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OP 073LP
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$30.00
PREORDER
RELEASE DATE: 11/17/2023
Singer, songwriter and author Ali Sethi had been entranced by Jaar's music long before they began collaborating. He'd absorbed the sounds over a number of years, listening casually and taking in their subtleties in bars and rooftop parties across Lahore and London. So when the two were finally introduced by Indian visual artist Somnath Bhatt, a regular Jaar collaborator who also handled the album's artwork, Sethi was well prepared. He began to sketch out voice notes using loops snipped from Jaar's acclaimed 2020 album Telas, improvising vocalizations and seductive Urdu poems over Jaar's weightless, time-bending productions. Improvisation has been important to the Chilean artist for many years. Before he had even started making electronic music, Jaar jammed on accordion with friends on the street in New York City. It's at the core of his practice, "a moment in time," in his own words. Sethi is best known globally for his attempts to revive the ghazal, an ancient poetic form that was taken by Sufi mystics from the Arab world to Persia and throughout the Indian subcontinent, where it captivated the royal court. It's been unfashionable in the last few decades, a mannered style associated with decadence, and Sethi offers it a new lease of life through his playfully revisionist covers and renditions. Sethi updates the ghazal form by using his years of training in raga music, lifting metaphors that reflect his journey as an out-of- place queer kid in Pakistan who became a US citizen and now lives in New York City.
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OP 072BK
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Aho Ssan debuts on Other People with second solo album (only supplied as DL code) and book Rhizomes, featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more. Paris based composer Aho Ssan, the artist moniker of Niamké Désiré, presents his new full-length Rhizomes following his debut LP Simulacrum (2020) and collaborative record Limen (2022) with fellow musician KMRU. Rhizomes draws inspiration from a concept coined and developed between Gilles Deleuze and Felix Guatarri. The idea of an ever-evolving structural model, constantly in motion and spreading out in all directions at once. It has no beginning and no end, but always remains in a middle, through which it grows and overflows. Much like the name it borrows, Aho Ssan's Rhizomes is a multimedia project that embarks on a myriad of disparate, unique musical and artistic partnerships. This piece adapts this concept to explore the influence of sound materials on creation, the appropriation of a sound object, and the collaborative nature of a composition that responds to modernity. Aho Ssan collaborated with a comprehensive cast of artists to create a musical rhizome including Nyokabi Kariuki, Josefa Ntjam, Blackhaine, Nicolás Jaar, Resina, Rắn Cạp Đuôi, Richie Culver, clipping., Lafawndah, 9T Antiope, James Ginzburg, Exzald S, Valentina Magaletti, Moor Mother, Angel Bat Dawid and Mondkopf. Cooperation and community are at the root of this project and the lens through which all the compositions can be understood through.
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OP 069BK
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Charbel Haber's A Common Misunderstanding of the Speed of Light is a multi-media musing on the chronic and the chronological, the subversive nature of time. This combination of an album and book observes the slow passing of life and the illusion of retrogradation in his every day. Simply by documenting -- via image, text and tune -- Haber assigns value to everything that is cast in amber by this project. There's an acceptance and appreciation of the destitution he witnesses, it is an homage given in overlapping forms. ACMOTSOL has two parts. The book, hardcover in an embossed orange, features photographs and texts taken from Haber's personal digital diary spanning from 2020 to the start of 2022. Broken into six chapters -- named for the six tracks on the album -- the entries are an artist's log of sorts during a peculiar period of global hyper stagnation and navigating the aftermath of the Beirut explosions. The 96 pages highlight Haber's interest in decay, negative space, and the temporality of the human condition. At the center of the book is a sudden burst of orange pages, with stylized pluckings of the text framing a QR code that grants access to the album. With the brilliant orange covers and matching innards, pregnant with the music at the core, it's almost as if these central pages act as a way to turn the book inside out. ACMOTSO's second half is that mirrored album. The music could be a continuation of his solo albums Of Palm Trees and Decompositions (CREP 026LP, 2016) and It Ended Up Being a Good Day Mr. Allende (2012), an exploration into the expansiveness of seemingly simple loops of a lilting guitar. Careful electronic effects add dimensions or reground the listener. There's a swelling of sound, the illusion of the push of space before it retracts back into itself or fades into the distance. Much like the images and texts the music complements, the songs challenge the purity of cycles. In music, in words and in visual storytelling. ACMOTSOL is a work that can be calming or disorienting, depending on what is requested of it. Similar to the way loops and cycles can signify both meditation and mania. The tendrils of Haber's past -- his home of Beirut, fictional and real characters encountered, authors read, films watched, composers listened, walks taken -- knit themselves together for a presentation of the immediate present. Album mixed by Radwan Ghazi Moumneh. Design by Maziyar Pahlevan. Printed by Albe De Coker in Belgium. 96 pages; hardcover.
