Поиск:2 elements

The artist described the EP as being inspired by many of the heavy concepts that have been concurrent in his life during the process of making the tracks. The sounds have adopted elements of the music that have been experienced during his trips to play out in Berlin's unique music scene. Key to the penning of the tracks are the loss of distinctive sounds, expressive emotion and unparalleled feeling that was once so prevalent in the many of the lesser known and iconic works produced in the earlier years of House music. Channeling the desire to bring back what has been missing in today's formulaic music production design, Traela hopes to find the listeners once again looking inside the content of the music. Finding the emotional substance displayed through healing and the release of lost love, Traela's message on the making of this release: " Many ideas were prevalent during the process of the EP but the most important during this exercise was finding yourself, learning to express and learning to love yourself in order to love others'.

Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download - HOLOVR is Jimmy Billingham who also records under the alias's Tidal, Venn Rain, Journey of Mind & Holographic Mind - He has released music on Firecracker Records, Opal Tapes and Hooker Vision as well as his own Indole Records Release Information Anterior Space may strike some listeners of a certain age as an echo of the gilded age of "armchair techno" exemplified by Warp Records' Artificial Intelligence comps. There's a similar convergence of the cerebral and the blissful in the four epic compositions HOLOVR (aka Jimmy Billingham) finesses from his analog and digital synths as that found on those early-'90s pieces by Black Dog, B12, and others. Discussing the creation of Anterior Space, which is the first HOLOVR release to feature no beats, Billingham reveals, "Dropping drums gave me a bit more freedom in terms of tempo and rhythm, and it was actually really liberating. Having fewer elements in a track also meant it was possible to record live, which is my preferred way of working, as you can capture an actual snapshot of time and a natural, in-the-moment negotiation of the different elements of a track. I'd know a track was ready if I could sit there and listen to it looping round for long periods of time and really get lost in it, and then I'd try and capture a nice section of that in the space of 10 minutes or whatever." You can hear this on Anterior Space's opening 11-minute track, "Into Light." Its subtle gradations of warped tones and implied rhythms teem with hyperactive elegance. The titular light glints off of several jeweled facets, like a disco ball made out of diamonds. The slow, mobile-like rotation of synth baubles over a foundation of yearning, icy drones on "Apparent Motion" creates the illusion of a shimmering stasis, but there's actually a great deal happening here. .

Dublin based disco imprint Fatty Fatty Phonographics return with the 4th instalment of their 'Downtownsounds Classics' series, this time throwing three stone-cold classics onto one 12, all given the re-edit treatment by in house producers Pablo and Shoey.
Voiced by Leroy Burgess, with drums by hip hop legend Marley Marl and production by The Aleem Brothers, 'Release Yourself' was a huge across-the-board anthem in the clubs of NYC on its release in 1984.
The lads have superglued elements of both the vocal and dub sides together for an epic end of night take on this beloved classic.The B side features two under appreciated classics from the pen of one Billy Nichols, a man known for his work with West End Records (the Levan mixed 'Give Your Body Up To The Music') and the funky band of brothers that was BT Express.
On 'Take Me...' Nichols' hooked up with disco master Patrick Adams for an emotional, string drenched disco belter that has found favour with the likes of Dimitri from Paris, Floating Points and Hunee.While 'Dance If Off' is a wonky proto Acid-Disco trip beloved of Rahaan and Eric Duncan of Rub 'n' Tug. With copies going for over 300 euros, you can do your bank account and your dancefloor a favour here...

Lessismore (formerly Lessismorecordings) was launched 10 years ago, and has been on hold for a few years. At the time the transition from vinyl to digital didn't feel right and now that the vinyl market is coming up again the love and faith to release a beautiful product (vinyl with cool artwork) is back.This 10 year anniversary is a good reason to revive from hibernation state and to start sharing great music again. The first few releases from the relaunch will represent re-releases of the strongest EP's from the back catalogue with remixes by respected artists.

