Buscar:fetish

Another new colour pressing we have 200 only white vinyl coming in Mrch. Single LPs w/ printed inner sleeve + lyric insert and Download card. The Armed return with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. The band goes on to explain, "crafting vital art means presenting the audience with new and intriguing tensions sonically, visually, conceptually. Over time and through use, those tensions become less novel and effective and they become expectations. The concept of "subgenre" becomes almost the antithesis of vitality in art itself a fetishization of expectation. ULTRAPOP seeks, in earnest, to create a truly new listener experience. It is an open rebellion against the culture of expectation in "heavy" music. It is a joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listener experience possible. It's the harshest, most beautiful, most hideous thing we could make." ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack “Night City Aliens” and 2018’s critically acclaimed album Only Love, which landed on ‘Album of the Year’ lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (Queens of the Stone Age, A Perfect Circle), Ben Koller (Converge, Killer Be Killed, Mutoid Man) and many more. Kurt Ballou (Converge, High on Fire, Russian Circles) remains at the helm as executive producer. An interactive ARG campaign with numerous stages of engagement is underway and will continue through release. A website, media mailings and various social media interactions are leading fans to find easter eggs including songs, album info, videos and much more. A livestream performance confirmed for same day. Videos for all three focus tracks (“All Futures”, “Average Death” + “An Iteration” are completed and will be released along with each song.

Master sampler Fed Conti has a way of making grooves sound as light as a feather, elevating kraut and jazz phrases to dreamy realms where the imagination is tickled. To kick off the forthcoming debut PROGedia album, revered producer and remixer Charles Webster adds his inimitable touch to the single ‘We Are The Night’, expanding on Conti’s heartfelt arrangements, playing with beats and textures, as he travels smooth melodic lines.

PROGedia is the newest alias of the Italian producer Fed Conti, also known as Mahjong and Nardis. After having played his Hammond organ with several jazz deities, and produced samples for Coca Cola and Universal, he is finally unleashing his kinky musical imagination in the PROGedia album; ‘We Are The Night’ kicks off a mixture of kraut, psychedelic grooves and nu jazz, tied together through clever arrangements and a refined sampling process. ‘It’s an escape from modern decadence,’ says Fed, who adores the authentic and offbeat. It only makes sense, then, that the first track of his upcoming album is called ‘We Are The Night’; during the darkest hours PROGedia’s retro extravagance can claim a foothold, offering a warm breeding ground for quirkiness, infatuation, and musical liberation.

The renowned producer Charles Webster, too, is a real music fetishist; he got his first instruments at the age of 13 and went on to collaborate with the likes of Juan Atkins, Derrick May and Kevin Saunderson, founding his own Love From San Francisco project and following with two decades of classy and sophisticated music productions. For this occasion, he has added his unmistakable touch to the ‘We Are The Night’ title track, complementing PROGedia’s infectious grooves with poignant rhythms and motley textures.

MUSAR is honoured to revive the electronic-synth legend, MANASYt, with a new five-track EP as part of a three-EP series. 'Reality Defense Department' will be the Bulgarian's first material since 2012, set to release via MUSAR on December 8, 2017.
Petar Tassev aka MANASYt, hails from the twilight zone. Growing up with the blacks swans in the forest of communist Bulgaria, listening to metal and hardcore music then interpreting the moody, roughness together with inspirations from electronic new-wave music to a raw, pure and dark adventure bubbling with madness.
'Reality Defense Department' is a future horror movie soundtrack. The first track 'Memory Imprints' is a pure psychedelic-trip into the mental clinic for clockwork orange droogs. The second track 'Mobile Pharmacy' can be described as what the aliens would listen to while attacking Earth. The last original track 'Orthodox Spanking' is a dark, wayward electro track full of post-punk elements, perfect for a fetish party.
A pair of remixes by Brooklyn's wonder girl 'Via App' with a deep, dark and gothic techno rework for the late dazed hours of the morning and Norwich's kept secret, Wax Stag (an occasional collaborator with Bibio and Clark) that delivers a dreamy, cosmic twist that will linger in your consciousness for a long, long time to come.

