Buscar:idea 6
Intriguing times out there! Much confusion, much uncertainty
and a little bit too much of everything. Even music. And
recording mediums. Greta probably wouldn't approve of
cramming your little apartment with thousands of vinyl discs
that will go to waste at some point. And honestly, does the
world even need another record label? The answer is no.
Except this brand new imprint right here is aiming to put things
a bit into perspective. Bisiesto, meaning leapyear in Spanish
will only issue its releases on every 29th of February. You
know what that means - one release every four years. Less
pollution, less redundancy, essential material that had its time
to ripe, plus it's a fun idea, too. Bisiesto is run and curated by
Carlo and will emphasize on the physical release on vinyl in
limited editions of 366 pieces, hand numbered by the man
himself. Bisiesto #1 is due with four jams by the label honcho
that showcase his variety in an unprecedented manner. The
laid back electro- and e-funk-induced groove of "Momo" opens
that spectrum, maintaining Carlo's unmistakable feeling for
soothing harmonies. "Casiopeia" brings in a bit more of his
signature sound, building up a straightforward feelgood
housetune on thick kickdrums, slapping hihats and energizing
vocal cutouts. You can sum this bad boy up under: Carlo on
top of his game. The following "Tengo" has been released
previously, but appears here in a completely new mix, letting
this bouncy, yet deephouse-tinged piece shine in a slightly
different colour. Closing off is "Domingo" a rather percussive
affair, bringing in some tribal grains, a funked up bassline and
an irresistible breezy disco feel.
I have had the name and the idea for this release and upcoming series for years, but it wasn´t until now I felt the time and music was right. This new series will be my personal playground with no specific concepts and musical genres. Following my heart and ears. Being present. Being Noir. These tracks were created from a lot of live sessions and not so much from programming. I felt that gave my "man vs. Machine" interaction more nerve and real dynamics. V1 is emotional and dark. Gritty and raw. A true reflection of how I like my music in 2020. Each track has personal depth for me and feels like the perfect fit for my first edition of the Stimulateur series.
Two contrasting remixes of ‘Space Date’ come courtesy of Pleasurekraft and John Monkman, as the three-way collaboration between Adam Beyer, Layton Giordani and Green Velvet continues to thrill.
Joining the strong reworks is an unexpected treat for fans; a last-minute inclusion of a fresh new original track from the trio.
Drumcode got its first taste of Pleasurekraft’s unique production touch in 2016 when ‘Dopefield’ dropped on ‘A-Sides Vol.5’.
The Swedish/American duo’s exploration of cosmic techno realms made them the ideal candidates to re-work ‘Space Date’.
Their contribution is as visceral as they come; defined by a hypnotic vocal arrangement, a stirring call and response melody and propulsive galloping beats fashioned for peak-time moments.
No surprise it was a highlight of Adam Beyer’s Ultra Resistance sets and gobsmacked Maceo Plex who requested a promo to play at Time Warp a week later.
Meanwhile Drumcode debutant John Monkman steps up with a very different, but not less deadly reinterpretation of ‘Space Date’.
The Brit has impressed in recent times with strong releases on Ellum, Kompakt and his own Beesemyer imprint, and takes this form into DC207.
His is a twisted intergalactic re-rub drenched in warped electro, blistering modular sounds and touches of IDM that manages the difficult task of taking the original to darker, more leftfield realms without ever losing its powerful dancefloor pulse.
Since 2019 the collective of Parisian partygoers, Pardonnez-Nous, have decided to launch their own label. Just like their parties, their goal is to shine a light on dancing music.
Constantly looking for new tracks to enlighten the dancefloors, their outings are in line with the vision of deejaying defended by its founders. Finding forgotten pieces that are the geneses of dance music and mixing them with more contemporary sounds. Re-editions, edits, remixes or original productions the label doesn’t just stick to one style but aspires to represent all the music of partying!
Mexico, Peru, Surinam, and of course Sweden: in 1986, musicians from around the world responded to the Swedish composer, arranger and multi-instrumentalist Torbjörn Langborn’s invitation. His idea was to bring together the two groups he played with: a jazz quintet, and his salsa ensemble.
The cocktail was explosive: after several days recording at the Humlan studio in Stockholm, Torbjörn Langborn & the Feel Life Orchestra produced an eponymous album, combining, in Langborn’s words, “disco and funk with congas and Batá percussions.” The B side was a three-part gem nearly seven minutes long titled “Feel Life”, where he gives free rein to his talent as a jazz pianist. Thirty years later, we asked the famous remixer Dimitri from Paris to express is talent to produce a new version of this classic music track. "Pardonnez-nous", here it is.
