Cerca:automatique

Artwork by TZU TING WANG, Layout/Concept by Fiona Luigi

5 years since Midnight Shift's first release in 2012, the label assembles a collective of artists, most of them are in advance of their full EPs releasing later.

Representing the sounds of the label is this manual of secret moves, up in the sleeves. The mystic motley crew also comprises the alternate sides of familiar faces — Amato (The Hacker), Terry Lamborgini (Marco Bernardi), INNYSTER (Seixlack), Hodge in a new formation with Gramrcy, and an electro moniker from an undisclosed artist: Thermocline. From abstract acrobatics to the abrasive and the ultimate gob smack to the floor — The Midnight Manual.

t's time for our main producer Dj Honesty followed this time by a super remix by Ben Vedren

Our dubby ‘detective’ Axel Larsen is back for another 10 inch on the « Special » series (MMS), establishing the « Criminal Music » genre for good !

You will find in this EP a concentrate of foggy atmospheres, heavy basslines, tension rhythms and dark melodies that will fit perfectly in your next Cluedo night. It can also be used during a GTA session, but be sure that its maximum effect will be in a dark room full of crazy motherf****rz 

Limited to 300 copies, don’t snooze !!

WRWTFWW Records is delighted to announce the first official worldwide reissue of Satsuki Shibano’s Wave Notation 3: Erik Satie 1984, the final album from the sound-defining Wave Notation environmental music series curated by Satoshi Ashikawa. Originally released in 1984 on the Sound Process label, Wave Notation 3 followed Ashikawa’s own Still Way (1982) and Hiroshi Yoshimura's Music For Nine Postcards (1982).

The highly sought-after album, sourced from the original master tape, is available as a double LP (housed in a luxurious heavyweight sleeve) for the first time ever. Digipack CD and digital formats are also available. This exclusive reissue, including English and Japanese liner notes by the artist, was supervised by Japanese ambient legend Yoshio Ojima.

Wave Notation 3 is a splendid tribute to seminal French composer and pianist Erik Satie, himself one of the main influences behind kankyo ongaku / environmental music (alongside Brian Eno, John Cage to name a few). The alphabetically-sequenced album features 26 pieces showcasing Shibano's unique piano interpretation of Satie’s works.

The artist explains: « For this album, I sequenced the compositions in alphabetical order of each title, irrespective of the period of each composition or style. By doing this, I attempted to effectively create ‘Music as an environment’ and at the same time, allow the listener to genuinely experience Satie’s music. »

Satsuko Shibano’s minimalistic approach to ambient classical is simply perfect and offers a beautiful and tranquil listening experience, furniture music with extra comfort and soothing simplicity, relaxing to the mind and to the soul. This Wave Notation deserves a spot among the pillars of Japanese environmental music, next to Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, and Satoshi Ashikawa’s Still Way.

When IANNIS XENAKIS (1922-2001), who had fought against the occupation as part of the communist Resistance, moved to Paris in 1947 it was the start of a highly creative and impressive career. XENAKIS not only studied composition with MESSIAEN and became one of the most innovative composers of the 20thcentury, he also worked as assistant to LE CORBUSIER and realized a.o. the Philips Pavilion for the World Exhibition in Brussels 1958. His compositions often are based on mathematical principles (in 1966 he founded the CEMAMu - Centre d'Etudes de Mathematique et Automatique Musicales), which give his music an unprecedented aesthetic and "shocking otherness" (The Guardian). The most famous works of XENAKIS, who won the Polar Music Prize (considered the unofficial Nobel Prize for music) in 1999, are his compositions for orchestra Metastasis, Pithoprakta and Terretektorh (where the 88 musicians are spread within the audience) and the electroacoustic compositions Persepolis (to be re-released later on as part of the PERIHEL series), Concret PH, Bohor and La Legende d'Eer where XENAKIS integrated his stochastic synthesis sounds for the first time. As legendary as this piece itself is the impenetrable thicket of versions and stories around La Legende d'Eer - it exists in different releases, wrong sample rates, digitized backwards ..., this now is a new version, using the 8-track-version that XENAKIS himself presented at Darmstädter Ferienkurse in august 1978. As the automatic spatialization is lost, this became the only original version of this composition and is presented here (mixed down to stereo by MARTIN WURMNEST who tried to preserve the spatial movements as perceptible as possible - mastered by RASHAD BECKER at D&M) for the very first time. La Legende d'Eer not only became a milestone of electroacoustic music but is also an important reference for noise and industrial musicians up to the present day!