Buscar:adam vandal
- 1
4
3
4
3
Third release for Kinda Busy with an Acid / Trance touch! Of course it is still pumpy papa!
Blumet with Sin23 in a tribal adventure with a cool surprise towards the end on From the Ashes, Adam Vandal will break the ice with a dirty 154 bpm acidy and dark Tribe, delicious!
The flip is a big long theme from Sin23, dedicated to the infamous Aku Sound System, super pumpy Tribe, for real, at 165 bpm!
Who use to smash Crash Bandicot? SIN23 for sure!
4
4
4
Progressive acid tribe old school. Repressed from 2001 with remasterised sound. A little pearl of the Indie world.
Minimal progressive tribe : Dj Tool !
Superb tunes, all built in progressive DCT style... Taking their time to develop their memebrane... mambranes that comes to you and hold your brain far away !
4
Twirling progressive mental techno, with aTribe pinch... the whole thing packed for Deejays... With a solid politik criticism. Anarchy in the Cz !
Superb mental tribe progressive music : sweet DCT style !
Tribe tools... progressive traditional CZ style !
BIG !
Minimal olschool DJ Tool Tribe sound.
Back in the XXth ceintury and one of the very first CZ sound....
Bloody early techno time-line... And Adam Vandal first records on what is the "Dual Cyclo Trial" Record !
2023 repress
Live set exerpts from Adam Vandal & TMH.
A real banging sound
Numbered ltd edition / Serygraphied sleeve.
DJ tool of a Hardtek tribe minimal sound !
- 1: Heatsick (Feat. Hilary Jeffery)
- 2: Plastic Fascist
- 3: Praya (Feat. Bendik Giske, Maria W.horn)
- 4: Past Blast
- 5: Mancini Sighs
- 6: Black Metal Rewind (Night Drive Astra, 200)
- 7: Death By Nostalgia, 1688
- 8: Passengers (Feat. Bendik Giske, Maria W Horn, Adam Betts)
Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.
Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.
Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.
His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.
Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.
Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.
But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.
The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.
In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.
John Twells, 2025
8
Double album for 2025's Peur Bleue production, bringing oldschool Tribe and Acid ... Many first timers on vinyl supported by beloved artists since years....
Photo of the shop by Livia Saavedra, and visuals By Vstee FDB
Mastering by Jo.IND and cut by Simon Davey.
Pressed at Records Industry.
4
4
4
Mental tribe to dig in the mix or to listen properly in the dark.. at night... with some friends...
- 1
Artículos por página