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From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals' trajectory has been remarkable. They've earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.
After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: 'Everything Not Saved Will Be Lost'. A pair of releases, separate but related, they share a title, themes and artwork. 'Part 1' will be released on March 8th, with 'Part 2' following later in the year.
'They're two halves of the same locket,' frontman Yannis Philippakis explains. 'They can be listened to and appreciated individually, but fundamentally, they are companion pieces.
Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they've ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band's renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.
The album's lead single 'Exits' is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It's a fresh anthem for Foals' formidable arsenal, but also an ominous forecast.
'There's a definite idea about the world being no longer habitable in the way that it was,' says Yannis. 'A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response And what's the purpose of any response that one individual can have'
'Exits' signposts what to expect thematically from both instalments of 'Everything Not Saved Will Be Lost'. The title is a warning that anything - from the tiniest fleeting moment of inspiration through to the planet's own biological diversity - can be under threat of being irrevocably erased.
It's a theme that permeates throughout the album's material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance Fear of environmental collapse Anxiety over Trump's next potentially cataclysmic move It's all there in these apocalyptic songs.
'Lyrically, there are resonances with what's going on in the world at the moment,' summarises Yannis. 'I just feel like, what's the utility of being a musician these days, if you can't engage with at least some of this stuff These songs are white flags, or they're SOSs, or they're cries for help... each in a different way.'
The new albums' journeys began as the 'What Went Down' era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn't be replaced - a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.
After taking a little time out, Foals - completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened - with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They'd repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.
1 x 12" black vinyl 180gsm
- label 4/c
- discobag on reverse board with matt varnish
- gatefold on reverse board with matt varnish
- shrinkwrap
Clikno Is Proud To Present The Second Strike Of Dr.nojoke's Double Ep 'zero'.
'aplose' Is A Straight 10 Minute-stomper, Which Sounds Like A Wild Horde Of Percussionists Clanging And Banging Cans And Pots. The Truth Is The Doctor Just Threw Glass Marbles On A Wooden Floor. Fun-time! For The Hips He Adds A Low Rolling Bassline And For The Head Some Freaky, Randomly Pitching Chords And Off It Goes! Call It Afro-kraut-jazz-tech Or Just Clikno - Aplose Is A Counter-action To Electronic Music Production With Electronic Machines - Marbles Do It As Well!
'kumuestu' On The Flipside Is The Antagonal Piece On Zero.two - More Dark And Deep It Is Music For A Fictional Ritual. Carried By A Hypnotic Fluctuating Bass-figure And Drones The Tune Slowly Mutates Into A Shamanic Rhythm Monster Creating A Resonating Field For Transcendental Dancefloor Action - From Here To Eternity.
Zero.two Is Purely Audiophile Electricity To Twitch Your Body In All Directions. Do The Clikno!
Again Zero.two Is A Limited Vinyl-only Release Pressed On Transparent Vinyl Coming In A Transparent Sleeve - Transparent As Light, As Ideas, As Music And As The World Should Be - No Borders, But Freedom, Peace And Equality For Everyone!
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Efficient Space is honoured to share the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land - Bobby Bunnungurr, Jimmy Djamunba and Peter Milaynga (d. 2007) - working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony.
A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi's mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that 'the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas'. What developed was sonically unique - sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell.
On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three year investigation to meet the people behind the music.
Waak Waak ga Min Min (Black Crow, White Cockatoo) combines the previously unreleased Gandi Bawong with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration.
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with »redsuperstructure«, robert lippok created a new foundation for his musical endeavors. now - 7 years later - this system properly comes to life on »applied autonomy«. the title of the new album is a clear indicator as to what the berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks.
»applied autonomy« orchestrates a certain state of frantic standstill, which occurs once a structure is set. has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy. the more light one lets in, the more layers become visible.
layers are key when it comes to understanding »applied autonomy«. big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. rather than meticulously devising each and every detail, lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage. based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. an album culminating in a collaboration with klara lewis, with whom lippok spent 2 days at the EMS studios in stockholm, approaching the idea of autonomy from yet another angle. during the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. the result is »samtal«, 14 minutes of a constantly evolving state of poise, magically connecting all the dots Lippok had already defined as »applied autonomy«.