The Alexis Tyrel remix of Estroe's Taxotere has a palpable energy which comes from the masterful fusion of pounding kicks and luminous synth stabs that swell and bulge out through the mix like bright flashes of summer lightning.

The Advent remix of MBC's Zeitlupe starts with a galloping synth that builds in intensity. Just as one is lulled into a "false feel" of the track, the synth part transforms into the syncopated groove of the original version. The track fluctuates between both patterns periodically. With several intriguing modifications of the main sound throughout, and with a pacey aggression, this track is both fierce and deep.

Gideon also remixes Zeitlupe and in his version the intensity is increased a little more. The main groove is prevalent again which drives this remix. However, the real profound sections are where the beat breaks down and yields to the resonantly electrifying lead synth which consumes all in its path. Conspicuously powerful and driving.

Once more on remix duties, this time Gideon interprets Alexis Tyrel's H for Hustler. Rhythm and percussion based, it exemplifies Lessismore's ethic - it is both fundamental and bold. Strong and steady machine like beats push the track along relentlessly while industrial scrapes grind away on top. The "Hustler" sample is sporadically placed but is still used enough to give a hypnotic feel to its use.

The original version of H for Hustler by Alexis Tyrel focuses on the basic elements that are at the core of timeless dance classics. The captivating and hypnotizing beat powers its way throughout. The "Hustler" sample is used rhythmically to great effect while the perfectly aimed machine-gun snares find their mark and are perfectly positioned to hold attention and build atmosphere where needed.

Following the recent reissue of Vox Populi!s Aither album, Emotional Rescue further explores the more discerning, esoteric sounds of the French 80s avant-garde scene in coute Visual artist, sound designer, musician, label founder and emotional tree consultant Ramuntcho Matta is a man of shifting, relentless talents. Diagnosed with autism at a young age. Therapy based on yoga and music set him on a path, leading to learn from the likes of composter Cuarteto Cedrn. Discovering avant-music at an early age, he moved to New York to study in the "Third Street School of Music", meeting John Cage and going on to work on projects with Laurie Anderson, Brion Gysin and Don Cherry. His architectural concepts applied to composition were explored on his 3 solo LPs from the 1980s. The middle of these, coute, is possibly his most cohesive, exploring the use of extra-European musicians, especially African and Brazilian percussion, jazz horn playing, as well as Uruguayan singer Elie Meideros. Mexicos Cacau de Queirozs performance on saxophone and flute is stunning, former Gipsy Kings member, Jorge Negrito Trasante attributes much of the LPs Brazilian percussive flavour, while Magmas bassist Jannick Top brings gravitas, including performing a water claps duet alongside Matta on the exquisite O Clapo. As one piece, coute endlessly avoids standard musical formulas, seeking textures of far-flung elements; alchemy against a background of freedom to experiment that would be the theme throughout Mattas career, whether setting up SSR records under the alias Michael Pope or in his more recent output, teaching methodology of doubt

On UKNOWYs latest release 'Homeless Soul Music' NEMOY delivers a trilogy of warm & unique house grooves further extending and developing UKNOWYs catalog of organic dance music. From the rolling and hard hitting banger 'We made it' to the percussive piece 'Particular Beat' to the laid back, bassline driven 'One for CKENZ' NEMOYs sophisticated blend of delicious synth- and samplework with additional remixes by Sam Irl & Chief makes for an overall exciting EP. Ranging from classic house cuts to afrobeat elements this crisp production will get into your head & legs!

Kepler. makes the second contribution to Silencio's catalog with "Planetary Systems I".
With refined ethereal elements rendered from what is surely an eerie origin, "186f", is truly engaging. This track is fueled with a seductive synth heralded by haunting vocals that effectively whisper over its steady, punchy bass line. Meandering in the background is the type of idiophone sound one would associate with a hand-percussion triangle instrument. Its particular effect provides a complex, rolling rhythm that vibrates in a beautiful tone until its objective has been achieved.

