The man, the myth, the legend ... back in the 80s Jesse Rae, along with Roger Troutman and Bernie Worrell, was part of the P-Funk movement that was hugely influential to Detroit's early electronic experiments. Lesser known is that the enigmatic Scot-funk warrior later produced underground electronic tracks in the 90s. The inaugural release on Glasgow label Southside Shufflers presents two of Jesse's Shufflers on vinyl for the first time on the Global 95 EP- a sampler from his pioneering 1995 album 'Compression'. Ever the innovator, Jesse recorded the album collaboratively using live ISDN technology spanning three continents, with the resultant tracks fusing African, US electro-funk and old Scots influences. 23 years later, Jesse's under the radar Shufflers sound more relevant than ever.
Southside Shufflers are a record label and sports collective based in Glasgow with outposts in London and Amsterdam. SSS- ain't no half steppin'!
Artilect's varied musical background is one of the primary reasons why his production is so coveted throughout the back catalogue of the labels he's released on. Beginning his career in Manchester during the mid 90s, his love of breakbeats lead him into the world of hardcore and jungle, where his appreciation of electronic music grew year by year, whether that was the sounds of Detroit or Acid Techno. Having supported artists like the legendary Marcus Intalex at Guidance, his part in the Northern collective Audiosalad helped promote his finely honed craft to a more widespread audience. And now he joins the roster of Horizons Music, an imprint who strives to only deliver the most cutting-edge records from the underground; it seemed like the perfect home for an artist who has only offered the same standard with every track he's released. And the 'Black Fire' EP is no different, with its full spectrum look at the influences which have enabled Artilect to reach this monumental stage in his career.* Title-track 'Black Fire' is chaotic with its swathes of crashing percussion; its impact gains more and more momentum as it gradually builds and crashes along its finely-chiselled bassline. 'Hoax' has the same old-school feel, paying homage to the producer's roots whilst he flexes his ability to create hard-lined breaks which crash against the record's firing drum sequences. 'Deep Signals' is moodier in its approach, with each weighty bass pad lowering the tone as it draws you in gradually. Whilst 'Deep Signals' still nods its head to the type of music which made drum & bass so infamous during its explosion, it alludes to its more contemporary world, with Artilect enabling you to become fully immersed within it. Finally, 'Tryptamine' once again offers a darker edge although this time is goes to even filthier depths, taking you along for the journey through shaking subs and cranking atmospherics. It has a creeping blow, proving that Artilect reigns supreme over his soundscape; another reason why Horizons brought him on board to deliver such a mind-bending release, alongside his eloquent production standard and refusal to bow against commercial pressure.
Fans of Electro's big hitter DJs such as Helena Hauff, Dave Clarke, UMEK, Maceo Plex, and UMWELT won't have escaped the sonic assaults of Dutch artist RXmode and his fellow Transhumanism collective members; w1b0, Slaves of Sinus, TFHats.
RXmode's last EP 'Cerberus' was very much the EP he'd been building up to since his debut on Bass Agenda Recordings back in 2015; dark, sinister, heavy, and distinctive.
One of the tracks from that EP, 'Degraded', gets the remix treatment from the other Transhumanism members on this, the third vinyl release the collective have put out.
The original track kicks things off in style before the three very individual remixes take things to new territories. TFHats takes the track, remoulds it and adds his own lyrics and vocals to great effect. W1b0 brings what will certainly be looked back on as one of the heaviest tracks of 2018; his 'Violation in G Minor' mix is a brutal sonic assault with a bassline that will surely wake the dead. Last and by no means least Slaves of Sinus brings an abstract acid tinged version; laced with his own brand of sinister vibes and darkness.
Music From Memory return with a further six tracks from Dutch musician Richenel. Continuing with recordings taken from his debut album 'La Diferencia', originally released in 1982 on the cult Amsterdam cassette only label Fetisj, the tracks on Music From Memory's second EP 'Perfect Stranger' includes alternate takes drawn from Richenel's personal copy of the album alongside a further composition which didn't make it onto the original Fetisj cassette.
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Studying set and costume design whilst making a name for himself as a singer and performer in Amsterdam's underground clubs, Richenel played with several disco acts and cultivated an extravagant cross-gender stage persona before connecting with members of the local label. Hooking up through their time together at the Rietveld art academy in Amsterdam, Fetisj was an experimental multi media collective which revolved around a loose mix of various young artists and musicians. Having developed a house band with artists going by a number of different pseudonyms the label set up their own small makeshift studio and would produce and sell the cassettes through their distribution network and at events across the city. Recorded amongst the turmoiled punk and squatter scene of Amsterdam against a backdrop of drugs and social unrest, the 'La Diferencia' sessions reflect a unique mix of punk aesthetics with a synthesized bedroom funkiness.
A somewhat illustrious figure in Dutch pop history with his flamboyant appearance as well as having one of the more exceptional male voices to come out of the country, Richenel would go on to record a number of successful albums and hit singles in the Netherlands and beyond. This largely unknown album on Fetisj however, seems to embody the spirit of another time; a particularly unique and richly creative moment in Amsterdam's musical and cultural history and one that is deserving of a much wider audience.
'Perfect Stranger' is co-compiled by Orpheu De Jong
LPost-Heretic Dracula X Chronicles is Nicola Kazimir's debut album. It features 30min full of diverse, rough, evil, melancholic electronic music compositions either partly sampled out of important melodies in his life or fully produced by him. Post-Heretic Dracula X Chronicles LP draws from contemporary and past cultural references evolving around institutional-critique, occultism and dividualism and manifests those via metatags or sonic compositions.
Nicola Kazimir is a part of the collective Les Points based in Zürich, Switzerland.
His art/music draws from 90's rave utopias, decentralized & dividual thought, institutional-critique, occultism, progressive & accessible frameworks as showcased at their offspace Mikro -
a physical room which has no doors and opening times during exhibitions and raves - making an institution available to all social layers.
His recordlabels "Les Points" and the newly founded "Gentrified Underground" appropriate those ideas and transfer them to the distribution channels of electronic music.
Nicola refuses genre-stigmas and explores a vast number of genres in his dj-sets and productions - his newest LP "Post-Heretic Dracula X Chronicles" being an example of that diversity.
The second of Polytechnic Youth's ace new LPs for July, sees a mighty set from Austria based synth pop duo Mitra Mitra. Following previous releases on Peripheral Minimal and their own Micromort label, not to mention a lathe cut right here on PY that sold out in 20 minutes in Dec. 2015.
