Big or profound sensations from small gestures which are carefully arranged. Using a mixture of sacred and profane, or classical and prosaic sound sources, knitted into intricate, fleet-footed compositions that virtually spring into the ear. Profondo Rosa is composer Ailin Grad’s first vinyl album following years embedded and loved in the Argentinian experimental music scene, with past treats on labels Krut, Sun Ark, Orange Milk Records and her own label Abyss, devoted to ‘connecting Latin Juke with the world’. There’s a playfulness at the heart of Profondo Rosa that’s immediately charming, with a sense of scale and spatialisation in the sounds being toyed with, exploring the strange pleasures and satisfaction in her approach to delightful and fresh feeling sound design. Aylu is known to be as likely to deploy the sound of a finger click, a fizzy drink being cracked open, or a fly buzzing past the ear, as she is drawn to sampling gorgeous strings or instrumentation. Her debut album for Mana constantly builds territories that tug at your heartstrings and then have you grinning five seconds later. This versatility and acceleration has often resulted in her music being compared to footwork, alongside collaboration with other producers experimenting in that sphere; in 2017 she and Foodman put together a dizzying hour of sounds for NTS. Her miniaturisation of rhythm and ringtone-like sample size could also bring to mind SND circa their warmer softer glitch Tenderlove phase, or perhaps the approach that Teenage Engineering take to designing tools for music making. Each are deriving pleasure from small and satisfying shapes, as well as advocating an object-oriented philosophy and minimalisation in their work that sidesteps a draining of colour. Sound is fun, and in Profondo Rosa it sounds like Aylu has that at the forefront of her mind. Her hyperreal sound and its link to the languages of electroacoustic or computer music are clear, but she outmanoeuvres many of the overly-academic and formless examples of those genres. Profondo Rosa’s skeletal assembly of objects becomes tunes in an elegant, almost understated way; tactile elements quickly combine and roll into deeper and persuasively emotional places. These compositions give off an air of being very free, very experimental, despite being meticulously artful and studied arrangements on precise and nimble coordinates. --- Artwork by Roberta Di PaoloTypography by Gustavo EandiVinyl mastered and lacquer cut by Kassian Troyer @ Dubplates and Mastering, Berlin.

Argentinian electronic artist Aylu's taste for wacked-out humour, interstellar synths, awkward funk bass lines and pointillistic computer music is tied together on elastic bands, thrown around and webbed into this kaliedoscopic new suite. Moments of hallucinogenic ambience emerge then elapse, tumbling into wiggling rhythmic patterns. The ghost of Jaco Pastorius haunts the mainframe, battling in real time with pinball machine synths and splattering digital percussion. The James Ferraro 'post-internet music' influence in Aylu's music is apparent, but there's something about her work that feels more rooted in the physical world. When sounds of percussion rattle like builders hard at work, and voices appear both singing and yawning, it serves as a perfect metaphor for practice; music that is made from hard graft, but with tongue firmly lodged in cheek. "I like the temporal nature of music, being something that develops over time, which makes it different from a photograph or a painting. You can step into a narrative in a fictional world, not because it tells a story per se – I am not telling a concrete story in my music – but as a space you can enter and navigate. I like creating virtual, fictional worlds." - Aylu (interview in KRAAK's Avant-Guardian)