On the B-side "452b" is a great track to open up a set with, gentle yet still energetic in how it introduces itself to the audience. It begins with a series of echoing sounds that rise and dive throughout, seemingly reflected off the surface of one's subconscious, in a satisfying manner. Accompanied by a deep pulsating bass line that accents its driving drums, this track will set the tone time and time again.
Imagine the dawning of a realization formed from an inspiring event in nature. The second track, "Luzon", features a laid back tropical tempo and samples that feel transported from a lush, rhythmic rainforest. Kepler expresses this vision within the confines of a catchy groove, utilizing subtle bird sounds and rattles that resonate over layers of atmospheric synth. This is emotional music meant to move a crowd or manufacture a sincere moment of clarity.

Semper Memor's fourth Ep, a timeless dance floor winner for the darker hours from Berlin based artist Uqbar (aka Solune from Arcarsenal, BCR). Uqbar merges electro and techno elements with acid lines, electronica/IDM references, and spatial aesthetics. Including EBM infused remix from Detroit stalwart Chris Mitchell.

Jam Money is the shared musical vision of Kevin Cormack and Mathew Fowler. Mathew (Bons) and Kevin (Half Cousin, Harry Deerness) first began collaborating as part of the Blank Tape Spillage Fete, an ongoing collective project of art and music which focuses on the creation and perpetuation of small DIY exhibitions, related events and limited releases that celebrates the hobbyist nature of home recording.

Jam Money revolves around a passion for the simple and sometimes restrictive nature of four-track cassette recording. Using old half-broken guitars, clarinets, charity shop keyboards, toys, family heirlooms, zithers, home-made percussion, and household objects a shared dialogue appears, involving both mark making and musical mishaps, allowing the makers to be carried along as the music finds its own way.

Genre definitions melt away in Jam Money's music as ambient dissolves into lo-fi rock, noise into fragile naive classroom melodies. Creativity beyond easy categorisation.The first recordings titled 'Blowing Stones' were self-released in 2014. The cover and insert artwork for this record featured abstract paintings by the artist Aimée Henderson whose work and process is a great influence on their music. Having played gigs alongside kindred spirits National Bedtime and Plinth, the tail end of 2015 saw the the band travel to Germany to play with the Notwist and Le Millipede for a series of 'Alien Disko' nights organised by Alien Transistor, a label with a shared kinship of both the weird and wonderful.

'A Gathering Kind' is the second album by Jam Money: a journey of sound and colour, subliminal images and narrative. The roots of this collection found Fowler and Cormack using an earthier, more instinctive language, making it a rougher-edged sibling to their other recordings, with parallels to the home-spun worlds of Flaming Tunes, Pumice, Maher Shalal Hash Baz and World Standard. Aimée's artwork features again, both paintings and music forming a collective language of dream-like adventure.

"Poignant and exploratory. Melting together acoustic and electronic elements, the narrative throughout is one of a ghostly world heading for winter. A firm fan favourite Stephen Pastel (The Pastels & Monorail Music) on Blowing Stones.

"Created in question and answer form, their songs exist like little sculptures - wayward and peaceful, sometimes whirring into automatic life under the pair's combined attention."

"After almost 20 years of making tracks with blaringly loud kicks, you tend to start producing with the other elements first to give yourself a break from the constant pounding of monitors at point blank range. Following an analog filter shopping spree, I began working on a group of tracks where the low end was satisfied by the filtering, and realized these songs worked just fine without a bass drum. Therefore this record is called "Rareforms" since most of my other work consists of a kick drum and lots of loud effects. This record is dedicated to the brilliant synthesist and interpreter Isao Tomita, whose records always provide inspiration in the lab. Also to master storyteller Rod Serling and his frequent collaborator Bernard Hermann, whose score for the Hitchcock film Vertigo I adapted through some MIDI processes and wavetable synthesis, then sent it through a 4-foot spring reverb." - Phil Moffa

As a label who encourages exploration and collaboration, it was with great excitement that we received the new project of these guys. Mainly, at first because you find here the perfect amount of atmospheric elements with sustaining rhythmic. Both tracks fit in many situations, from building excitement and tension to creating a very special moment, using beautiful voices. In those two cases, both tracks here fit perfectly. While the title brings the idea "Everything is lost", this EP has everything ready to bring hotness to clubs.