Up to kick off 2021 in the most adequately frenzied, thoroughly corrosive fashion, DDS04 serves up a quintet of chrome-tanned, hi-velocity beats courtesy of Italian hardware fetishist Anna Funk Damage (previously heard on the likes of Mind Records, Lux Rec, Lazy Tapes and more) and Austrian-Hungarian outfit Dutch Courage - alias Superskin & Új Bála - each of whom step up to the plate to deliver an exquisitely ear-wormy slice of their deranged industrial gospel.

A-side starts off to the sound of AFD's hard bouncin' "48 Hours Death" - a raw-cooked deluge of head-reducing EBM grit, flaring binary signals and Giallo-infused arpeggios out a blood-stained Suspirian tale. Fear for the deadly scalp hunters lurking in the club's darkest nooks, they've just sniffed out your trail.

Brutal churner "Youssef" picks up the torch and pulls out the quake-inducing breaks without further ado, dressed out with languorous Orientalistic melodies and steely distortions tailored to bend mind by the dozens. Forged in the furnace, the full-out punk-minded "I Come From Fire" rounds off the side on a drum and bass-heavy note, drawing as much from 60s psych-garage as it does from 80s deconstructionist tape music.

Flip sides and here's Budapest unit Dutch Courage taking the reins with the off-kilter treat "Hand Of The Sword" - navigating a weird zone of its own, floating astride post-apocalyptic Bristol bass, sliced-and-diced abstraction and overly textured yet equally bone-bruising riddims.

Wrapping up the journey with both force and serenity, "Neo-Soulmates" follows a similar path with its warped synth flexions and raucous machine cries making the rounds from one end of the spectrum to the other effortlessly, merging to give birth to something genetically contrasting from any contemporary. A most fitting finale to an EP that celebrates and encourages sonic bizarro in all its forms and manifestations.

In view of the immense Black Lives Matter mobilisation in reaction to the murder of George Floyd and the comparatively meagre societal reaction to the attack in Hanau, the question arises: How come our society does not show the same empathy and solidarity towards its own fellow citizens with Kurdish, Turkish, Bulgarian, Bosnian, Afghan migrant backgrounds or members of the Roma and Sinti?

How limited is our postcolonial discourse if we are unable to address the racist exploitation of those who repair our cars, deliver our parcels or harvest our asparagus?

It’s all a sham. Shake it off like a biometric photograph. Shake off that false consciousness. The Black Diaspora is a transatlantic lie invented by music curators and journalists. Embrace this nuanced return to structures and superstructures, to articulations and historical constellations as analytical tools.

Allow me to dampen your expectations. This is not the sound of decolonisation. This is no compilation of BLM protest songs. This is no celebration of Black emancipatory struggles. You will not be able to play this at your hip post-pandemic house party. This will not go down well with your woke friends. This is music for the square in the room. For that reluctant BAME/Person of Color repelled by your fetishisation of the African-American experience.

This is music for gated communities. This is Fehler Kuti singing of class relations, not of identities and positionalities. This is Fehler Kuti resisting.

Listen to these songs of infrastructure and appraisal of the welfare state. Join me in mourning the broken promises of prosperity for all. Send that “Ausländer“ of your mind to heaven. Colonialism fucked you up. Platform Capitalism is keeping you in chains. Are we to unionise all human and non-human workers at Amazon? Will modernity always have that "forever nigger“? What about those dispossessed field hands harvesting your asparagus?

All is lost. The system is rigged. Because all histories, gestures and identities have been absorbed into this late capitalist apparatus we call diversity. It can integrate anything and anyone. It made me. It is the price of the ticket. And it is unable to challenge its own premise of an atomised society. As if you and I had so little in common.

They will try and help you. They will build a museum for your history and a scholarship program for your future. I warn you. Don‘t let them give you a name. Resist appellation. Don’t get that German passport. Don‘t eat asparagus.