The band was formed in Vienna in late 2014 by Violet Candide and Mahk Rumbae. Originally from New Zealand, Violet Candide is a founding member of the Crazy Hospital DJ collective, and one of the organisers of the legendary 'Future Echo' club night in Vienna, and is one half of 'Anesthetic Hairpins'; whilst British musician Mahk Rumbae is known for his work as a member of the industrial/experimental project 'Konstruktivists', 'Oppenheimer MkII' (with Andy Oppenheimer of Oppenheimer Analysis) and his solo techno project 'Codex Empire'.
After working together on one of Violet's solo songs, 'Heat', the pair decided to continue working together and formed Mitra Mitra as a more full time project, with the aim of writing electronic songs not tied to any particular influence or style. However, if there was such a thing as a signature PY sound- arguably this LP (alongside last year's Vorderhaus full length), encapsulates it most. Beautifully icy cold synth pop straight outta' early prime era Mute / Blackwing studios output. Serene yet melodic, edgy, dry icy hooks and delicious grooves aplenty all over this record. Eight wonderful tracks where quality and sheer melodic guile of the song writing never dips and attention truly is held across the whole set, ....no mean feat indeed.
Available as a 300 pressing LP only, destined to sell out rapid style as have all previous releases by both artist and label.
After a triplet of solo 12"s, all courtesy of label main man Rupert Marnie, Hamburg-based imprint The Press Group are set to break 2018 in with the multi-flavoured TPG004 - a versatile debut VA that offers a fine close up on the label's whole cast of operating forces with some choice contributions from TPG's core tetrad including Youthman(29), Ten Letu, DJ Dodo and Marnie himself. Mind your backs!
Shape-shifting yet coherent as a whole, this collective effort puts together a swinging confluence of sounds and aesthetics - clearly aimed at the dancefloor but equally poised for laid-back chill sessions. First release on the label to reunite the entire crew, TPG004 mashes up a wide-spanning array of grooves and tempi in exploded view, giving full vent to each artist's idiosyncratic universe whilst establishing a hyper-modern sound ID, both infectiously funky and undeniably potent.
Casting its net far and wide: from the pared-down astronautical breakbeat of Youthman's 'Aemilia' to DJ Dodo's breezy jacking jazz-footwork hybrid 'The Machine' via Rupert Marnie's lithe ganjah-smelling shuffler 'Health' and Ten Letu's muscle-flexing acid roller 'Ah, You Shot Me!', it's a feast of feelgood beats that you're invited to, neatly connecting the dots between the guys' shared love for video game soundtracks, liquid dubstep, heavy jungle breaks, minimal house and further daydreaming, hazy harmonics to drape yourself into.
At first, it's difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio's music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn't jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with 'Stranger Today', a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.
Since forming in Nathan and Tyler's Brighton home four years ago - Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and 'Stranger Today''s opener - Our Girl's members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself ('He did stuff neither me or Soph had ever seen anyone do before,' Tyler remarks), and he became an unofficial fourth member of the group.
'Stranger Today' is a special debut for several reasons: First, because it's the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio's hunger to finally get in the same room and put to tape years' worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. 'What band isn't itching to make their debut But it's quite frightening, knowing you're about to do it,' Wilson remembers.
The real clincher, however, is Our Girl's dynamic, and how it plays out across 'Stranger Today'. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan's visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson's rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love ('I Really Like It'), she's backed by a major-key afterglow. When the subject turns on its head ('Josephine'), out steps a wall of taut, earth-shaking noise. They each 'serve the song,' in Wilson's words, moving in sync but with their own personal slant. Not least on the closer 'Boring', where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.
Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, 'I was finally in the band I wanted to be in.' Almost half a decade later, and this eureka moment is sewn up on 'Stranger Today'. It's the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it's like to be young, invigorated and amongst people who feel the same.
For this EP, Jófríður Ákadóttir has re-recorded some of the finest songs from her bands and solo-projects (JFDR, Samaris, Pascal Pinon) with new string arrangements. These versions have a simple, inherent beauty that is juxtaposed with their seething, stark intensity.
To replace the original arrangements with strings was originally planned as a one-off event: When preparing a Pascal Pinon performance in Portugal, Jófríður asked NYC-based composer Ian Davis to help her re-arrange four tracks. After the show Jófríður realized that the material deserved to be captured.
The featured songs were chosen from the repertoire of JFDR (her solo project) and Pascal Pinon (the duo she forms with her sister Ásthildur). There were no objective selection criteria: - I chose the songs that called for strings, songs that I was interested in continuing their story', Jófríður says. - Making this EP was meant to cast new light onto old bodies, to explore what is song and what is arrangement'. Indeed, the arrangements establish a fresh perspective on the selected songs (except for - My Work' - as the track will appear on a forthcoming JFDR album). Being freed from genre, these versions also expose JFDR's voice and its dynamics— the absence of beats gives her vocal performance new possibilities.
The EP was recorded live in a studio in Reykjavík, where Jófríður was joined by producer Albert Finnbogason, her sister Ásthildur (additional vocals and piano) and a string quintet. Ian Davis also made it to the recording sessions and brought two new transcriptions: - I wanted to have moments of clear simplicity juxtaposed with more dense, experimental passages. Sometimes the strings are just holding root notes and simple chords and other times they open up into more contrapuntal and textural moments', Ian explains. As a result, you'll find both moments of modest beauty as well as intensely seething passages. Even if Jófríður's voice clearly is the main attraction here, this EP - as she emphazises herself - is a collective work of those involved: - Trusting your collaborators is the truest gift'.
The Caribbean House Is A New Billy Bogus Project. It's The Perfect Meld Of Creepy Atmospheres, Sunset Grooves, Analog Sensibilities And Incessant Rhythms. Bogus Leads This Collective Formed By Federico Bologna (ohmega Tribe, Technogod) And Cristiano Santini (disciplinatha, Dish-is-nein,). This Triumvirate Of 90's Underground Italian Masterminds Come From The World Of Electronica, Noise Rock And Psychedelia. Here They All Combine To Rise Again Rise And Unite To Create Something Entirely New.