A veteran of the music industry, Dave Ellesmere is way past his hardcore drumming days. Harboring the accumulated skills with a multitude of instruments, his electronic productions are intricate and meticulous. His passion for Detroit and Chicago soundscapes is evident in his latest vinyl release for MixxRecords.

'Caught In A Moment' starts off the EP with a steady techno grip engulfing a serene melody interspersed with sharp and gritty accents.

The second track opens up with solemn piano progressions combined with high pitched synths, conjuring different spheres of the musical spectrum. Aptly entitled Universal Vibe', the track evokes a very diverse array of sounds layered on top of a dubby bassline.

The sub-bassy 'From Now On Only Good Things Will Happen' kicks off in a very introspective manner, developing into a dreamy yet dark journey filled with anxiety ridden chords and drum pads.

Label chief's Tony Rodriguez aka Brothers' Vibe is on duty for the 'Universal Vibe' remix. Percussion takes the main lead, giving the track a rolling pace. Stripping down a lot of the global elements but keeping some bell chords, Rodriguez's reinterpretation offers a tribal infused piece with a completely different mood that is just as contagious as the original.

For those of you wondering what Adesse Versions was doing at our Heist Boiler Room this summer in London, the answer is here. The "Push it along" EP for Heist is Adesse Versions first appearance on our label and features 4 stunningly raw and warm originals, and an amazing remix by New York's ambassador of funk: Ge-Ology, together with multi-instrumentalist Marc de Clive-Lowe on keys.
After having released numerous records for Jackmaster's Numbers, Local Talk and Toy Tonics, we're happy to welcome Adesse Versions to the Heist family. When he sent us his demo's we had the tough job to choose the right tracks, cause there were just too many. The selection on the "Push it along EP" features what we feel are his purest work up to date. With only a small amount of elements, he manages to create such a big and warm sound, finding a great balance between gritty percussion, rich analog synths and funky sampling work.
Opening track Tout it is built around an ever evolving arpeggiated synth, a dancehall-esque percussive riddim and lovely pad work. It builds up slowly, without ever becoming dull, changing small elements and adding momentum with each step.
E to E is based on a chopped vocal looped to bits (only shouting: (E, E, E, E, E..), dancing hihats and a rolling bassline, whereas Geology flips the high energy original into a classic deephouse tune that fans of Larry Heard will love. The steady bassline and trianglework form a perfect canvas for MdcL's work on various synths, adding layer after layer of melodrama.
The title track goes for the same recipe as Tout it, with fierce snares laying down the rhythm and a far away disco sample adding the right dose of funk. Ebony Roses is the final track of the EP: A beatless groove built around a spoken word vocal with dreamy piano work around it building up suspense as the track evolves.
We've been playing this EP over the course of the last few months and it's been getting great response, so we're happy to finally share it with you.

