The ostensible follow-up to So Percussion co-founder and composer Jason Treuting's ambitious work Nine Numbers, Go Placidly with Haste is a multi-movement sonic meditation that actually bears a more distinct connection to Treuting's early work Amid the Noise (2006) - which began as a soundtrack, then morphed into So Percussion's third album, and from there into a communal music-making project that can occur with a flexible number of musicians in almost any combination. Go Placidly takes up that thread and weaves it into a vivid tapestry of moods, styles and genres, from the oddly folk-inflected strains of "1927" (featuring Irish singer and Afro Celt Sound System mainstay Iarla o Lionaird) to the Eno-esque keyboards and electronics of "White Diamond," the frenetic and angular "Build Up," the mournful and stately "Slow Moving Chords" (with singer-songwriter Sam Amidon), the groove-chasing "Four Lines" (with composer and singer Angelica Negron) and plenty more. By turns whimsical, expansive and exploratory, this is new music in the most thrilling and adventurous sense of the word.

Sony Music Masterworks is thrilled to announce it's first release from Nigel Stanford, the creator behind the viral "Cymatics" video that visualized a brand-new synthesis of music, art and physics. Accompanied by a new title-track video that's sure to amaze, Automatica will be released on September 15, 2017 Automatica is the New Zealand artist's first album since 2014's Solar Echoes, which featured the "Cymatics" single. Automatica takes Stanford's trademark synthesis of dance-pop, electronica, and technological innovation to a new level. It's also his first album with vocals, featuring guest singers Catey Shaw, Elizaveta, and Dallin Applebaum, and rapper Noah Caine. "I've done the instrumental thing my whole life, but I've always loved pop music, loved rap, " Nigel says, "and 'Cymatics' gave me a bit more exposure and allowed me to meet some more talented people and not do everything my own self!" Still, he does play all the instruments - not just electronics but also guitar, bass, and drums. "Most of the drums were real at one point, " he adds with a laugh, "before getting processed and sampled and chopped up."

So the album is now a reality with, first, the original work and then 11 very different remixes or new compositions inspired by the work. As We Like We mention in a note on their contribution, and which is also mentioned in the introduction to the work, Else Marie Pade wrote a programme note when the work was released, saying among other things: 'The first sound is set in motion, is caught up by the next, which is caught up by the next, etc., in a powerful crescendo.' That is the spirit in which the album is created: the original work was the first sound that is caught up by the next sound in the form of the next remix, which is in turn caught up by the next remix, and so on. Thanks to every single contributor on this tribute album for the musical will to pay tribute to Else Marie, for commitment, for dialogue, for inventiveness and not least for responsiveness to the many potentials of the original." - Henrik Marstal.

This LP fits in seamlessly with an entire series of releases that have come from TACET over the years. TACET has thought up quite a number of novel tones and signals in order to systematically test the qwuality of an LP system. Some of these sounds enter into the border of what vinyl technology is capable of achieving. The LP was created in cooperation with the Analogue Audio Association and with the help of Daniel Krieger of SST Cutting Technology.