Cerca:acid j

Una epopeya electro-techno-cyberpunk es la nueva aventura que nos propone la referencia 18 de HC Records, donde alta tecnologia, radiaciones gamma e incursiones en la matriz se entremezclan con los futuristas ritmos rotos del artista andaluz C-System bajo su
encarnación Spectrums Data Forces.

Hackeamos los códigos de acceso del sistema del ritmo que nos permiten escuchar los primeros sonidos del track que da nombre al Ep, X-Tremely Deeply, una secuencia tan épica, como obsesiva e hipnótica, aderezada y reforzada por un inteligente uso de arpegios
ácidos y etéreos pads. A modo de reflejo en el hielo, el segundo corte de la cara A excita nuestra glándula pineal guiándonos en el lisérgico remix firmado por el artista inglés Featherstone. Herrumbre, óxido, procesos mecanizados y propulsiones de pura energía se
alternan en formato rítmico en Sector 90, primer track de la cara B, que combina en industrial armonía electro y techno fusionando primitivos y contundentes ritmos rotos con oscuras y abisales secuencias melódicas cargadas del primigenio espíritu trance.


El track B2 titulado Viny, nombre del gato del productor, sigue la senda de melodías densas y reconfortantes, como el ronroneo de un felino, sin perder un ápice de dinámica y emoción. El último tramo del surco de vinilo corresponde al remix elaborado por el músico Ampler
Clap a Viny, que redirige la composición hacia parajes sonoros misteriosos y casi terroríficos dignos de un Slasher de los 80´s o un futurista Giallo.

Como es habitual los bonus track en formato digital cierran la experiencia sonora en esta decimoctava referencia, por un lado 36th que aborda una oscura espiral electro saturada por siniestras secuencias sobre un huracán de metálicos y demoledores ritmos rotos. Y por otro Raw Rat, composición que parte de un minimalista ritmo inicial que crece y evoluciona en cada uno de sus ciclos como en el nacimiento y expansión de un cuásar. De nuevo dentro del apartado gráfico encontramos un encomiable cuidado y mimo por el
detalle, dirigido por Daniel Requeni y a su vez los videos elaborados por Frank-F dotan de una quinta dimensión al concepto artístico global. El master como es habitual corresponde a Steve Voidloss en Black Monolith Studios en Londres (UK).

File Under Balearic Gabba EP is the first in a new series of serious DJ tools that will encompass remixes, edits, originals and licenses, all with artwork that is a twist on the original Balearic Gabba logo by PlanetLuke. Up first is a new selection of music from core Hell Yeah artists that is unruly, impossible to define, and sure to twist dance floors inside out.

First up is Daniel Klein better known as SIRS, a Berlin-based mainstay with releases on the likes of Live At Robert Johnson. His cut of 'Super Rapido' is a dubbed-out blend of kosmiche chug and tropical percussion. Tumbling synth sequences bring extra colour as the groove builds over nine irresistible minutes.

Then comes Japanese downtempo master Calm with his Mellow Mellow Acid Dub of Sergio Messina & The Four Twenties's 'Sometimes' which is a nostalgic acid daydream and the perfect sunset soundtrack. Melancholic moods and lazy drums sink you in deep as the gentle acoustic guitars keep you afloat.

Label regular and Internasjonal and International Feel associate Feel Fly then comes through with an Estatico Danzante Remix of Pedro Bertho's 'Tornei' feat Mariana Gehring and takes us to the stars on twinkling keys, dusty breakbeats and steamy, worldly vocals that glow as warm as a setting sun.

Last of all is New York maestro and Loose Control Band member DJ Spun with his It's Rong Remix of My Friend Dario's 'Acid Mosquito in a Summer Night'. It finds him serving up a nine-minute excursion into jungle humidity with tribal percussion and jumbled bongos all run through with a spooky and primeval lead synth over lurching drum breaks.

The File Under Balearic Gabba EP brings a whole new dimension to wonky dance floor workouts.

Mystique Records kick off the label with MYSTIQUE Vision #01 a full frontal EP from Sylvester Javier, aka Stefano Curti of Vibraphone fame, that delves into the depths of house, techno and acid.

'Secret Ceremonies' nods to the hey days of tech house with the Italo Disco Mix a rolling '90s influenced number. The Cocorico mix weaves in a bit of that early 00's minimal feel before the Original touches on a jazzier, more soulful strand.

On the flip, 'Lost in 1st Avenue Loop' and 'Microdot' venture into the realms of acid tinged techno to round of the EP.

Second release of Berlin-based Shiver records.

DJ Seen takes you through a field of mesmerizing frequencies. The record's A-Side opens up for the waves of relaxation & dream. The title track Hypnotique lushes you into a continuous state of trance-induced easiness emphasised by a plain repeating chant.