And So To The Music. Their Debut Lp Opens Up With The Dark And Haunting "night Drive". Recent Single "gong Bong" Is Next. It Is One Part Slo-mo Disco, One Part Psychedelic Moondance And One Part Sci-fi Horror Movie. If The First Two Thirds Of The Track Is A Caterpillar Then The Last Third Is A Butterfly As Uplifting Riffs And Swirls Of Layered Keys Bring Things To A Crescendo. "lonely Man" Is A Quirky Detuned Monster Tour-de-force Which Leads Nicely Into "love By Proxy". Layered Keys And Intertwined Arpeggios Mingle To Create The Closest Thing To A Love Song Possible From This Trio.
Flip The Vinyl Over For A Hippy Drive With "jesus Freaks" And Its Groovy Guitar Licks And White Noise Synth Blasts. "nature Nature" Is All About The Pulsing Bass Guitar And Sample Like Guitar Stabs Before Heading Completely Off-piste For A Synth-bass Ending. "africa Addio" Presents Us With Meandering Synth Lines Before Layering On A Waft Of Sound Effects And Spooky Keys. Movie Territory. We Close Off The Lp With The "streets Like Noodles". New Wave Nyc Chic Meets Underground Italy Psych.
Benjamin Vigneron, also known as Vronsky, was born in 1991 in Aix-en-Provence, France.
As a Teenager, drawn simultaneously to Visual Arts, Cinema and Musiproduction, he made his first contact with Techno by working for a local club as a graphic designer. During his 20s, while living between Montreal, Canada and Marseille, France, it was revealed to Benjamin he suffered from a heavy bipolar disorder. As a reaction, he started losing himself in free parties and increasingly dangerous habits.
Gradually learning to love himself despite his flaws, he kicked his risk-taking after he realized the love of music prevailed over anything else.
Equipped with a strong desire to share his vision despite not being able to perform as a DJ, Benjamin started a youtube channel and a collective named Listening Blue.
A warm human hand sculpts the icy machine-like sounds into a meticulous harmony over undulating bass and entrancing snares, clasps and industrial heartbeats. This continuous circulation of sound and its ever beating rumbling-flexed sub bass found in Rebecca Goldberg's newest batch of acid-techno arrangements effectively replicate the natural functions of omega 3, or -3, fatty acids albeit in musical-form. Whereas ingesting the special carboxylic acids found in plant and marine oils woll fortify your vascular system into a well-oiled machine, Goldberg is using a table of various analog machines to manifest a similar, yet uniquely propulsive flow of energy through a composite of frenetic hi-hats and trudling kick drums, looping under spacey Rolands waving out reverb splashed frequencies coiling synthetic intonations.
The beats reach the feet, the bass unlocks the hips and the synths pull and twist the shoulders, staving off stagnation or decimating a collective clotting - we are loosened in restorative ways to the sleek assemblages of one of Detroit's leading DJs/composers on the electronic music scene. Goldberg's 25-minute odyssey is unceasing in its sinuous stream of mesmeric techno music, as if powered on by relentless agents found in the healthful acids for which this EP gets its title.
Goldberg has distinguished herself by cultivating the seeds of techno into something that designedly meditates on the enduring vitality of the organic and the holistic in our lives--even as our socialization, and maybe even our dance floors, are predominantly digital in character and operation. -3 continues to stimulate our brains in two ways, just like 2017's 313 Acid Queen. Her previous record used field recordings and found sounds from the shores of Detroit's Belle Isle and other neighborhood sidestreets to thread the simple majesty of the flora and fauna that sustains even if at the corners of a concrete metropolis. -3 is bringing you from the outdoors into the inner workings of your body--particularly the blood cells that act as fuel for your limbs, your lungs and your brain. It's the -3 fatty acids that keep your system strong and smooth. It's Rebecca Goldberg's latest acid techno fever dream that keeps you perceiving that (and other things) even as you dance...
"Spoki (Ghosts) is the sound of an artist putting their private world to tape. Of exploring and pushing the limits of themselves and technology to realise the music in their head. Recorded in Riga between 1988-2011.
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As Ingus Bauškenieks himself explains: My own world differs a little from my friends' tastes. And - as my father said - the collective art is not art at all.
The music of Ingus Bauškenieks is both deeply private and completely alien. Experimental yet happy to celebrate pop influences such as Engelbert Humperdinck, Simon & Garfunkel or Fleetwood Mac. It is shaped by the artist's engagement with technology and his strive to put to record his 'own world'.
As Ingus explains, it is the sound of him: doing what I like to do.'
For the first time, Volte-Face's BleeD releases a Various Artists compilation, featuring friends and close family of the label. Named after Joseph Beuys' concept of 'Social Sculpture', which serves to harness collective potential in an attempt to transform society (in some small way at least!), the release features eight different artists who embody the BleeD sound of the last few years of activity - Volte-Face, Rote (Daniel Avery & Volte-Face), DJ Nobu, Peder Mannerfelt, Opuswerk, Refracted, AWB and BLNDR.
On Video Age's forthcoming album Pop Therapy, out June 22nd via Inflated Records, longtime friends and songwriting partners Ross Farbe and Ray Micarelli conjure up a thrilling assortment of experimental pop songs. Using a palette of vintage synthesizers and the propulsion of a Sequential Circuits Drumtraks drum machine, the New Orleans-based group's buoyant synth-pop echoes from some imagined vision of the past, leaning on an invented nostalgia to soundtrack an ideal future that never arrived. Video Age brings that future fully to life on Pop Therapy. Emerging from New Orleans' DIY scene and label collectives, Farbe and Micarelli were intrigued by each other's songwriting among several curiously satisfying guitar pop bands. As a producer and prolific engineer, Farbe has helmed some of the most exciting releases from genre-pushing New Orleans artists, whose singular visions are made possible with his gifted ear and love of tape recording. Micarelli's talent for crafting simple, tangible melodies complements Farbe's studio world-building, letting ideas drift until they emerge into impressive arrangements. The pair's seemingly effortless gift for crafting earworm hooks was glimpsed on their 2016 debut Living Alone, a gorgeous collection of guitar-driven melancholy. On Pop Therapy, they're joined by Duncan Troast, Nick Corson and Jordan Odom, taking inspiration from the limitless possibility on sonic canvases of the late 1970s and early 1980s (Yellow Magic Orchestra, McCartney II, Donald Fagen's The Nightfly). Where Living Alone catalogued the solitude of reflecting on what was and could have been, the sentimental love songs on Pop Therapy gaze longingly at the likeliness of a brighter tomorrow.