Fehler Kuti, Spring 2021

All songs by Julian Warner. Produced by Markus Acher and Tobias Siegert.

Markus Acher – drums, percussion, backing vocals Micha Acher – sousaphone, trumpet Cico Beck – synthesizer Jenny Bohn – backing vocals Pacifico Boy – vocals Katja Kobolt – spoken word Theresa Loibl – bass clarinet, backing vocals Sascha Schwegeler – steeldrum, kalimba, percussion, backing vocals Tobias Siegert – bass, synthesizers, percussion, backing vocals Julian Warner – piano, memotron, vocals

recorded and mixed by Tobias Siegert at Minga Records, july – december 2020 mastered by Moritz Illner at Duophonic

Cover art and photography by Andreas Neumeister. Layout by Sascha Schwegeler.

Fehler Kuti “Professional People” is part of the same multiverse as “The History of the Federal Republic of Germany as told by Fehler Kuti und die Polizei”. A production by Julian Warner. In cooperation with Münchner Kammerspiele. Funded by the Department of Arts and Culture of the City of Munich. Released by Alien Transistor.

Written with a libidinal urgency that has come to characterize Kool Keith’s legendary lyricism, “Keith’s Salon” explores our current obsessions with luxury, beauty, and notoriety. But rather than fetishize the beautiful dum-dums who walk red carpets in black Prada gowns,

Kool Keith's most recent studio album shifts our attention to the work and workers that underpin our fantasies of American excess and the good life.

As such, the album is also a timely meditation, during quarantine, on the economic precarity many of us now find ourselves in. Having doubled-up with Triple Parked, the production team of avant-techno maven Bruno Pronsato and Benjamin Jay, “Keith’s Salon” moves between halcyon sonics and atonal warlord dystopia, while keeping beats minimal for Kool Keith to spread extra ketchup on the hamburger. An album at once topical and futuristic, lush and bizarre, "Keith's Salon" is about the business of making people beautiful. It's time to work.

Under exhausted lights of civil discontent the count has just began. What you parodied, what you scrutinised rears its pure gaze when punctured beyond performance. We cried for justice but instead found order, and now we face the chain. PC World comes through with a haunting EP on She Lost Kontrol to distort the view and warp the vision of industrial addicts and mutant punks with their second release “Order”, a discursive counterattack on four distinct forms of command. The South London duo disfigures the unconscious reduction of pleasure and fetish, the connective tissue between privatisation and violence, the seduction of societal norms, and the neurotic tendencies of self-defeat. Like the surrender to a future shock, these four interwoven tracks are produced for the recognition of restraint and the demand for wanting more. B-side remixes of the title track “Order” come from Physical Wash (former member of High-Functioning Flesh) and Aktion Mutante (featuring members of Violent Poison and Unhuman), two additional perversions of protocol from synth-punk veterans on both sides of the Atlantic. So initiate these six cries of havoc in solidarity with this wasted world, a world of precarious necessity and incessant definition. A world whose shape and conscience will forever be satisfied by order.

VII Circle returns to his Destroy To Rebuild imprint this March with two fierce techno tracks alongside Mickey Nox and Fractions remixes.

Following 2020's "Fearless EP", which saw support from the likes of Rebekah, Regal, and Randomer, VII Circle returns to his own Destroy To Rebuild imprint with two blistering originals and a pair of remixes from Green Fetish's Mickey Nox and Russian duo Fractions.

Title track "Warriors" gets straight to the point with a heavy-duty synth snaking its way through the track, as a series of relentless drums and sharp production combine to form a pure sonic assault. "Mayhem" takes a darker turn, conjuring images of dark, sweat-filled rooms, taking influences from intense club experiences.

For Mickey Nox's take on "Warriors", the Melbourne based producer strips the track to the bone, turning his focus to bone-crushing drum shaping, reducing the lead synth of the original to a sparsely used element, deployed to maximum effect.