Cause we love Vinyl..... Here is the first Vinyl from the Label JACKFRUIT RECORDINGS, a new label founded in 2017. Label Owner is the Berlin based Artist, DOMPE, known for good arranged House Sounds. He releases a lot, a real creative mind. Four handmade tracks can be found on the Vinyl. THE JOKER: Do you need a Joker Deep and warm Techhouse-Bassline So who is you favourite Buffoon now Risky grinning attitudes sounds you have to hear loud. After that bomb it's time for an new experience: It's time to Boogie. 1,2,3,4 what are you waiting for Move your Body to the Groove. CRY: snappy sounds, a necessary amount of percussions and a beat that makes you teeter along. FREE BIRD: Here are some very new House Beats for you! It is really time for some spring feelings, so the sounds go fresher! And it feels like hearing the bird singing, sitting in the sun meanwhile. Real Groove comes through your Speakers - turn is loud! Percussions make you hooo. So shake your body once again and dance until the spring is coming. JACK BROWN: Hey Sweetheart you are such a hot fruity! Another brilliant cooperation between AGENT! and DOMPE and as it is common: never change a winning team! These both guys living in Berlin are not only Friends; they got a perfect match with their sounds and ideas. Soundaholics with playful whims in their heads. There is a rumour that JACK BROWN gives his Name to JACK FRUIT. Not really just kidding. JACK BROWN makes you dance, drags u to the middle of the floor. Charming Bassline, Vocal and a direct urge for snipping your fingers.
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Otis Stacks, three syllables. A name and a first name that recall a mythical singer as much as the Memphis music label that got him to it's days of glory. A name that evokes him in particular and soul music in general. Behind a name that sounds familiar are Elias Wallace and Justmike, two men united to become one: Otis Stacks. In truth, the optimized version of a work started long ago, when Justmike was producing the Danish hip-hop sound of Dafuniks and decided to get in touch with Elias after hearing his voice on a friend's tune. He first wanted him to lay his voice on a
chorus, then a verse, and ended letting him take over the lyrics of 'All I Want', the song that would later bring Dafuniks on air and around Europe. After traveling miles and miles across the ocean and the seas separating California from Denmark, Elias undeniably became a member of the group. As gigs went on, stages after stages, Justmike got inspired by Elias's voice and presence. Thus, the idea of a duo collaboration between the two men geminated and grew in his mind. As the evidence of their getting along, 'Fashion Drunk' became the first tune to
infiltrate Nova and FIP radio playlists, as its music video reached 8 million views. This now obvious complicity as extended in the form of an album, also called Fashion Drunk, released by Underdogs Records. With this French stopover, the line between California and Denmark is now completed. The result is an artistic fusion in which Justmike has plugged his instruments to the machines he uses to compose, letting Elias in charge of the
lyrics and singing. Here, the soul music is printed as a guideline in an organic and digital composite matter. In an ethereal and aerial production that perches its arrangements in the air of the mix or buries them in its bases, letting electro music spread on a groove punched with black and white keys. Each element intervenes with discretion to let Elias stories be related with elegance. Frustrated, disappointed or aborted love stories.
Oh so you thought that was it with RELO1 "Funny idea but we wont ever hear from those goofy guys again." You were so wrong. We spent 7 months in the studio and pulled another 3 pointer out of the hat with a bat. RELO2 is here from the Rebound Lounge label and production project brought to you by DJ Dog(aka DJ Fett Burger) & Double Dancer.
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With every album project comes a proper remix pack. Marco Bailey has invited some of his most respected colleagues in modern day Techno to come up with an interpretation of two of Temper's
toughest cuts. ''Planet Mad'' is being reworked by Marcel Fengler and Andre Kronert. Fengler's rework is an adventurous take on the original and has a strong emphasis on rhythm.
Without loosing with the original idea, Fengler builds the rhythm section into a wash of bold drums and rich percussion.
Andre Kronert's take on Planet Mad pushes the track's idea into a different direction. Kronert yet again proves to be a craftsman when it comes to textures and builds.
While the recognizable bass sound of the original keeps thumping, atypical bits of FX are added to build on an unusual but very soothing atmosphere.
For the B side, ''Naga'' is being reshaped by Croatian master of electronics ''Petar Dundov'' and Rotterdam based fast riser; Koen Hoets.
Petar Dundov comes up with an esoteric take on ''Naga''. Whilst respecting the form of the original, Dundov goes one notch deeper with his wide array dub elements and feral hat sounds.