The wait is over. The Outside Agency and Ophidian unite on the 20th Genosha release to collectively blow minds, expand vocabularies and sow the seeds of confusion. We could describe the tracks to you, but that would spoil all the fun and/or disappointment. If you have ever asked yourself what would happen if these three got together and made a whole EP, then the answer to your question is available for you to purchase right here. Boom.
Dauwd returns to Technicolour with 'Theory of Colours - Versions' EP. A new 4-tracker EP containing remixes/reworks of various singles from his debut album. The EP opens with a piano rework of 'Analogische Memories', recoded at his studio in Berlin and the result of countless hours work - 'it took some time, as I had to learn to play piano' Dauwd explains. Dauwd also makes up one third of the Berlin collective, party and radio show, African Acid Is The Future having previously released on Kompakt and Ghostly International. Ukrainian music producer and Leleka label boss Vakula provides a remix of 'Macadam Therapy'. Fresh from the release of his well received LP 'Metaphors' and following on from last years 'Techno Game' released via Arma and 'Cyclicality Between Procyon And Gomeisa' released via Dekmantel in 2016. AAITF partner Romain Azzaro AKA Rouge Mécanique provides two remixes of 'Murmure' (one 'Walking', the other 'Running') - "Romain and I returned to the studio where I made
Everyone is a moon and has a dark side which he never shows to anybody. Judas is back with one of the biggest collections of records since today, presenting more sides of his vision as an artist and as a conceptual persona, these are 4 cuts that brilliantly put you in the zone, right when the needle drops on the record. Judas present this project in 2 parts, both part of the same creature, and of the same concept, 'Unsaid' goes far beyond the usual aspect of the functionality, in this case, functionality is a pure tool, every single work shows you a path into his mind.
Cardiff-based singer-songwriter Ivan Moult returns with his latest collection of rich, confessional songs on new album Longest Shadow, out now via Bubblewrap Collective.
The album reflects Moult's progression through the fledglings of blissful romance into the fragmentation of embittered break- up. Each track combines Moult's intricate guitar plucking skills with his warm, soothing vocal to create something both compelling and incredibly moving throughout. His latest single Lay Me Down revolves around the feeling of giving in to depression whilst simultaneously fighting against it. Moult's beautifully natural vibrato soars effortlessly over the cinematic musicality to create something akin to that of Nick Drake or Jeff Buckley's distinctive songwriting charm.
Ivan's soft , subtly shattered vocals are complemented by the orchestral compositions and double bass of Callum Duggan, the precision percussion of Sam Thomas and backing vocals from Kadesha Drija
''Longest Shadow truly is a stunning piece of work and if the likes of Damien Rice, Nick Drake, Willy Mason are your thing, it's a safe bet that you will thoroughly enjoy this - Folking
Austin Based Experimental Collective Thousand Foot Whale Claw Is Back With The New Cosmic Full Length black Hole Party, Out June 29, 2018. Featuring Members Of S U R V I V E, Troller, Single Lash And Future Museums, This Is The Supergroup's Second Lp And Their Most Accomplished Work To Date. Inspired By Progressive 70's German Kraut-rock, Thousand Foot Whale Claw Maintains A Classic Style While Establishing An Original Voice. With Album Art By Renowned Contemporary Sci-fi/fantasy Illustrator Kilian Ang, black Hole Party's Aesthetic Is Cohesively Curated Throughout Its Dense, Multi-layered Track List, Ranging From Serene Sound Baths To Driving Dance Beats.
Tfwc Was Founded In San Marcos, Tx By A Core Group Of College Friends Who Bonded Over Loose Collaborative Jams Of Effects Driven Improvisations. Eventually These Unstructured Practices Evolved Into Refined Studio Sessions And Intense Live Performances, Leading To A Rich Discography And Enthusiastic Fanbase. Balancing Repetition With The Unexpected, Tfwc's Sustained Motifs Slowly Reveal The Band's Signature Free-form Experimentation. Known For Heavy Walls Of Guitar And Electronic Drones, Tfwc Spirals Into Circular Rhythms And Looping Riffs Stacked With Shredding Guitar Solos And Ambient Soundscapes. Explorations Spurring From A Central Theme Is The Basis For The Band's Compositional Approach, Always Seeking New Instruments, Sound Sources And Production Techniques For Each Piece. Recorded And Engineered At Stassney Studios In Austin, Tx With Producer/artist Dylan Cameron, black Hole Party Has Become The Band's Most Defining Body Of Work Thus Far.
On black Hole Party, The Polished Structure And Acute Development Of All Six Tracks Is Distinct And Tangible, Making This Record More Composed Than Any Of Their Previous Releases. Propulsive Songs Such As deridium Rail' And The Album's Title Track Are Driven By Four-on-the-floor Dance Beats And Arpeggiated Synthesizers, Contrasting Songs Like genesis Effect' That Predominantly Features The Natural Tones Of 12-string Acoustic Guitar And Harmonium. The Wide Variety Of Sonic Flavors Is Reflective Of Tfwc's Vast Musical Tastes, Refusing To Settle On One Approach And Allowing The Band's Idiosyncrasies To Shine Regardless Of Genre. To Classify Tfwc As An Instrumental Psych Band Is Only Partially Accurate, However There Are A Lack Of Proper Terms To Fully Encapsulate The Band's Broad Scope. Black Hole Party Is The Latest And Brightest Collection Of Songs From Thousand Foot Whale Claw, Meant To Be Enjoyed In A Multitude Of Environments For All Fans Of Expansive Listening.
Ascetic Limited is shifting gears, focusing on solo EPs dedicated to the artists that form the collective. To kick it off they present an EP from renowned Milanese techno producer Wrong Assessment, who throughout his career in techno has proven himself to be one of the most interesting producers coming out of Italy. From his collaborative works with the late Max_M as Overall Severity to his solo works as Wrong Assessment, his tracks are always unique. Influences ranging from minimal to hard pounding techno bangers, through house grooves and ambient arrangements, he still is able to transmit his sound and vision with his music.
Wrong Assessment's 8th Floor EP is comprised by (A1) Asceta - an ambient downtempo immersion that washes over the listener in preparation for what's to come. (A2) Empire, is a clear example of the great sound that Wrong Assessment has developed throughout the years, winding synth lines and driving techno beats with a great minimalist approach to sound. The title track, (B1) 8th Floor - a bouncy, playful track filled with great ambiance that can fit into any DJ set and will drive the audience to the dance floor. Ending the EP on a heavy note, (B2) Radial brings heavy kicks and strong ambient works mixed with intense techno beats and brooding synth lines that will have the dance floor going insane.