Drawing from their experience on Rotterdam Electronix and Dax J's Monnom Black VA, Fractions turns "Mayhem" into an upfront banger. By adding rave-infused stabs and the occasional breakbeat to the mixture, the duo brings a fresh take on the original, with a euphoric breakdown thrown in for a brief respite before the pandemonium resumes.

Velvet Season & the Hearts of Gold is the musical adventures of Gerry Rooney & Joel Martin. They have a rich musical history with Gerry Black Cock Records & Joel Quiet Village.

Aldo Tamborrelli – ‘Voices’ (VSHOG Special Version)

VSHOG present their official special version of this highly desirable hidden treasure of hypnotic electronic sleaze excavated from the cult soundtrack to a 1983 Italian ‘Apocalypse Now’ cash-in, and transform it into an 8 minute erogenous bump n’ grind trip to the twilight zone torture garden, cruising leather boys & fetish girls looking for Love in all the wrong places !

‘Voices’ is a narcotic synthesised masterpiece of body music to completely immerse your dark desires on the dancefloor. A dark risqué world of crisp chugging drum machines, mesmerising warm bass pulses, and the erotic wails of seductive screams in the night !

Stefano Torossi – ‘Having Fun’ (VSHOG Special Version)

The VSHOG version of 'Having Fun', from Stefano Torossi's 1974 album 'Feelings' (a holy grail of Italian library music) is an uplifting lush orchestral string laden funky breakbeat feel-good track to raise your vibrations!

Opening with a chunky stripped down drum & bass intro, the strings entice you further in & then the Disco Funk Psyche guitar riff really lifts the track to the sweet spot & you are completely hooked! A beautiful piece of music for all occasions - Balearic Sunsets/Sunrise, Disco dancing, B-Boys and Hip-Hop heads, Jazz Dancers & library music connoisseurs!

Another fantastic offering from the VSHOG Special Version series of releases.

*repress*

Justin Cudmore returns to the Phonica White shelves with four new tracks, and his long-awaited first full EP since 2017's "Forget It" for The Bunker New York. With the dancefloor seeming far outside our reach right now, 'Train Dance' transports us back to a simpler time lost in the mix.

Across the disc, Cudmore reflects on the sounds and scenes closest to his heart and record bag, flexing his knack for crafting catchy hooks and the kind of ear-worm melodies that helped cement his status as one of house & techno's fast-rising stars. A1 "Train Dance" is his ode to the urban symphony of train cars whirling past his apartment in Brooklyn, with eight minutes of swingy, jacking house built for a sunny afternoon set across the pond at Panorama Bar.

"Club Fetish" shifts to a more introspective, heads-down vibe crafted instead with a dark and sweaty basement in mind. A touch of psych à la classic John Tejada, Cudmore's subtle, squelchy synths rub shoulders with cerebral drums and floating basslines.

The B-side nods to Cudmore's acclaimed acid sound for two deep slow rollers. "Expectation Game" and its no-nonsense 303s chug through a couple of understated breakdowns, while "Realize" was written with a Detroit outdoor patio in mind, with a sleazy acid bassline and cut up vocal groans sounding like Cudmore riffing on a late-night Moodymann jam.

Recorded during a productive time of new beginnings and positive headspace, ‘Train Dance’ comes out during a strange and unclear present for Cudmore and many of his contemporaries in the scene. However given it all, Justin remains excited to share new music and sounds, and hopes to return to the dance floor with everyone again as soon as safely possible.

Artwork as always is supplied by the talented Pedro Carvalho de Almeida

Cormac is pleased to announce the second release on his new record label Polari, the label he curates and through which he shares music from artists that he champions in his muchrevered DJ sets.
The name “Polari” references the slang used by the gay subculture in the 19th century.
The sophomore release is from Philadelphia based duo Zillas on Acid.
2019 was the year Zillas made the transition from DJs to break-out producers. Having honed their DJ skills at Philadelphia’s revered MAKING TIME clubbing institution, Thomas Roland and James Weissinger have released two EPs on Optimo Music and also on Ivan Smagghe’s Les Disques de la Mort in the past 12 months.
Cormac has also opted to showcase different LGBTQI+ visual artists' work for the sleeve art.
Artwork on this release is from SHREK 666; an Artist, Performer, Maker & DJ also known as Sorcha Clelland. Creator of Ministry of Pound, a Glasgow based Fetish Party & Mag and resident performer at Scotland’s most loved Queer party Shoot Your Shot. Combining
monstrosity, trans*ness & hypersexuality through the embodiment of an ogre creating new queer worlds.