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OP 068LP
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Tehran-born, NY based brothers Mohammad and Mehdi collaborate with Ian McDonnell, aka Eomac on a new record entitled Patience of a Traitor. Inspired by the traditional bath houses in their native Tehran, the brothers say: "This record speaks to preserving the things that are timeless, through revisiting the past. The traditional Persian bath house -- its architecture, the role it played in keeping, building community, the bathing rituals -- served as our ultimate symbol. Now we drink from one cup, and fill the jar with the other." Saint Abdullah is the moniker of Mohammad and Mehdi, New York based Iranian-Canadian brothers working across sound. Inspired by Iran's religious, political and cultural history, the project was formed out of "a deep frustration with the way the West perceives -- and treats -- Muslims and the Islamic faith." They aim to "challenge stereotypes and act as a conduit between unnecessary enemies." They have released on labels such as Purple Tape Pedigree, Cassauna, Psychic Liberation, Important Records, and Room40. Ian McDonnell, aka Eomac, is a composer, producer, DJ and label owner. He has released genre-spanning music via The Trilogy Tapes, Stroboscopic Artefacts, Bedouin Records, Killekill, his own Eotrax imprint and the iconic label Planet Mu with his 2021 album, Cracks. His music draws from obscure samples and raw sound design in an ongoing search for musical and collective unity through intense, visceral music for body and soul.
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OP 067LP
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Dienne's debut Addio is a 32-minute study on loss and mourning. Following the death of her grandmother due to covid, and unable to say a proper goodbye due to travel restrictions, Dienne set out to give her Addio through musical form. She lets objects fall, leaves windows open, and lets the wind dust off the shelves. This is the sound of everyday mourning, a taste instead of an event. A lingering, broken and patient work of undeniable beauty. Dienne is a Belgian composer, vocalist, and multi-instrumentalist. She builds songs and soundscapes portraying images and stories that play behind her eyes. Starting with the oboe as a child, before adding the piano and flute to her repertoire, she later produced soundtracks for theater and dance performances. Artwork by Africanus Okokon and Maziyar Pahlevan. Mastering by Gert Van Hoof.
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2LP
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OP 056LP
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A collection of sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001). Would It Sound Just As Bad If You Played It Backwards assembles a collection of audio experiments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the millennium. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early '70s. While PRES and Kulik remain important artifacts in the recent history of the Polish avant-garde, presenting them together in one release may not seem like an obvious choice. There are, of course, some historical intersections -- he most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants to... Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room", a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room -- it mostly worked in theory but not in practice. What is it then that makes the two work together? Features Krzysztof Knittel, Bohdan Mazurek, Magdalena Dàugosz, Barbara Zawadzka, Rudnik, and Bogusław Shaeffer.
Polish Radio Experimental Studio - PRES (Polish: Studio Eksperymentalne Polskiego Radia) was an experimental music studio in Warsaw, where electronic and utility pieces were recorded. The establishment of the Polish Radio Experimental Studio was conceived by Włodzimierz Sokorski, head of the Radio and Television Committee. Between 1952 and 1956 he was a Minister of Culture, and as a strong supporter of socialist realism he fought against any manifestations of modernity in music. The Polish Radio Experimental Studio was founded on the November 15th, 1957, but only in the second half of the following year was it adapted for sound production. It operated until 2004. Until 1985, for 28 years the studio was headed by its founder -- Józef Patkowski -- musicologist, acoustician, and the chairman of the Polish Composers' Union. The second most important person in the Studio was Krzysztof Szlifirski, an electro-acoustics engineer. Before founding the studio Józef Patkowski visited similar hubs in Cologne, Paris, Gravesono and Milan. Though the studio was a place where autonomous electronic pieces were recorded, this wasn't its main purpose. It was launched as a space for the creation of independent compositions, sounds illustrations for radio dramas, and soundtracks for theatre, film and dance.