Ascetic Limited presents Wrong Assessment's 8th Floor EP as their 5th release and second EP on the label
Dilated Pupils is a collective group of likeminded friends home-based in the Netherlands. When forces are joined in one of their many studios each individual brings his own influences and styles to the table. Together they share a distinct flavor in productions and raw one-take jam sessions created with the use of analogue machines and often recorded on tape. Each of them have their own solo productions as well as other collaborations, but when united as Dilated Pupils they prefer to be known jointly as one entity with their own unique and distinguished sound. Since 2014 the group has developed an interesting and widespread discography with releases on labels such as Fear of Flying, Sol Asylum, Mode of Expression, Tabla, Music is Art, Dorcas, Make Sense and Mayak.
For A Long Time, Electronic Music Has Been Understood In Terms Of Sounds Rooted In Particular Places: The Styles Of House And Techno Inextricably Wedded To Detroit, Or The Early '90s Jungle Sound Which Carries Echoes Of London. But That's Something Which Is Changing - In Latin America More Than Anywhere Else. A New Project, Led By Gilles Peterson And Rum Maker Havana Club (that Created The Havana Cultura Platform In 2007 To Promote The Island's Contemporary Culture), Shines A Light On Cuba's Fast-mutating, Rhythmically-adventurous Underground. It's A Scene Where Old Ideas Are Transplanted Into New Contexts, And Like-minded Scenes Are Brought Together In New Dialogues.
Havana Cultura: ¡su´belo, Cuba! Showcases An Extended Network Of Like-minded, Forward-thinking Musicians Driving Cuba's Music Forward. Following Repeated Trips To Connect With Venues, Collectives And Djs, Peterson And Will Lv - One Half Of Lv, Who've Released On Hyperdub And Keysound Amongst Others - Linked Up With Dj Jigu¨e, A Much-respected Producer And Dj, Whose Guampara Label Has Charted New Directions For Cuban Music. He's Been Profiled By The Fader And Vice, And The Album Features His Extended Network Of Collaborators, Connecting Afro-cuban Traditions With Contemporary Movements And Ideas.
The Album Provides A Snapshot Of A Unique Club Culture That's Fast Evolving. On The One Hand, It's Indebted To Cuba's Unique Characteristics, Where Regularly-practised Traditions Are Coloured By Intermittently-experienced Cultures From Outside. On The Other, It's Part Of A Global Shift Toward De-centred Club Music, With Homegrown, Influence-grabbing Dance Cultures Tilting Attention From Club Culture's Traditional Epicentres. It Offers A New Side To Havana That's Firmly Rooted In Its Past.
Warm return once again... One of the most consistent and influential agencies to have operated in the 2000s, the collective continue to develop their original agency, events and record label, and things are heating up very nicely. Following soul-arresting releases from Elliot Lion and Face + Heel comes this four-track odyssey from Belfast's Lunar Orbit Rendezvous AKA LOR. Ready for take-off
Our mission is set with 'Mystery To The Viewer', but what is the main mystery Is it the gravity-defying thrust of our engines or the identity of the anonymous (yet well spoken) narrator Listen closely for clues amid the heavy pulsating chords as we break away from the earth orbit and plunge deeper into the stars.
'In This Detail' sees us hurtling further and further into the dark unknown. There's a deep chilling aesthetic at play here as LOR makes his 808s weep with the loneliness only a long-stay astronaut can sympathise with. In perfect contrast, the isolation is balanced by the direct and vital 'Oriole'. One of LOR's earliest projects, updated with all the skills and techniques he's learnt on labels such as Exit Strategy and Cin Cin, it's a vital composition that rises and rises as we engage hyperspeed through the cosmos.
Finally we land back on our home planet to the marching momentum of 'White Light'. Almost stately in its pace and rhythmic stride, things suddenly take a turn for the intense as a warping bass siren triggers a much darker direction and a series of spasmodic kicks and heavily shelved filters. Welcome home...
Twenty-eight Years Ago, Pissed-off Twelve-year-olds Around The Universe Discovered A New Planet, A Black Planet. Public Enemy's Aggressive, Benihana Beats And Incendiary Lyrics Instilled Fear Among Parents And Teachers Everywhere, Even In The Border Town Of Laredo, Texas, Home Of The Future Founders Of The Latin-funk-soul-breaks Super Group, Brownout. The Band's Sixth Full-length Album (out May 25th) Fear Of A Brown Planet Is A Musical Manifesto Inspired By Public Enemy's Music And Revolutionary Spirit.
Chuck D., The Bomb Squad, Flava Flav And The Rest Of The P.e. Posse Couldn't Possibly Have Expected That Their Golden-era Hip Hop Albums Would Sow The Seeds For Countless Public Enemy Sleeper Cells, One That Would Emerge Nearly Three Decades Later In Austin, Texas. Greg Gonzalez (bass) Remembers A Kid Back In Junior High Hipped Him To The Fact That Public Enemy's bring The Noise' Is Built On James Brown Samples, While A Teenaged Beto Martinez (guitar) Alternated Between Metal And Hip-hop In His Walk-man, And Adrian Quesada (guitar/keys) Remembers Falling In Love With Public Enemy's Sound At An Early Age. when I Got Into Hip Hop, I Was Looking For This Aggressive Outlet . . . And I Didn't Even Understand What They Were Pissed Off About, Because I Was Twelve And Lived In Laredo . . . But I Loved It And I Felt Angry Along With Them.'
Joseph Abajian (fat Beats' Owner) Must Have Sensed The Deep Hip-hop Well Lying Beneath The Versatile Band's Latin-funk Veneer. i Thought Their Sound Would Work Covering Public Enemy Songs,' Abajian Says, And, it Was Good To Know They Were P.e. Fans . . . We Came Up With A Track Listing And They Went To Work.' Despite The Band's Eagerness To Work On New Original Material (an Album Of Original Songs Is Slated For Next Year), They Couldn't Pass Up The Opportunity To Pay Homage To This Iconic And Influential Posse.
