electric albums as a leader/soloist.

Connors was born in Los Angeles, California, in 1949 and began to play the guitar at the age of 14. After three years of extensive self-study of the rock and blues influences that were his first inspiration, he began to play gigs around the Los Angeles area with a heavy blues/rock group called Middle Earth. He found his way to jazz, the music that would lead to a lifelong commitment.

"I'd been playing for about four years", he explained at the time of his RTF tenure, "and suddenly had an overnight change. I didn't want to be a blues guitarist anymore. I began listening to people like Bill Evans, Jim Hall, Wes Montgomery, [bassist] Scott LaFaro, Miles Davis, [John] Coltrane—anyone who had a 'jazz' label. Django Reinhardt really got to me. The first time I heard one of his records, I thought that was just what I wanted to be. He had all the fire, creativity, and energy that rock players have today. And the amazing purity of his melodies—you just knew they came from a totally instinctive place."

He and Django differed however over the matter of electronics with Bill preferring the sound of the electric instrument. "I always wanted to use the electric guitar in a sophisticated context, like with Chick [Corea]. I like to play jazz with that electric-rock sound. For me it's a lot closer to a horn than the traditional guitar, and that's what I love about it; I can sustain notes, get into different kinds of phrasing—do things other instruments do naturally, only the guitar does it with the aid of technology."

Connors moved to San Francisco in 1972 to join the Mike Nock Group (formerly known as The Fourth Way) with drummer Eddie Marshall and bassist Dennis Parker. He met up with drummer and vibraphonist Glenn Cronkhite, who introduced him to greater knowledge of jazz. Connors also played with bassist Steve Swallow and pianist Art Lande.

Demo disk

Things weren't as easy before the WWW and the word "download".

Now extremely rare, the demo disk you would get in your letterbox from the distributor.

Empty the Bones of You

The cover of Chris Clark's last album, 2001's celebrated Clarence Park, depicted a crystalline winterland, populated by a young boy in a knit hood. In contrast, the cover of this year's Empty the Bones of You is a pale figure thrust into a nightmarish spiral of skulls, spears, and oblivion. I'm wagering that Chris has been to a couple of funerals in the last two years.

While, contrary to what my first paragraph might suggest, I did actually listen to this album, the distinction is instructive. Clark's last album, while not a bad album by any means, struck many as standard-fare Warp, the type of guy you hear on a comp and then attribute to some better known artist. And while the songs were better Aphex/Squarepusher tracks than the ones on either Drukqs and Go Plastic, they were still just Aphex/Squarepusher songs. The sole innovation was Clark's segregation of moods; with a few exceptions, there were happy songs and sad songs, with very little in between. It was classic Warp without the ambiguity, a technically virtuoso performance channeling mediocrity.

On the new album, however, Clark gains some unique ground. "Indigo Optimos" opens with a minimal Detroit techno beat, then gets trounced by some jarring cuts. Rather than tediously layering one audio track on another and then peeling them off slowly at the end, he'll simultaneously put on three or four tracks for a bar, then get rid of them all at once, only to sample the same passage later in the song. The result is haunting, and leagues more accomplished than anything on his debut. On "Early Mass," a music box gets stuck on a groove, grows increasingly metallic, and then gradually fades away until only a shell of the initial sound remains-- the erosive gives way to the evocative. The sound is literally haunted. Later, the apparition circumnavigates the original music box sample and, until "Tyre" comes along and drops the instrument into the street, the sound perfectly balances infantile calm and sophisticated mourning.

Most songs seem on the brink of collapsing completely. Each struggles to get its melody out, but is threatened by static, loops, and that form of antagonistic buzzing that can only be described as Basic Channel. "Holiday as Brutality" features a jazzy synth absorbed by distortion until the song starts over again on a lighter frequency. The melody here is weathered, but intact. The phenomenal "Gravel (Obliterated)" seems to rest on a dilapidated suspension bridge-- eventually the ropes fray, the planks fall, and the entire song just sort of drops into a static that continues into "Gob Coitus", which restructures the white noise and melody into a more subterranean atmosphere.

The album's second half flounders a bit with well-executed, but not particularly memorable pieces ("Farewell Track", "Betty"). What must have been intended as the centerpiece, the six-minute "Wolf", is a surprisingly traditional "epic hip-hop" instrumental (think DJ Shadow) and not nearly as impressive as the next shorter track, "Slow Spines", a potpourri of harp, grated cheese, robot handclaps, and whistling. While Chris Clark has found his voice on this album and will, in all likelihood, become a household name on par with the Warp flagships, he hasn't yet recorded his masterpiece. Still, there's an ambition in this stuff that was absent in Clarence Park-- one that will surely make this Best Promising Sophomore Album sometime in the near future.

Eric Dolphy

Along with Coltrane and Coleman, Eric Dolphy played a significant role in influencing the development of the avant-garde in jazz in the late 1950s and early 1960s. He featured on Coleman’s seminal Free Jazz from 1960, and toured and recorded extensively with both Mingus and Coltrane. He developed a style of playing that was wholly his own, characterised by wide interval leaps and unorthodox note-to-chord relationships and played a leading role in extending the range of the alto saxophone by at least an octave.

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Roland MC 500

Roland Corporation 

(ローランド株式会社, Rōrando Kabushiki Kaisha) is a Japanese multinational manufacturer of electronic musical instruments, electronic equipment, and software. It was founded by Ikutaro Kakehashi in Osaka on 18 April 1972. In 2005, its headquarters relocated to Hamamatsu in Shizuoka Prefecture. It has factories in Malaysia, Taiwan, Japan, and the United States. As of December 2022, it employed 2,783 people. In 2014, it was subject to a management buyout by its CEO, Junichi Miki, supported by Taiyo Pacific Partners.

Roland has manufactured numerous instruments that have had lasting impacts on music, such as the Juno-106 synthesizer, TB-303 bass synthesizer, and TR-808 and TR-909 drum machines. It was also instrumental in the development of MIDI, a standardized means of synchronizing electronic instruments manufactured by different companies. In 2016, Fact wrote that Roland had arguably had more influence on electronic music than any other company.

John Abercrombie / Marc Johnson / Peter Erskine

John Abercrombie / Marc Johnson / Peter Erskine - Released in 1989.

John Abercrombie – guitar, guitar synthesizer

Marc Johnson – bass

Peter Erskine – drums.

This trio with a live album recorded in Boston april 1988.

The music is a a blend of standards and new material and just as on their earlier album from 88 “Getting There” this is great Jazz Fusion played expertly by these great musicians the only difference is that there is slightly more emphasis on mainstream jazz due to the standards they are playing.

Ryoji Ikeda

Ryoji Ikeda ambient works

池田亮司 - EP

Label：Sähkö Recordings

Old Dreams and Memories

“Old Dreams and Memories” is a rich symphony of luxurious sound , with transportive rhythms and hugely evocative layers of melody .

Yagya - Old Dreams and Memories ( 2LP )

Label：Small Plastic Animals

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NSXSC

NSXSC 

Arrives to Nühn Records with a Techno works from the deep obscure regards to us. In September we will have his intractable album and it is going to be blowing heads. Three tracks from Switzerland of a young talented artist, modern in his way, and reasonable beats counting from now as Nühn Records level.