Clarence Wu
Facing The Sea

The Time In Betweeen is the new release from Cure Music, by the well known duo Dani Casarano & Felipe Valenzuela. The guys have built this EP in different moments of the last 3 years. Experimenting and rediscovering each and every one of the new and old equipment in their microworld (as they called there studio). This is how "the time in between" seems to be a work full of inspiration and a refreshing start for them this 2022. The first of many to come.

For the next One Instrument Session series, we’re pleased to present the Indonesian artist, Fahmi Mursyid. This mini-album, limited to an edition of 200, includes 6 tracks that take the listener on a warm, experimental journey of varying timbres.The artist has always had a personal interest in traditional Indonesian instruments, specifically from Sundanese culture, the second largest Indonesian ethnic group, native to the western part of the Island of Java.Paying homage to this source of inspiration, he has chosen to use Indonesian instruments for almost all of the tracks on the 12’’. Considering the strict guidelines One Instrument gives the artists, Mursyid has succeeded in getting the most out of his chosen instruments.With each of the 6 different acoustic instruments he has eluded clichè and surpassed physical limitations to shape a bold, alternative musical language. 

All tracks are recorded with only one condenser microphone.Composed and produced by Fahmi Mursyid
Mastered by Giuseppe Tillieci at Enisslab Studio, Rome
Original artwork by Alejandra García and Marco Ciceri
Layout by Marco Ciceri

!Karnak Calling! !الكرنك يتحدث!We are thrilled to announce the first KOA release. Karnak On Acid record label was born after a mystical trip to Luxor. In this first EP, Ramez, an up and coming Egyptian talent has produced 4 groovy and trippy tracks. With its unique oriental electronic touch, this record will transport you on a journey to the magical Karnak Temple.

Boredom, anxiety, painkillers and frustration make a heady mix for both reflection and action. For three weeks I stared out of the window of the tower block onto the tall brick towers of the old asylum chimneys. The past was a strange land suddenly out of reach, the present confusing and claustrophobic, the future something I could only visualise and idolise. From the balmy Autumn day of my release a light was switched on, buzzing urgently like a neon street lamp on my path. Life took on new vigour and meaning. Pleasures starkly illuminated, annoyances inconsequential. Old work was re-examined and appreciated. Machines treasured and connected. My basement filled with ever greater warmth and excitement. The toy towns of our inner minds are constructed of a million tiny building blocks of experience.There’s a freedom that comes from realising what might have been. Peace in reflection, and I take pleasure in the hum drum. Unhampered by trends, untethered to a scene, stripped back to essential carnal influences and desires.Who are we but the sum of our experience. ‘Everything Is Quite Now’ meanders through a reimagined landscape of personal history, releasing musical fragments to drift among soaring treetops, hollowed lakes and labyrinthine concrete structures, liberated from genre and form – alive at last. In these great expanses, light and dark are presented not as polar opposites, but as a limitless, unified whole. References to EBM and industrial techno manifest within the sporadic percussive framework whilst gauzy ambient backdrops form an entire world of their own, constructed from the gentle hiss of a looping tape, the booming caverns of a muffled kick, the vivid distortions of a crystalline synth. In the depths of a misty forest, warmth permeates, absorbing inside it all of the darkness, pain, romance and beauty from before.