Adam Collins’ remix takes you into a bubbling dreamworld underlined by a soft acid bed and a heavy deep neverending blanket of warmth.

The B-Side performs a natural switch, activating the brainwaves & inducing a woke state while trying to understand the sudden synth-explosions hailing through the tribalistic grooves of Bandicoot.

The trip ends with a burst of Insight at 6 am. A hymn to the frequencies of dance before it all settles down again.

Dropped Balls is the debut 12” vinyl release for Galway’s Belacqua. After previous releases on Unscene Music and Wherethetimegoes, Dropped Balls sees the Galweigan channelling his inner Sound Hack and travelling back in time to early 80’s NYC for a riotous collage of off kilter sampling, propellent drums, weeping acid and a general air of barely-controlled chaos.

Gunnish kicks things off with jagged piano riffs before charging full steam ahead into the wall of a dank basement in the Meatpacking District before Davish jumps into life with its supercharged, rolling drums. The A-side then slowly but surely descends into the washes of distorted synths and booming kicks of Youngish

On the flipside Marshall Applewhite (Yo Sucka! Detroit) drowns the stuttering funk of Gunnish in his trademark sludged out techno before the 12” takes a turn to the emotive with the transcending, slo-mo acid of release closer, Tennish.

Techno House Connoisseurs are back with another storming EP of various artists for dance floors worldwide. This V/A features some big hitters in Phoreski and Felix Dickinson as well as San Diego's Terry Jasinto, Seattle's Lock and Hammer and LA's Praus. Lots of ground covered here with unusual and unique stylings in the realm of acid and cosmic.

Phoreski's Kyoto Dawn leads the way with it's deep and euphoric vibe floating along leaning deep and etherial in all the right places.

Felix Dickinson follows up with his remix of Phoreski's track bringing the 303/acid into the forefront building it into a monster chugger complete with droning synths and 808 accents. Look for a sweaty frenzy at the climax of the track!

San Diego's Terry Jasinto makes his THC label debut with a tech house gem that pumps and weaves with it's dynamic drums and synth stabs. With several nice subtle layers of acid throughout, it is perfect for a high energy dancefloor.

LA's Praus continues to produce deep and complex tracks for THC records showing he has an ear for unique programming. His release, "Heedful" quickly gets your attention delivering haunting synths and beautiful acid lines in the cosmic fashion only Praus can deliver.

Seattle's own Lock and Hammer rounds out the EP with an unusual and quirky burner that intrigues and delights in a wealth of analog glory. Built for a warehouse, the artist has let loose a track that will glimmer on any loud system doing a number on your head/psyche in the early hours.

Repress.

EYE is back. Metamujer marks the third installment on the Knekelhuis label and we’re extremely happy to release this document of another chapter in Laurène Exposito’s life. Recorded on various locations ranging from the Swiss mountains to the chalky coasts of Brittany, Metamujer is an 8-track ode to salty love and closeness to nature, a tribute to a modest lifestyle à la Henry David Thoreau. Far from being praise for self-sufficiency, this new LP is deeply influenced by Laurène’s environment. We can hear Korg MS-10 created synthetic waves (Sanatorium) and birds (Luscinia), but one can also catch her singing in Italian, one of 3 languages spoken in Switzerland. Still minimalist and yet more aesthetically diverse, her new sounds are on the edge of EBM and synth pop, between classic minimal wave tunes and rustic ballads on acid.

color repress !

Monocturne returns with a new blend of flavours crafted by house engineers Adrien Calvet and Keymono aka House Master Flash, under the supervision of expert rescue vet Coupe Melba.

Sea Blue in Coke Bottle Clear Vinyl.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Sea Blue in Coke Bottle Clear Vinyl LP + artist signed art print. Only 200 available.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

THIRTEEN WAH-DRENCHED ACID-FRIED HENDRIX-WORSHIPPING BLOWN-OUT FREE LOVE-FUELED BLACK ROCK JAMS THAT'LL CHANGE YOUR LIFE

[a] ROLLING LOVE [PART 2]











[m] RINGING BELLS (SWEET MUSIC) [PART 2]

LIMITED EDITION RED ON FOR THE DARKNESS VINYL. THIRTEEN WAH-DRENCHED ACID-FRIED HENDRIX-WORSHIPPING BLOWN-OUT FREE LOVE-FUELED BLACK ROCK JAMS THAT'LL CHANGE YOUR LIFE

[a] ROLLING LOVE [PART 2]











[m] RINGING BELLS (SWEET MUSIC) [PART 2]

Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

Die dunkle, schäbige Unterwelt von New York City taucht wieder auf, wenn das Stadtbild durch Abwässer, Crackrauch und den Handel mit Fleisch verdorben ist. Die Straßen, die einst voller Leben waren, sind von dem grotesken und schmutzigen Chaos vergangener Zeiten durchdrungen. Inmitten dieser rauen Wirklichkeit, in den Mauern der schwach beleuchteten Gassen, stinkt es nach Körperflüssigkeiten und Rattenkot.