Sincerely yours, Lars & Maarten

Josh Praus has been involved in San Francisco's Bay Area scene for the last two decades. A prolifc collector and player of records, What We Tellin' Them marks his frst public outing as a producer. As debuts go, it's pretty darn impressive.
Praus has been working hard in the studio over the last three years, creating tracks that draw infuence from a wide range of styles and artists. He cites 'downtempo, disco, house, Italo and techno' as major inspirations,
and listeners may hear elements from all of these disparate styles on this assured, confdent EP.
Some may hear echoes of the trippy, tribal-infuenced house sound of Siesta and Tango Recordings in the dense, drum-heavy shuffe of 'What We Tellin' Them', while others may fnd comparisons with African rhythm tracks and hypnotic, late night techno. However you frame it, 'What We Tellin' Them' is
an impressively percussive, mid-tempo workout designed to tease and titillate late night dancefoors. Flipside 'Lucas Valley Dr', featuring the dreamy, freestyle vocals of experienced San Fran singer Nina Lares, couldn't be more different. Sparse, synthesizer-driven and undeniably intoxicating, it seemingly channels the spirit of both dubbed-out West Coast deep house, and the similarly delay-laden New York proto-house of Winston Jones and Paul Simpson. Throw in clear Italo-disco and Chicken Lips infuences, and you've got something that's undeniably magical. Both tracks were produced by Josh Praus at his home studio, with additional production, mixing and mastering by friend Layne Fox, best known as part of regular Leng contributors 40 Thieves.

Newborn Munich based label Slam City Jams comes around the corner with its first release from young gun Gonima straight outta Montreal, Canada. His Grids EP An exciting mixture of swinging distorted drums, catchy melodies and hazy atmospheres. You can definitely spot Gonima's passion for DX7 adventures, analog drums and tape hiss right here. Opener "Grids" starts off with lush synth blips, 707 drums and a bassline Bootsy Collins would give high-fives for. "Subdivided" is one of these tracks that shows you that it doesn't need more than a few elements to get you going: A rough kick drum, cowbells and a smooth pad that gets slapped by just one bass note. The last original on B2 is the ambient-like "Organ Tutorials", which shifts your mind directly to outer space. And as if all this wasn't enough, someone really special did a great remix job - Khotin from 1080p fame, who gave the A2 cut a treat with his unique trademark sound. Four house and ambient tracks both for the floor and the couch. Or as Gonima puts it: "An EP that has the sound of visiting home in the winter and rediscovering environments frequented in the past, birthing previously obscured memories. The sounds within are a ritual dance to stay warm through the procession of the seasons"

finally repressed

Back in February 2013, shortly after their impressive first release as a label, Music Is Love launched a double VA entitled Lovebox: an 8 track double-vinyl release that included tracks from 8 talented up-and-coming producers on their roster. By innovatively previewing the producers in this way, the label laid the foundations for what listeners could expect for each artists' subsequent EPs. The artists who released on it were not hyped up flavours of the month, but rather emerging talents who sat perfectly with the label's musical ethos - quality and original underground house with a contemporary, dynamic feel. Since the VA, the label have gone from strength to strength and have firmly established themselves as one of the most brightest house labels around in the UK.

Just over a year later and following in the success of its predecessor, MIL return with their second VA and with that, a chance for listeners to hear the new additions they've acquired, in addition to some already known faces. Liam Geddes opens proceedings with Untitled. A deep sense of soul permeates the whole track as a rumbling baseline imbues the beat with an ever-present sense of groove that never lets the head stop nodding. Geddes has really fine tuned and matured his sound over the past year, and this track is further evidence of his quality as a producer. The subtle percussive rhythms, electronic bleeps and synth nuances give this track a natural flow, as Geddes conjures something altogether more hypnotic, dark and purposeful.
Mr.KS, one of the newcomers to the label, outlines his coolly crafted style with track (Music) Makes Me Stronger. Brittle drums and deep warped synths suck you in and out and shape the structure of the beat, while afflicted chord patterns combine with the hypnotic repetition of a vocal sample to give the track a gesture towards techno but with a flow that pulls in house elements. Cassio Kohl introducers himself with a warm, melodic house number; rumbling synths circulate in the background of the track while ticking hi-hats and snares play off against the sumptuous vocal sample, which builds and falls back nicely into its original path until electronic glitches sporadically ease in and move the beat forward.