Translating Sample-based Music To A Live Band Turned Out To Be More Of A Challenge Than They Anticipated. Adrian Tried To Get Inside The Bomb Squad's (public Enemy's Producers/beat-making Team) Head In Order To Find The Inspiration To Reinterpret P.e.'s Songs: imagine The Bomb Squad Going Back In Time And Getting The J.b.s (james Brown's Funky Backing Band) In The Studio And Setting Up A Couple Analog Synths And Then Playing Those Songs.' While Some Songs Closely Follow The Original Musical Blueprint, Others Use The Source Breakbeats As Jumping-off Points Later Sweetened By Trombonist Mark speedy' Gonzales' Horn Arrangements, Synth Wizardry Courtesy Of Friend-of-the-band Peter Stopschinski, And Dj Trackstar's Turntable Scratches. But Don't Listen Expecting To Hear Paint-by-numbers Recreations Of Classic Public Enemy Jams. our Approach Is Never In The Tribute Sense,' Adrian Explains. we've Always Taken It And Made It Our Own, Whether It's The Brown Sabbath Thing Or This Public Enemy Thing.' Coming Off Numerous Tours As Brown Sabbath And Even A Stint Backing The Late Legend Prince, Brownout Is Arguably The Tightest And Funkiest Band On The Road Today And They're Psyched To Bring This Revolutionary Music To The People. For A Band Without An Overt Political Agenda, They Collectively Couldn't Resist The Opportunity To Play This Music Live, Especially Now. if There's Any Way That We Can Use The Already Political And Protest Nature (of P.e.'s Music), We Would Like To Try,' Beto Says. the Album's Title, Fear Of Brown Planet Is Definitely A Relevant Idea Today And We're Not Afraid To Put It Out There, Because We Want To Speak Out.' By Reinterpreting These Hip Hop Classics In Their Unique Style And Channeling The Spirit Of Public Enemy That First Echoed Around The World And Captured Their Imaginations All Those Years Ago, Brownout Is Doing Exactly That.
Following two previous excursions into degraded tape loops, fuzzed-out ambience and bittersweet moments of tenderness, O$VMV$M return to Idle Hands to complete a trilogy of LPs with 12 vignettes from the underbelly of the Bristol scene.
Bound to Young Echo's ever-swelling cult of wayward sonics, individually Amos 'Jabu' Childs and Sam 'Neek' Barrett have plenty of irons in the fire. Childs deals in forlorn, vocal-led introspection alongside Alex Rendall and Jasmine Butt as Jabu, while Barrett can be found laying down punishing modern grime variations alongside Kahn, or delving into more traditional soundsystem sonics in Gorgon Sound. Meanwhile the pair were clearly heard laying down some of the tones that seep out of the uncredited Young Echo collective LP from earlier this year. Their production work behind Rider Shafique's killerLion7" on Lavalava was unmissable, and their blunted beats behind Manonmars' debut LP are awaited with anticipation.
As O$VMV$M, the pair enter a particular sound world that mixes cosy nostalgia with creeping dread. Even at its most mellow, a sense of unease hovers beneath the surface, and that's what makes their approach so compelling. The sound palette is broad, from pitch-shifted RnB vocal licks to foggy trumpets crawling at half speed, but over it all a dense blanket of dust gives the sensation of peering back through time.
Putting paid to the idea that immersive music needs to be long and drawn out, the dose response on these condensed mood capsules is quick and strong. In a little over 20 minutes O$VMV$M take you far and wide. The trip over the past three LPs has been an adventure for both label and artists - Sam and Amos have shaped out a style that now feels like a fully formed entity independent of their other ventures. We look forward to seeing where O$VMV$M heads from here.
Gifted Culture collective kicks off with Zinnigheddas Jam Berlin, first 12' of a series of three releases recorded exclusively during improvised jam sessions. Gifted Culture wants artists to breath and to represent in music the contemporaneity that surrounds us. Gifted Culture catches that very moment on tape. This is an itinerant music project, to highlight the context as influence on the artistic process.
During the first session Two Thou, Autre, Xinner and Demo gather together during a Sunday night in Kreuzberg with an electric bass and a bunch of synthesizers. There they start to tell us how they feel the 'now'.
ESHU, the production collective and record label from Nijmegen are back with their next offering. Their 12th release is a various artists release that features BLM, Jburg and Steven Siwalette alongside label members Ivano Tetelepta and Jocelyn Abell. It comes on the heels of Tetelepta's absorbing dub techno album, Senang, and is another high class offering. Nijmegen based Siwalette is first, previously contributed to the label as part of SYS. His Stragglers is a sparse but atmospheric track with industrial drones and slowly turning drums taking you through a desolate factory late at night. His second offering is Alien Encounter which is just as it sounds - a spooky, unsettling bit of cinematic sound design with menacing bass and icy pads all growing in loudness until they eventually consume your mind. Lastly on the A-side, UK producer and Fear of Flying label boss BLM lays down a skeletal groove that's embellished with beautiful, yawning synths. Scattered little details and fx making this a cavernous piece that encourages your mind to wander and get lost. On the flip, Jocelyn Abell and Ivano Tetelepta cook up a heavyweight, mid tempo bit of dub techno with sharp hits and rolling kicks lulling you into a trance. Last of all, the emerging Jburg picks up the pace with a perfectly chiselled bit of rock solid dub with looping drums and icy hi hats sinking you deep into its midst. This is an excellent EP that packs in a range of fascinating sounds for both the home and the club.
On The 50th Anniversary Of The Band's Inception At An Event In Harlem, Ny To Commemorate Malcolm X's Birthday On 19 May 1968, Influential Spoken Word Artists, Poets And Commentators The Last Poets Are Set To Make A Glorious And Relevant Return With Their First Album In Over 20 Years, 'understand What Black Is'.
Produced By Ben Lamdin (nostaglia 77) And Brighton Legend Prince Fatty, Whose Speciality Is Traditional Reggae And Dub Production's, 'understand What Black Is' Is A Ten-track Album Which Speaks Of A Revolutionary Struggle Defined By Both Race And Identity, That Has Never Sounded More Relevant. Released On Studio Rockers, There Will Also Be An Accompanying Single Featuring Remixes Of The Title Track "understand What Black Is" By Mala (south London Collective Digital Mystikz) And Uk Dance Music Innovators Dego And Kaidi.
Since The Initial Line-up Of Dahveed Nelson, Gylan Kain And Felipe Luciano Formed In East Harlem's Marcus Garvey Park, The Last Poets Have Produced Under Various Guises Over The Subsequent Years. However, It Was Their Seminal Output, Namely 1970's 'the Last Poets' Under Both Umar Bin Hassan And Abiodun Oyewole That Secured Their Legacy, Becoming One Of The Most Important Influences In Early Hip Hop.