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OP 059LP
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A collection of sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001). Would It Sound Just As Bad If You Played It Backwards assembles a collection of audio experiments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the millennium. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early '70s. While PRES and Kulik remain important artifacts in the recent history of the Polish avant-garde, presenting them together in one release may not seem like an obvious choice. There are, of course, some historical intersections -- he most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants to... Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room", a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room -- it mostly worked in theory but not in practice. What is it then that makes the two work together? Features Włodzimierz Kotoński, Bohdan Mazurek, Elżbieta Sikora, Bernadetta Matuszczak, Magdalena Długosz, Barbara Zawadzka, and Krzysztof Knittel.
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OP 055CD
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Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
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OP 055LP
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2023 restock. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
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OP 055LTD-CD
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Limited edition CD, includes 92-page book. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
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OP 055-2LP
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Sold out, limited repress available in January 2021. Limited "Sound Edition" double-LP, includes 92-page book and O card. Nicolás Jaar is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12" EPs and remixes he put out from 2008 to 2011. Since his first full length (Space Is Only Noise, 2011), he has embarked in multiple divergent path. For the last seven years, he has released a large volume of recordings through his label Other People. In 2015, Nicolás scored Dheepan by director Jacques Audiard (winner of the Palme d'Or at Cannes 2015). In 2016, Jaar launched The Network, a web of 111 fictional radio stations done in collaboration with artists Jena Myung and Maziyar Pahlevan. In 2017, The Network became a book, published by Printed Matter in NY. In the spring of 2019, Jaar was commissioned for a nine-hour improvisation in the Oude Kerk Church in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church. Nicolás is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the Dar Yusuf Nasri Jacir For Art And Research دار يوسف نصري جاسر للفن و للبحث.) Residents so far include composer Sebastian Jatz Rawicz and researcher and artist Rolando Hernández. In the fall of 2019, he presented Incomprehensible Sun, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and Retaining The Energy, But Losing The Image alongside artist Vincent De Belleval which consisted of ten large rotating parabolic reflectors that capture and emit hyper-focalized surround sound. For the first Sharjah Architecture Triennale (curated by Adrian Lahoud in 2019). Nicolás performed a piece for 16 buried speakers in the desert near the Mleiha Archaeological Centre. Nicolás has collaborated with artist Lydia Ourahmane, FKA Twigs, and Patrick Higgins under the name AEAEA.
"Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole" --Pitchfork (8.0)
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3LP
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OP 053LP
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2022 repress. Against All Logic's 2017-2019 on Other People featuring Lydia Lunch. Side F is a vinyl-only edit.
"Under his Against All Logic alias, Nicolas Jaar writes music that sounds like it's trying to break out of itself. Textures undulate and basses overwhelm, while vocals flutter in and out of focus as if someone were flicking through channels on a decrepit television. The project's first LP, quietly released on his Other People label at the beginning of 2018, folded half a decade's work into one of the most accessible albums of his career. Now that A.A.L. is a known quantity, Jaar returns with 2017-2019, trading the warmer house music of his debut for a warped techno counterpart . . . 2017-2019 has been rendered more purposefully than its predecessor, each track flowing into the next. It presents an identity for Against All Logic that transcends the previous mid-tempo crowd-pleasers, one that's unafraid to draw from various club subgenres while injecting Jaar's customary washed-out tape atmospheres. The harsh spirals of noise and pneumatic hi-hats of 'Deeeeeeefers' sound like they're pulled from a revised Justice cut or Thomas Bangalter edit, while 'Penny' makes the case that 'lo-fi house' might not be dead after all. The most exhilarating moment on the album appears courtesy of its sole feature, Lydia Lunch, whose voice and philosophy Jaar borrows for 'If You Can't Do It Good, Do It Hard.' A longtime advocate of her work?he reissued her 1990 spoken-word piece Conspiracy of Women (C.O.W.) after layering clips from the recording into his live show for years-- Jaar recontextualizes the no-wave icon's uncompromising ferocity using brash distortion loops that make Yeezus sound tame by comparison." Noah Yoo at Pitchfork (7.9/10)
"Techno influences echo through later on in the project, but to a different extent. The track 'Penny' mixes the tuneful sounds of lo-fi house with a heavy thumping beat that appears halfway through. The closer 'You (Forever)' brings a serene, meditative ending, the album's only real moment of calm, which seems to hark back to 2011's debut Space Is Only Noise (CCS 055-2LP). Jaar shows signs of evolving here, and it's more than welcome. For a record that feels chaotic at times, everything falls into place." -- Joe Hale at Clash Music (8/10)
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12"
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OP 057EP
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Against All Logic single 12" on Other People featuring Lydia Lunch and FKA Twigs. Also features Estado Unido.