Auf den Bahnsteigen der U-Bahn verüben verzweifelte Seelen wegen ein paar mickriger Dollar wahllos Gewalttaten aneinander. Der East River fließt in einem kränklichen Grün, und der Farbton der Stadt spiegelt die Schatten wider, die diese illegalen Unternehmungen werfen. Inmitten dieser beunruhigenden, düsteren Realität ist nun eine Klanglandschaft entstanden, die das Grauen einfängt - in Form des zweiten Albums von Gravesend.

Das neue Album "Gowanus Death Stomp" verdichtet die Grausamkeit, die auf dem Debüt "Methods of Human Disposal" von 2021 zu hören war, zu einem noch düstereren und ursprünglicheren Trommelfeuer der Gewalt. An der Kreuzung von krimineller Verkommenheit und urbanem Unwohlsein bedienen sich Gravesend vieler Werkzeuge des Handwerks. Black / Death / Grind / War Metal verschmelzen nahtlos zu einer Teergrube aus beißendem Hinterhof-Sadismus und Acid-Zungen-Gesang.

Wie eine frisch geborgeneLeiche unten am Hafen weht der Geruch von Verwesung aus jedem Track auf 'Gowanus Death Stomp'. Und wie bei NYCs Underground-Legenden von Cro-Mags über Swans bis Type O Negative verkörpert Gravesend den Puls der Stadt, selbst wenn dieser Puls auf dem Beton ausblutet.

If you dare. Lynxes completes with Sloth a smattering of releases on the Berlin-based label. Vacuum is set in dark environs and picks up raving energy quickly with multiple layers dedicated to the iridescent journey before the unexpected breakthrough that longs for a ride into the unknown. Disstress follows steadily with ace tones and a punching clout that guides along the path. Alerting strikes of lightning will make your blood run cold along the right lines on Coping. Lydia Eisenblätter, head of Leipzig's OAM records and figuring prominently within the German techno scene, turns to the end with a Distress remix on a fast and floaty acid track. Hang in there!

The sixth UFOs outing is another intergalactic adventure in sonic form and this time at the buttons it's New Balaance, a Mexican artist at the heart of a new wave.

Space Jungle though is an apt title for this EP, which kicks off with some stylish breaks and nimble basslines overlaid with lush cosmic arps. 'Space Jungle' (feat Parallax Modulators brings a more pensive mood thanks to the sustained chords and deeper grooves, but subtle acid and chattery perc bring it to life.

'Grantourismo' is a lively and dynamic cut with more swirling synth work while 'Redemption' closes down this quartet of excellent explorations with a mix of 90s prog, techno and breakbeats all imbued with plenty of colour.

'The Moon Dance' Mark's the come back of one of Chi Towns most innovative and iconic figures to Apnea Records. Jamal Moss (Hieroglyphic Being) sound's were first released on Apnea in 2007. Now, in 2023, he's back with this double 12'' album flooded with synth jazz and cosmic acid explorations in his signature and irreverent style.

Exarde’s just keep it spinnin’. This time our protagonist was originally born in Transylvania, so he knows something about the dancing vampires you often see at parties. This is confirmed by the fact that his release also contributed a lot to the gothic side of the dancefloor.

MAR.C is obsessed with dark sounds but specifically loves a guitar, acid and weirdly uplifting electro sounds. So, by his words this EP is exactly concentrated on frequencies between these two spectrums. On the remix duty’s we got P.O with his interpretation which gives an even more unique vibe as a groover for the closing scene.

Last summer the idea came up that the material of the Chillum Trio live act, which had been matured for years by then, would deserve a release on its own. The concept was to try to reproduce the experience of the live performances as close as possible, so a semi-mixed album was created, on which the seven tracks work separately, but the effect is best when listening to the record in its entirety. The musical world of Random Rituals is crazy dense and colorful, similar to Chillum Trio's previous releases, an exotic mix of contemporary electronics, world music and club sounds;s still, it has a unified character, which is due to the fact that it has grown from a live set that has been constantly developing over the years. Genre-wise, it is characterized by low-tempo, organic desert house, tropical acid drops, deep dub, hypnotic tribal beats and psychedelic episodes. Just like genres, eras and cultures are mixed as well: from the jazz-funk of the 70s, via tribal trance of the 90s to modern deep house, from Peru to Pakistan, from Sudan to Senegal: a real musical journey through space and time.


Géza Szekeres, the heart and soul of Chillum Trio, summed up the essence of the record as follows:
"Random Rituals shows me the paradox that recharges can be planned and ad-hoc at the same time. Rituals are characterized by a predictable scenario, but the effect can also be unexpected, so that events spin without a score. You don't walk into the ritual, but it comes to you, creating the same state that then fills you up."