Throughout The Last 20 Years, The Band Have Remained Largely On Hiatus. But Their Influence Could Still Be Felt With Their Tracks Being Sampled By The Notorious B.i.g, Nwa, A Tribe Called Quest, Dr.dre And Snoop Dogg. Umar Has Recorded Various Solo Albums And Featured On Common And Kanye West's Grammy Nominated 'the Corner'. Abiodun Appeared On The Red Hot Organization's Album, Stolen Moments Which Was Named "album Of The Year" By Time. He Also Conducts Weekly Open House Poetry Readings, Where He Constructively Critiques Upcoming Poets, Helping To Nurture Them. He Has Also Conducted Classes At Columbia University, Where He Teaches Creative Writing.
The Inauguration Of Donald Trump As Us President In 2016 Inspired Hassan And Oyewole To Resurrect The Group To Create A Brand New Record, Modern And Edgy, And Deeply Relevant And Reflective Of Our Times.
Tracks On 'understand What Black Is' Include 'how Many Bullets', Which Bridles With Defiance As Oyewole Works Through A Litany Of Injustices Suffered By Black People In The Us: " You've Tried
To Blow My Brains Out With Bigotry, Chopped Off My Wings, So I Couldn't Fly Free, And Dared Me To Be Me, Took My Drum, Broke My Hands, Yanked My Roots Right Up Out Of The Land, And Riddled My Soul With Jesus" 'what I Want To See' Describes A Utopia - A Refuge From Hurt And Those Who'd Make "our Vision Blurred, And Our Faith Obscure", Whilst The Title Track 'understand What Black Is' Aims To Transcend Ethnicity: "understand What Black Is....it's The Source From Which All Things Come...black Is A Hero, Not A Villain."
The Album Even Takes Reference From Prince's 2003 Album Of Instrumentals, 'news', Which Hassan Drew Comparisons From With His Own Childhood Experiences: "that Poem Took Me About A Year To Write....i Just Kept Writing And Writing But Not Getting Too Far And Then I Heard That Album And The Musicianship Was Amazing. I Was Left Wondering If It Was Jazz, Classical, Rock Or Maybe Something New But All Those Images That I Write About Came To Me From Listening To That Album. I Loved Prince In That Movie Purple Rain Because My Father Was A Talented Musician But He Was Into Brutalising Mama At Times And In The Movie There's A Jerome And My Name Is Jerome, So It Was Like He Was Telling My Life Story As Well."
The Album Acts As A Body Of Work Between Individual Members Each Speaking Of Their Own Personal Journeys, But Feeding Into The Much Larger Narrative Of Struggle And Oppression, Alongside A Fervent Hunger For Social Change. These Are Struggles And Tests Of Personal Resolve That Have Directly Shaped And Moulded The Bands' Unique Sound Over The Course Of An Impressive 50 Years, And Their Powerful And Influential Commentary Remains As Relevant As Ever.
8th release from RBMB
Lil'dave is a Philadelphia-based audio tastemaker who has made a name for himself by exposing people to soulful music in all it's forms. As a DJ, he can easily whip the most mainstream crowd into a frenzy, but he is at his best when he digs deep into his crates for funky grooves, broken boogie, and thumping bass. When it comes to making music, lil'dave's productions draw from his hiphop roots, as well as his love of house, afrobeat, uk garage, salsa, jazz, synthesizers, and soul. He has released music as lil'dave, Illvibe Collective, and under his electronic alias, Osage.
Nature always has all the answers, Alfredo Mazzilli join the label at the right time and the right moment, these four cuts are the definition of Precision, Power, and Elegance, the Artist knows very well how to define these 3 elements, and make them all work together like a charm and every situation needed.
out of Stock
Last delivered 19 months ago available to reorder, subject to availability
Milan based collective Just This are proud to present the 'Absolute Infinity EP', a joint release from Netherlands-based producers Sinfol and Octual. Featured in this package are two remixes from Gerd Janson prescribing a heavy dose of acid. Title track is a stripped back groove with a looping synth lead that wanders through ricocheting drums. For his first remix Gerd muffles the framework of the original, making room for a floating melody and warm lead, whilst the 'Acid Only' version takes the components of the original and throws them into a bath full of acid. Closing off the EP is 'Wire', a moody dancefloor cut for the after-hours.
Somewhere between electro soul and melodramatic pop. Music focused towards the youth set in some strange dream. Not sugarcoating anything.
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Aset was a collective founded by a group of individuals deeply involved in community improvement initiatives and the struggle for justice and equality. A project that would link motivated adults with talented young people in the Washington, DC metropolitan area.
The compilation takes songs from three released projects of Aset, and one semi-unreleased single. Latonya, a spunky 11 year old kid singing about divorce, love, and dancing. The poster child of Aset. Treo, a trio of high school gals in harmony singing about love and relationships. Whax, the high school boys who were a bit stranger, the silly side of Aset. All backed by The Aset Players.
Release comes housed in a newly designed jacket with inner sleeve containing info on the label/artists and an interview with the label director, Mba Mbulu.
A thrilling 9-song set, Murmurations is as perfectly pitched for headphones as it is for clubs, named after giant cloud formations of starlings and themed around the stunning emergent behaviors that appear within them. To mirror these movements in the sonic landscape and visuals of Murmurations, SMD's James Ford and Jas Shaw collaborated with the celebrated Hackney-based vocal collective The Deep Throat Choir, as well as creative directors Kazim Rashid of ENDLESSLOVESHOW (Aphex Twin, Flying Lotus, Hudson Mohawk) and Carri Munden.
Finding time in between Ford's work as a producer and Jas' club gigging last year, the duo arranged a session in Shaw's countryside studio. Via an introduction from a friend of Ford's wife, The Deep Throat Choir's director Luisa Gerstein and SMD began swapping some production and melodic ideas. They decided to bring the whole East London-based choir into the studio to experiment, and the results were intense. Jas says, 'Listening to them moving their voices around a tone, altering the timbre, making chords, was like working with an incredible new synthesiser.' Rashid and Munden explore related ideas centered on kinetic energy and communal movement throughout the visuals of Murmurations. Rashid says of the collaboration, 'We were both having discussions around the purity of collective human experience and how transcendental this can be. Techno and the dance-floor is one of the last true expressions of this euphoria.'