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OP 052LP
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Sary Moussa is an electronic musician who has been active in the Beirut underground scene since 2008. He released his first full-length album Issrar in October of 2014 under the moniker radiokvm. His latest record Imbalance, finds Moussa revisiting the soundscapes of his childhood; from the echoes of political unrest, to Greek-Catholic chants, and the quiet nights of a secluded Southern village. The album combines sound design with intricate melodic arrangements to create a choir of synthesizers and noise singing in and out of sync. In addition to his solo work, Moussa has also composed music for theater and dance performances, short films, and museum installations.
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OP 051LP
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Bandiera Di Carta represents the ongoing collaboration between instrument builder and composer Pierre Bastien and the London based experimental duo Tomaga (Valentina Magaletti and Tom Relleen). Bastien has been called a "mad musical scientist with a celebrity following" by The Guardian (UK) having collaborated with the likes of filmmaker Pierrick Sorin, fashion designer Issey Miyake, singer and composer Robert Wyatt as well as Aphex Twin, who released three of his albums on his label Rephlex. Tomaga have made more than a dozen records since forming in 2014. They collaborated on the CAN Project with Thurston Moore, Malcolm Mooney, Deb Goodge, and others in 2017. The artistic collaboration between Pierre and Tomaga began with two commissions: from Fructose Festival in Dunkirk and the revered underground festival Supersonic in Birmingham UK. Recording initially at a studio in the industrial port of Dunkirk, the uneasy bond between borders and states seems to have been a theoretical motor to the collaborative sessions, as well as the bleak landscape of the seaport frontier. This inspiration found further manifestation in the cover image for Bandiera Di Carta. Resembling a white paper flag, it is, in fact, a photograph of Bastien's paper and air sound machine installed on stage at Teatro Carignano in Turin as part of the trio's performance there. This charged, ambivalent image of a blank flag evokes the transcendence of the national, a prescient visual motif that meditates on the contemporary uncertainty around notions of national identity and borders but perhaps also a "carte blanche" for the artists involved. For each piece, Bastien's unique sonic style: by turns his kinetic mechanoid motors, capriciously arrhythmic pipes, or the peculiar susurrus of paper, creates a world in which Tomaga introduce their musical palette. Magaletti's percussion anchors these sometimes chaotic forces into beguiling syncopations, with Relleen's synthesizer and organ work creating harmonic counterpoints and interruptive provocations, to which Bastien responds with lyrical turns on prepared trumpet, rubber band, tin foil, and bass ocarina. The results are curiously evocative of free jazz by the likes of Sun Ra or Art Ensemble of Chicago paired with the percussive sound worlds of artists like Francis Bebey or Muslimgauze along with unique and sometimes bizarrely exotic tonal landscapes of composers like Catherine Christer Hennix, Carl Stone, or Egisto Macchi. Mixed and mastered by Rashad Becker.