A new sub-label of the longstanding Canadian electro imprint Suction Records, Ice Machine — focusing on old-school wave/post-punk sounds — is thrilled to present a new, deluxe reissue of “Pow Wow”, the debut 1982 solo LP from Cabaret Voltaire’s Stephen Mallinder. Now expanded to a double-LP, and also released on CD/digital, it’s a definitive reissue which now includes Mallinder’s early solo discography in its entirety. This collection of mutant dub/funk/postpunk sounds just as fresh and contemporary in 2020 as it did in 1982 (note Autechre’s inclusion of standout cut “Del Sol” in a mix earlier this year), and highlights Mallinder’s crucial contributions to Cabaret Voltaire.

Some words from Mr.Mallinder on the scene and era from which “Pow Wow” was born: “It was an interesting, and inspiring, time. The primal caterwaul of punk was dying and lots of really significant things were emerging from the fires. Much looser vibes were in the air and there was a much more exploratory feel. Punk had championed a visceral, anti-intellectual approach but in truth the real characters brought so much more to the table, and what began to happen - from people like The Pop Group to Throbbing Gristle, and emerging scenes from No New York to Factory Records - is we began to embrace the art of it all. There was acknowledgement of the importance of books, films, graphic art, and experimentation with all those mediums. We were just as interested in turning over rocks to see what lay beneath, as throwing them. There was a sense of new magik emerging.”

“Pow Wow” was commissioned by the Fetish Records label, and recorded at the Cabs’ Western Works studio, where Mallinder would spend his days recording with Cabaret Voltaire, and continue on alone into night recording his debut solo material. “I slept very little in those days,” he adds, continuing: “It was done on 8 track and very multi-tracked, so lots of recording, then bouncing, and overdubbing, to get the integrated feel of the tracks. I became very adept at pressing record then jumping onto equipment to play it - it was actually a very 'live' record in that sense. I've always seen rhythm at the core of what I do so I loved the layering of counter rhythms. The sequence/arpeggiator parts were all drum machine triggers that were played live. It was about creating a distinct groove so arrangements came from weaving in and out of those linear grooves. It was fun to play everything from drums, guitars, keys, trumpet, percussion, tapes… and record and produce it all. Prince got it from me!”

Surprisingly, Mallinder’s first solo LP would also prove to be his last - that is, until last year’s critically-acclaimed solo return “Um Dada”, on Dais.

This new edition of “Pow Wow” contains 14 songs, and is housed in a recreation of the original, iconic Neville Brody jacket, painstakingly recreated using scans of Brody’s original artwork elements. The 2LP vinyl edition is in a reverse board, thick-spine jacket, and adds a 12”x24” folded poster/insert, featuring unused elements from Brody’s original designs, sketches, and instructions for the LP. The CD edition comes in a reverse board, 6-panel digipack.


2-11 from the Pow-Wow LP on Fetish Records, 1982.

13-14 from the Temperature Drop / Cool Down 12” on Fetish Records, 1981.

12 from the Fetish Records compilation The Last Testament, 1983.

1 edit from the Pow-Wow Plus LP on Fetish Records (Japanese pressing), 1984.

In 2017 Brooklyn's Bryce Hackford spent a week at the PRAH Foundation in Margate (UK) recording rhythmic foundations and the environment around him. After his residency, eleven musician friends contributed their performances to what would become Safe (Exits). All of these contributions, however, were made in isolation and the task of mixing them together became the crux of the production.