From the beat-less introduction 'Boids' onwards you can hear uncanny patterns and sounds rising up from the sea of voices -- not traditional chords or harmonies, but complex interference patterns that play tricks on the mind and merge perfectly with SMD's distinctive synth tonalities and instinctive dancefloor nous. At times you might hear hints of Bulgarian choral music, or Cocteau Twins, or avant-garde composers like Iannis Xenakis or Pauline Oliveiros - but really, thanks to the creative freedom of SMD's working methods, it is a sound completely of its own, something all too rare in an age of retro and reference.
Ford and Shaw still have the same love of pure sound, human harmonies and electronic possibilities that they did when they first met at university, and it's clear that their career path has allowed them to nurture this love and express it as vividly as ever before.
Greenvision is the collaborative brainchild of two ESP Institute artists, Juan Ramos and Luca Trentini AKA Trent, both longtime fixtures of Berlin's infamous playground known as Cocktail d'Amore. Separately, these two explore their own very personal avenues of expression, putting their time in the trenches and endlessly polishing their works (this makes Juan's third release with the label), but when their efforts overlap we're gifted a view into their uncanny synergy. Juan and Trent channel an exorbitant amount of smoke-fueled creativity, building layers upon layers into music so dense that the bulk of their studio time might then be spent navigating and formalizing their output into tangible tracks. Greenvison's collective debut with the ESP Institute showcases three intense cerebral workouts, Banana Paradiso, Rambutan and The Color Of Maracuja, an array of experiments pulling from all the corners of the duo's imagination—it is disorienting, cacophonous, introverted and psychedelic, but at the same time playful, melodic, euphoric and undoubtably arresting—guaranteed to induce hallucinations under proper circumstances. We welcome the induction of Greenvision to the ESP Institute, and with us as your guide, we welcome you to accompany on our descent into their abyss. Try not to get lost.
Strut presents the brand new album from cosmic jazz travellers The Pyramids, led by saxophonist Idris Ackamoor, 'An Angel Fell'. I wanted to use folklore, fantasy and drama as a warning bell,' explains Ackamoor. The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.' Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early '70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting 'Soliloquy For Michael Brown' and the lilting, beautiful album closer, 'Sunset'.
The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor. After forming in Paris and embarking on a cultural odyssey' across Africa, the group recorded three independent albums, 'Lalibela' (1973), 'King Of Kings' (1974) and 'Birth / Speed / Merging' (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors. German label Disko B released the freeform album 'Otherwordly' and in 2016, they released their first album for Strut, the acclaimed 'We Be All Africans'.
'An Angel Fell' is released on Strut on 11th May 2018 and features full hand-painted artwork by Lewis Heriz.
New concept album by leading cosmic jazz collective exploring global apocalypse, climate change and the healing power of music
Produced by Malcolm Catto of The Heliocentrics - Superb cover painting by Lewis Heriz
Full priority worldwide PR campaign and marketing
Release supported by major European tour dates in May and key Summer festivals
* A welcome reissue of a UK dub favourite dating from 1995.
* Features the voice and some fine bongo work from the man like Bongo Zebby alongside the Dub Crusaders collective.
* This originally appeared on the Jah Works LP `Universal Spirit Warrior, but has been long since deleted.
* `Drum Talk' is a wild dub cut to `Readings from the Book of Life'
* Mixed and produced by Rej Forte.
Tblisi is fast becoming a hotbed for emerging Talent. Glasgow's very own DJ / Club night collective Sensu will use Georgian native Hamatsuki to re launch their label. All tracks have been tried and tested at the place they have called home for 12 years - Sub Club. The ever impressive DJ Sports offers his remix duties to kick start a busy year for the label.
needs (not-for-profit) is a nonprofit record label & collective lovingly curated by Bobby Pleasure. We believe in people. The concept of the label is to use music as a medium to spread love, unity and the idea of giving back. Promoting harmony and togetherness rather than isolation and estrangement, each release and accompanying event will act as a support stream to various issues within society such as mental health, homelessness and equality. For the third release we have tracks from Lord Of The Isles, Mehmet Aslan, Petwo Evans, Bartellow & Nick Gynn. Five artists from different countries of the world who all have the needs factor, and have very kindly donated their music to the dancefloor.
Belgium-based Composer Christina Vantzou's Fourth Full-length For Kranky Ventures Further Into The Uniquely Elusive And Evocative Mode Of Ambient Classical Minimalism Which Has Become Her Signature: A Fragile Synthesis Of Contemplative Drift, Heady Silences, And Muted Dissonance. In Regards To The New Album She Speaks Of Focusing Particular Attention On The Effects Of The Recordings On The Body, And Of 'directing Sound Perception Into An Inner Space.'
No. 4 Took Shape Across Roughly Two Years, Incorporating A Diverse Array Of Musical And Conceptual Collaborators, Including Fellow Kranky Artists Steve Hauschildt And John Also Bennett (of Forma) As Well As Angel Deradoorian (ex-dirty Projectors), Clarice Jensen, Beatrijs De Klerck, And Members Of Belgium's Echo Collective. During The Creation Process Vantzou Wanted To 'blur Lines Of Hierarchy,' And Thus Allowed All Ensemble Members And Technical Assistants To Add Or Delete Elements. Despite Such A Spectrum Of Input The Eleven Tracks Feel Distinctly Cohesive, Weaving Elegant Textures And Resonant Open Spaces Within A Twilit Landscape Of Eclectic Instrumentation: Piano, Harp, Vibraphone, Voice, Strings, Marimba, Synthesizers, Gong, And Bells.
Vantzou Describes The Recording Process As One Of Prepared Spontaneity: That Is, 'having Plenty Of Ideas Ready To Explore Going Into The Session, But With Enough Time To Depart From Those Ideas And See What Happens.' This Mindset Of Premeditated Exploration Informs The Album's Emotive Textural Intuition, With Hushed Drones And Delicate Gestures Eliding In The Periphery Of The Mix. She Cites Sleep And 'the Loosening Of Time' As Two Formative Practices In Her Private And Professional Life, Which Manifests In The Quietly Hallucinatory Properties Of Vantzou's Music. No. 4 Feels Both Endless And Ephemeral, Immersive And Immaterial. It's A Music Of Horizon Lines And Half-light, Mapped With Feeling And Foresight.
Recorded In New York City And Brussels. Mixed In Berlin.
A Portion Of This Work Was Funded By A Generous Grant From The Flemish Community In Belgium.