Jamie Trench has been making some serious headway of late and his track I Want You with Rebel serves a timely reminder of a producer on top form. A heavy, rolling baseline resonates intently, building against murky vocal samples, shuffling snares and off-beat key stabs that grow in presence and intensity - a track that will no doubt prove a high point in any DJ set. Label boss Oli Furness has a raw knack for creating crisp, heavy sounds and Take Monday Off remains on a similar path, albeit the beauty lies in the subtlety of arrangements rather than bigger hitting sounds. Chopped shimmying keys tease, filter and build fluently with urgent hi-hats and swinging drums that flourish harmoniously together, while an understated baseline adds weight and rhythmic groove typically inherent in Furness' work.

Italian heavyweight Tuccillo has released on some of the most reputable labels on the circuit - releases for 20:20 Vision and Freerange is evidence enough of his provenance - and this time he brings his baleric house sound with the impeccable sounds of DubFlanged Gru. Shimmering percussion shakes meander against the bumping bassline while the endearing, muffled vocals that threaten to break out are superseded by breeze-block keys that filter and descend into a chattering groove. Dutch producer U Know The Drill brings things back into heavier house territory with a no-nonsense, stripped-back stomper, the type of track we've been used to hearing on Dutch affiliates New Jack City's material. Heavy snares kick with a punch, and the deep drone-like vocal swings against the wobbling baseline and tapestry of electronic bleeps. Other sampled vocals and glitches weave in with the juxtaposing elements playing off one another to huge effect, ensuring that sheer energy pervades the track.

Jackson Ryland rounds off the heavy 8 track VA - scattering hi-hats and swirling pads build, while the shuffling drums roll on until fleeting chord flourishes and a musky vocal hook bring the track into wistful nostalgia. The elements of track balance superbly and are propelled forward by the intricate drum arrangements and well-crafted hi-hat/vocal combo.
The difference in approach and outcome from each artist results in yet another highly impressive outcome, with 8 high grade tracks that show another side to Music Is Love. The sounds are tougher and the mood is darker, but the premise of the whole MIL concept remains more apparent than ever with this release: sourcing fresh underground talent, curating original electronic music and evolving artists already on the roster.

Taciturn Manner is Reggy van Oers's first full length on his own Telemorph imprint.

Pertained in a period of strained self reflection, several field recordings have become the core upon which the album has been created. A persistant continuous movement throughout the elements of the tracks causes a certain constrasting tension and gradually transforms into lush cinematic textures.

An intricate and mesmerizing journey, full of rich and surprising details, resulting in a rather emotional expression of his constraint style and coherent distinct sound.

Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield's relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani's house, so she grew up listening to the radio and was hypnotized after hearing 'Remember Love', by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, If you're into bands like Cabaret Voltaire or Flying Lizards, call me'.

The duo recorded their debut album Stadia' in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the 'cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier's processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we've added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.

All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. Powerful and evocative, soundtrack music for a rising storm or revolt.' Sound of Pig magazine 1985

West Norwood Cassette Libarary aka Bob Bhamra, one Half of DATA 70, presents the debut release on
WNCL Recordings. 'What It Is' hangs techno stabs sub bas, old scook bleeps and a shuffling break around a dubstep tempo.
Brackles on remix duties, stylishly takes essential elements of the original and shifts the tempo to provide another one of his genre
bending productions - a psychedelic space jam that's broken enough for any dancefloor.
Support from BEN UFO, HEADHUNTER, KID KAMELEON, 2562 MARTIN KEMP, PANGEA, SHORTSTUFF,UNTOLD,
BOOMNOISE, MARY ANNE HOBBS.

Given the underground acclaim heaped on Marie Davidson's previous albums - ultra-stylish affairs that blend elements of minimal wave, dark Italo-disco, off-kilter electro and moody ambient - it's little surprise to see her popping up on Minimal Wave offshoot Cititrax. The album's nine tracks are largely sharp, rough and fuzzy, with sparse-but-dense drum machines rhythms underpinning bouncy, delay-laden synth lines, thrusting electronics and Davidson's sleazy, spoken word vocals. It's an attractive combination that guarantees thrills throughout, from the almost claustrophobic throb of "Denial", to the mutant electrofunk bounce of "Good Vibes".