Bryce's records largely explore improvisation with electronics, using recording as the compositional medium, and feature the occasional contributing musician. Eleven make Safe (Exits) more of a chance ensemble record, with players in unlikely combinations, from disparate backgrounds both personal and musical, pushing a collage aesthetic beyond sampling. The poetics of these sounds is the focus of this album.

Safe (Exits) attempts to create a rare space where rhythms get propulsive enough to make one dance yet become subtle enough to make them nod into the serene vistas of distant, contemplative waves.

Safe (Exits) is Bryce's first album since 2015 and second release with Spring Theory.

Featuring: Gabi AsFOUR, Brian Close, Matt Evans, Adrian Knight, Kiki Kudo, David Lackner, Frank Lyon, Camilla Padgitt-Coles, Bernardo Risquez, Viktor Timofeev and Justin Tripp

Yes, at last! Kinky keyboard porn! Whisper porn! Vinyl Porn! And all at the same time.! And what an ASMR treat we have for you here.
Recordings of 12 incredible bespoke mechanical keyboards made and recorded by the master of this modern art, Taeha Types. Yes, this is actual typing sounds on amazing future/retro/cutting edge keyboards. Every track different. Every keyboard different. Listen and weep - Or sleep - Or something ... An INCREDIBLE & UNIQUE listening experience. The first mechanical keyboard album EVER !!!

For the last few years a small scene has been growing. The mechanical keyboard scene. It’s now quite a big scene actually.
It makes total sense as most of us use keyboards everyday, so why not have an amazing keyboard to use instead of the total crap one you have. I mean just look down. It’s shit isn’t it. So, some people worked out that things could be improved - A lot. - So they started to make incredible, kinky keyboards, using both old and new tech: and the possibilities and options in construction are endless.

There are key cap options (GMK ABS, PBT etc etc), spring options (Cherry MX, Pandas, Alps etc etc) and even backplate options (steel, aluminum, copper etc etc), and of course case options too. And all these options make a big or little difference. And once made these keyboards are carefully lubricated spring by spring to give them that little extra smoothness and “ping”.

The results are beautiful, fetishistic, futuristic in an odd retro style, and they sound AMAZING when they are typed on. This is classic ASMR / whisper porn, the gentle click and rattle of carefully lubed springy keyboards make the hairs on the back of your neck rise. Either that or they gently woo you into a peaceful, sublime state. This is a classic and groundbreaking new Trunk album for our modern stressful times.

The recordings on this album are the first ever release of mechanical keyboard sounds. They are from a selection of (enhanced) keyboards from the 80s, 90s and now. They were recorded by the master maker of the modern mechanical keyboard, Nathan from Taeha Types.
He has a large following on Instagram, YouTube (videos of his hands typing on his keyboards hit 10K in just a couple of days after upload), and he now has over half a million views on his Twitch channel where he constructs keyboards live.

Sleevenotes on the album have been put together by Jonny Trunk and Stu London (AKA Futurecrime) from the London mechanical Keyboard scene. He knows what the fuck he is talking about. And you might not understand it, but you can catch up real quick - like I did.

- Album mastered by Jon Brooks, who also really understand these
sounds. And if you don’t, don’t worry - lots of others will.

What are the best non-physical landfills for discarded thought? Do waves transition between naturally occurring substrates and audio signals? Does adrenal fatigue and replenishment in the human brain relate to cycles of euphoria and dysphoria in music? What is the mental effect of visual versus aural repetition? Is all music fictional? Can the language of objects and memories impregnate sound? Are bodies out of fashion? What is the music production equivalent to a green screen in film? What is the best non-physical preservation method for sound? Is film editing a way of ordering memories? Is repetition therapeutic? Are all films fictional? Have physical forms slipped into obsolescence? Did Erik Satie have an anxiety disorder? Is background music parasympathetic? Are physical players more virtuosic than virtual instruments? Is thought finite? Is physical music a fetish? Is reality fictional? What is the most elegant way to float between corporeal and ethereal forms? Do memories deteriorate and fade like audio signals exposed to the elements? Can thought exist without the body?