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OP 050LP
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Vtgnike is Danil Avramov, born in Vladimir, Russia. "Started actively making music in 2010 after moving to Moscow. After releasing couple of EPs under different monikers, got a few Vtgnike DIY CDs (one of those probably got into Nico's ears in NY) and I've got the beautiful Dubna LP on Other People (OP 004CD/LP, 2014) (yes really still think it's a great record) and few months after its release, I got in jail because of drug charges dated in 2009. Long story here. I'm 100% on weed legalization and decriminalization of other drugs in a logically gentle and mentally stable society (and the world is not equal, it's diverse and I respect all non-violent cultures :-) Got free in 2016 (thanks to everyone involved and Nico) and got another album with a Gostzvuk fam. I am a proud resident of NII club. In producing, I've been switching music genres all my life -- electronic music that has a flow in it, doesn't need to be glued to any specific range of bpm, etc."
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OP 049LP
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2022 restock. Nicolas Jaar's Other People present a new solo record of guitar and live custom electronics from artist Patrick Higgins, an American avant-garde composer and producer from New York City. Higgins is known for his work in experimental and contemporary classical music, playing guitar and composing in the ensemble Zs, which is said to be one of the strongest innovative bands in New York. His work as a composer traverses the styles of the European avant-garde styles with the post-minimalist sounds of New York. Dossier is a four-movement piece performed live without overdubs or edits. All of the samples and synthetic patches were custom built and specifically engaged to become elements of live guitar manipulation. The sound world is post-apocalyptic in style but builds to an intimate and introspective finish. The material was developed over a two-year period and finished at the end of 2016. Cover art is by Alfredo Jaar.
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OP 048LP
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2023 repress. Nicolas Jaar shows he is paying attention to the masses by issuing a widely called for vinyl press of his A.A.L. (Against All Logic) album 2012-2017. Originally issued as a digital-only release back in February of 2018, it's slowly grown to become one of the most cherished releases in the entire Other People discography. Much like Kerrier District did to disco, A.A.L. (Against All Logic) borrows heavily from the samples and sounds ingrained deep within Jaar's listening habits and evidently a record collection packed to the brim with classic soul, house, and most importantly, funk hooks. Keenly twisting these sounds and filtering them through a studio set up that's leaning heavily on the beefed-up kick drums and reverb units to make a well-executed homage to these sounds, pieced together with the inherent idea of making the listener unable to resist the urge to move, be it in a bedroom, basement, or just sat in work staring at a computer screen. A.A.L. (Against All Logic) is both a well-executed homage to all of the above references, yet also just a really strong and enjoyable record from Nicolas Jaar. Its undeniable popularity digitally is sure to see the vinyl evaporate in no time at all.
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OP 044LP
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Ot To Not To is an experimental R'n'B project by Virgina native Ian Mugerwa that combines low fidelity electronic recording techniques with unconventional song structures to produce music that serves as homage to dusty old blues recordings. At 19, Ian left his hometown of Fairfax for Richmond, where he slept on friends's floors for several months while recording Goshen. During the day he would "hunt dussy" and during the night he would haul borrowed equipment over to the Virginia Commonwealth University music facilities and record until the morning. He was moderately successful on both fronts. The resultant recordings form a coming of age album, a snapshot of Ian from the ages of 19 to 20. Ian's goal was to explore new aesthetics in black music through use of nontraditional methods, creating a less polished, less sterile R'n'B in the process. Such methods included layering 40+ cello tracks to create the illusion of an orchestra, or collaging four, separate, four-minute tracks of improvised percussion into one. Most drums were recorded last. Despite the focus on experimentation, it was important to Ian that he be crafting pop music. It is his belief that an impactful artist has, at least to some degree, a moral responsibility to deliver their art to the maximum amount of people (to efficiently help art as a whole progress). In other words, if restraint can be exercised, it ought to be. "Regretta I" features Noah Smith. RIYL: James Blake, Phil Elvrum, Mark Hollis, and D'Angelo.