Standing tall above his peers, multi instrumentalist Guy Bartell AKA Bronnt Industries Kapital has left an impressive mark on cinematic electronica, having spent the last decade being commissioned to soundtrack everything from legendary silent film Haxan: Witchcraft Through The Ages to 1930s Soviet documentary Turksib, Bronnt has been there long before the 3rd wave of Italian Library Fetishists and long before this thing called Horror Disco even had a name. Force The Line sees a group soaked in the soundtracks of a thousand low-budget-straight-to-video action-slashers, the sound of heavily dubbed Martial Art imports where vampires jump and acid-laced revenge thrillers invented on demoscene message boards. Bronnt’s first studio album since the 2009 Get Physical LP ‘Hard For Justice’ is all that we might ever want from this underground legend, dance floor heavy, krautrock zombie epics for the past present and future. Miss this at your peril.

Independent record label YGAM presents "Les Bergers du Galetas", Magnétisme Animal's debut EP, in which they share their intimate view of society. 

Formed by brg and Catartsis, the French duo invites the listeners to dive into a journey through the density of the modern metropolis. In a time of materialistic fetishism, where superficial occurrences and capitalism rule, the 4-track EP acts in opposition to these current matters. However, rather than trying to create a contrasting sonic landscape, Magnétisme Animal use sounds recorded in their environment to elaborate pieces that bear the heavy and frenetic industrial atmosphere of our urban sceneries. All sorts of clanging metal, steam discharge, electromagnetic static noise, train rails frictions, sirens and distant traffic, are combined with breathing, footsteps and vocal humming to create an oddly industrial as much as organic soundscape. The EP starts with a noise track that recalls some of the compositional processes of musique concrète, to then slowly drifts towards rhythmically oriented pieces. "Être c’est être coincé", with its ponderous bass and distortion work, appears as a peculiar blending of noise and techno, while "L’Enthousiasme des statues" displays a more traditional and dance floor approach to rhythm and drums, but still leaves space for an uncanny sound decor to unfold. The project ends with "La Toute-Toute", a repetitive ambient track filled with subtle sounds, where one can wander as spoken words underline a sense of melancholy. "Les Bergers du Galetas" is an unsettling industrial tapestry, a strange study of noises, that depicts the contemporary frenzy of the artists’ environments they referred to as the urban jungle. A landscape where one is a witness of the disparity of human conditions, where mind and body coexist with difficulty, where one is subject to conformism, where one is lost in the smog while carried by the masses through the cemented maze.

After a brief wander 'round the garden, Chilean-born Ricardo Tobar returns to the ESP Institute bearing earthly delights. With 2017's Liturgia, he introduced his creative point-of-view—instantly substantiating a sense of rhythm that was deliberately complex yet slightly rough around the edges, while touching upon his musical origins from the guitar-driven corners of psychedelia— however with his debut 2xLP Continuidad, he leaves us gobsmacked and seeking shelter as he leaps from dancefloor comforts and descends into absolute chaos (in more ways than one). Emotionally, the artist has crossed all previously self-imposed and subconscious thresholds, putting his true imagination on display and exposing an unwavering attraction to all things loud, orgasmic and transcendent. He's not subtly hinting at a fetish, but opening his arms wide with conviction, abandoning genre taboos and personally inviting everyone to join his enchanted caravan. Sonically, his appetite for intensity is clear throughout—epic chord changes, ascending peaks in arrangement, accumulating layers of grit that build into impenetrable blankets of distortion and feedback—a kind of aural hedonism that translates visually into the potent video abstractions our Mario Hugo has summoned for the album's packaging. This follow-up single surrounding the Continuidad album boasts the dirty little secret Bailemix of album track Recife—we wont go as far as uttering the 'T' word, but this is unbridled merciless tops-off festival gear for the massive. The flipside is another exclusive non-album cut Cuatro Meses De Verano, a rhythmic build-up that breaks into a low-slung funky stomper, Tobar's idea of a warm-up weapon.