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LP
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OP 043LP
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High Water presents Crush. Crush is great flood music, an emotional deep-dive by way of sonic spell. It is the debut album by High Water high priest Will Epstein, who has strung his folksy, bare-souled heart-songs across a starry firmament and into a bottomless blue. The sound is a mongrel, electro-acoustic jazz: crisp production that cradles Epstein's silvery holler and the finger-picked click-clack of his electric Rhodes piano. His distinctive, loping cadence cuts through the noise and ferries us up a pilgrim path, yearning for a present truth, a pure love. He's recorded and performed with Nicolas Jaar, a dear friend since childhood. The High Water multi-instrumentalist solo-style gestated while opening up several tours for Darkside, Jaar's band with Dave Harrington. John Coltrane is his patron saint, and John Zorn his relentless guru. He has grown a deep love for Bob Dylan and his endless, shape-shifter's myth. These three titanic influences share a spiritualism, a volatile energy to create and destroy the self, to sublimate raw humanity into something impossible and eternal. Familiar sounds are stretched past their limits, and lyrics are charged with the power of a ritual text. These nine songs are incantations that conjure little worlds, micro-cosmos, circular love letters. Epstein employs elemental language, as well as the oblique Americana of railroad songs, rising rivers, and "sleepwalking through the pines." Crush is a beguiling, evocative music that, from track to track, recalls a series of short films, a sculptural forest, or a kaleidoscopic fever dream. The gentle lull that begins "Moonlight Mind" kabooms into a pulsing beat with a soulful twitch. Snappy drums are chopped and reassembled; Harrington's guitar pinches tones in bit-crushed screams and inspired blue country twangs. The soft "Forecast," pooled in reverb, spikes under synthesized high beams and sputtering organ. A guttural sax masquerades as a digital insect frantically cleaning its mandibles. A soft-dub rework of Lucinda Williams' "Changed the Locks" confirms the love/hurt essence of Crush. Ancient murals spell "Seattle," a distant place where sensual heat is felt and peaceful melodies fume out of dark tombs. Through all this and the last three songs-- the contemplative final stanza--the prevailing imagery is that of the rain. The album is laced in a life-affirming naturalism, and whenever the gale-force productions come to a head, the pillowy clouds of sound burst into a cleansing shower, drizzling like a granulated rainstick.
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12"
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OP 041EP
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Following his 2015 Abstract Speed + Sound Other People are pleased to announce The Full Stream Ahead: The Prologue by Turin's Daniele Mana aka Vaghe Stelle. Vaghe is a man of few words. He wanders, seemingly endlessly, through a lonely, gargantuan labyrinth of concrete and steel, fighting off ghosts and other futuristic nightmares, searching only for something called The Full Stream Ahead. Previously associated with Italian label Gang of Ducks and a current member of One Circle with fellow nationals Lorenzo Senni and A:RA, Daniele's roots in the emerging Italian production scene run deep and place him at its center.
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LP
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OP 038LP
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Dave Harrington (of Darkside with Nicolas Jaar) debuts his first solo endeavor, the Dave Harrington Group, with Become Alive. Inspired by the classic jazz albums of the late '60s and early '70s, which experimented with contemporary studio recording techniques and effects, Harrington assembled about a dozen players and recorded days of improvised material, later manipulating it into something that, while fundamentally live, takes full advantage of Harrington's penchant for electronic manipulations of organic sound, applying the same conceptual approach he takes with his heavily effected live-sampling guitar work. Each track is the unique product of Harrington's unorthodox musical make-up -- jazz training and ability; a collaborative, free-minded spirit; and a personal vision of mixing and post-production techniques to tie it together. "Each track is always me interacting with other people, sometimes just one or two . . . sometimes ten. There was flute, vibes, organ, fender Rhodes, guitar, bass, two drummers, percussion, sax . . . just full-on, over-blown energy. I took all that and treated it as raw material in the mixing stage . . . But when you have ten people in a room, you can only edit so much. Everything is in every microphone anyway -- it's all connected, so it's about turning it into whatever it wants to be." "It's all just about making improvisational music in a way that is personal and true," offers Harrington when asked about his specific influences. "Derek Bailey is one name I will mention, though, because he has very little to do with what I do stylistically. He really wrote the book on free improvisation guitar playing -- it was not jazz, not swing and not rock, it was just pure personality. Nobody else could do it. That's something I hear in the records that most inspire me -- when you don't hear something and think, oh, well that's this thing, when you just hear the ideas coming straight at you." Much of the initial mixing and editing of the album was done during the height of Darkside touring, as Harrington recalls: "Nico and I were improvising together on stage basically every night. It was a very focused period of time. Ultimately, this album is very personal. This is my first LP with my name on it. It's me and a dozen of my favorite musicians and closest friends. That was the spirit of making this record . . . Bringing people together and playing, improvising, being present."
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LP
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OP 036LP
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Hungarian electroacoustic duo 12z (pronounced "one two zed") present Trembling Air, an eclectic collection of intricate, improvisatory tone poems. As pure improvisers, Bálint Szabó and Márton Kristóf have constructed a substantial body of work, including film scores, studio recordings, and a significant archive of 12z [sessionz] -- weekly improvised jams with a shifting cast of collaborators. These [sessionz] were compiled into a self-released podcast, released following their 2013 self-titled debut on Hungarian label Farbwechsel. Not to mention their live work, which is the foundation of 12z's craft and artistry. With Szabó on guitar, Kristóf on electronics, and guest member Áron Porteleki often joining on drums, they fluctuate between jagged rhythmic passages, floating moments of harmonic tension, and any other form that emerges, always chiseling structure from the chaos. Trembling Air marks another direction in 12z's work, as their first entirely electronic recording. The album was sparked by György Pálfi's 2014 film Free Fall, for which it was recorded as a potential score, but stands strong independently, conjuring its own strange images.
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LP
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OP 034LP
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Jream House is the turbulent and spiritual debut LP of Mark Hurst aka A Pleasure, following his 2014 Extended Play digital EP on Other People. Blending mathematical composition with unrestrained studio experimentalism, the sound of A Pleasure charts a space where formative influences confront the most immediate performative impulse. Using a process of numerical transposition, the names of personally significant bands and composers are converted into drum patterns. Then Hurst lets loose, improvising around these structures with a variety of traditional and unorthodox instruments, including bass and guitar, bowed cymbals, drum machines juggled like turntables, and blowtorch on aluminum, to name a few. With his influences as starting points, he builds rhythmic structures and blasts them with walls of noise, monolithic basslines, and other jam-shrapnel. Despite the chaos and complexity of the process, the results sound neither clinical nor garbled. The tracks always find their way to an emotive melody or strong groove. Lush guitar strums and yearning keys ride the high-speed beat of "Slow Channel," which seems to soar through cloud-cover as one snaking mass. "The Order of Things" folds a cosmic guitar-part into a backdrop of heavily side-chained noise. "Arthur Russell" features a neck-snapping rimshot and crushed snare that splash up the bits of an elegiac vocal part. Through violent and idyllic atmospheres, Jream House jettisons its inspirations like landing shuttles, always in search of new ground. These are songs, not just experiments.
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LP
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OP 029LP
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180-gram vinyl. Just waking up and everything sounding slower. Holes in the wall. The unknown in the familiar. The shock of the new. Just-turned rubble. Thick clouds of recall. Muted highlife, de-centered hip-hop, and disparate conversation. Heavy, sinking jazz and dissected infomercials. Too much chewing gum? Not quite anything, or half of something. Reminds me of. Smells like...? Turkson Side is Africanus Okokon's first album. It is almost entirely sample-based, made largely within a simple, custom-made playback software with each track recorded in one take with very little editing. "Wrake" is the only exception, a recording of him playing an Ethiopian krar inside his house. Africanus is no stranger to Other People. Primarily a visual artist with background in video, animation, and collage, he's designed most of Other People's site graphics and a number of release covers. In part, this album as Okokon is a translation of a developed aesthetic to an unfamiliar medium. Like his collage and animation work, it's rough-hewn yet deliberate, consciously inclusive of digital processing and sampling of artifacts for their unique texture and visceral affect. Throw the means aside, though, and what you've got is an evocative collection of craggy, trance-inducing concrète-poetry that acts equally well as soundscapes for late night or early morning. "Asphalt" starts things, a near-15-minute "multimovement" piece that moves through zones of blasted commercial intro FX, alien telecast highlife, gibberish spoken word, and xylophonic skeleton dance marching music, lingering at every interstice. Shorter, more singular pieces follow, each swathing and detailing a particular rhythmic structure with choice loops -- the detritus of film soundtracks, warped conversation, gainpumped jazz-shuffles, and old, mystic drum tapes that glitch and squeeze through the software's un-sanded synapses. Higher volumes are recommended to bring out the record's finer imperfections.
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