Koen Hoets delivers a more demure take on ''naga''. Whilst the rhythm section might not be suitable for all club situations, this is adventurous techno at it's best. Noteworthy fx and soul touching
strings that float throughout.
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Gray sky, desolate moor, cold wind and almost anechoic silence, that melt with raw and intimate sounds, acid synths and powerful rhythms. This is the vision of 'Scena_731' label, with base in the hard city of Rotterdam, Holland. In this release the trio Yari Greco, Ontal and Ryuji Takeuchi, has clear ideas; a label careful to the digital, but that finds its true and primordial analogical essence in vinyl, in order to "set/fix it", some of the best releases in limited editions. The third release is on vinyl; 'SC731003 LP' is the summary of an exactly "archived" path, collected and matured in the years from combined experiences of its producers.Supported by Bas mooy, Orphx, Violet Poison, Violet Poison, Paula Temple, Isolated Lines, Orde Meikle, Eomac, Mindcut Music, The Zone FM, Reclaim Your City, and more...
(en) Good things take time - ideally, including a great deal of oomph. At least when it concerns new tracks from within Monkey Maffia's inner circle. It has been four whole years since we received the momentary last piece of the 'Monkey Maffia Music Club', 12 inches full of funky nasty beasts dedicated to the best dancefloors of this world. In the meantime, a remix was released here and a track was presented there, but now we may once again enjoy a full load of Monkey Maffia. And on top of that the now 75th release of Freude am Tanzen!
Monkey Maffia is personally providing the soundtrack for this ceremonial occasion. His tracks continually supply tremendous amounts of oomph to parties as well as loads of gravity and funk. After all, as an experienced DJ he simply knows what an awesome night looks like - a straight bass drum fractured while simultaneously amplified with infinitely warm synths. On one track, bass and percussion are throwing all our worries overboard, on the next one pads and vocals are shimmering to the bet. Whatever may happen, it can be said with utmost certainty that it will never become boring on either secular flat earth.
A1 - Bad Or Good
A total brain and leg screw, that spins and spins and spins. Any DJ willing to test how much funk a dancefloor can bear up to the third decimal place, will be perfectly served with this track as proof.
A2 - Fake Heroes
Short reminder, but detailed clattering minimal with soul does still exist. At first, 'Fake Heroes' frostily shines through aerial heights; however, then submerges all the more into unforeseen depths.
B1 - MiniMi
Somehow jazzy, but was meant as house. Similarly hypnotic, equally free. Common thread is the bass drum, along which anything is possible. File under: secret weapon for truly late hours and DJs with guts.
B2 - Schörless
This is a track that sends Larry Heard on an Orient trip and thereby extends over a much longer period than its brief four-and-a-half-minute length. For all those who are still serious about 'deep' in house.
(de) Gut Ding will Weile haben - und reichlich Wumms am besten gleich noch mit dazu. Zumindest dann, wenn es sich mal wieder um neue Tracks aus dem engsten Kreis der Monkey Maffia handelt. Ganze vier Jahre ist es inzwischen her, dass uns von dort aus der vorerst letzte Teil des - Monkey Maffia Music Club' erreichte, eine 12-Inch voll funky-garstiger Biester für die besten Dancefloors dieser Welt. Zwischendurch erschien ein Remix hier und ein Track dort, doch nun gibt's endlich wieder Monkey Maffia satt. Und das nunmehr 75. Release auf Freude Am Tanzen gleich noch mit dazu!
Der Soundtrack zu diesem feierlichen Anlass kommt von Monkey Maffia höchstselbst. Stichwort Wumms: den bringen seine Tracks stets genauso mit zur Party wie massig Tiefe und Funk. Denn als routinierter DJ weiß der Mann einfach, was eine lange Nacht alles braucht - hier wird die gerade Bassdrum gebrochen, dort mit endlos warmen Synths unterfüttert. In einem Track klappern uns Bass und Percussion die Sorgen aus dem Leib, im nächsten flirren die Pads und Vocals sehnsüchtig um die Wette. Was auch immer passiert, langweilig wird's auf dieser wie jener weltlichen Erdscheibe mit Sicherheit nicht.
A1 - Bad Or Good
Totale Hirn- und Beinschraube, die dreht und dreht und dreht. Wer als DJ testen will, wieviel Funk bis auf die dritte Kommastelle genau so ein Dancefloor eigentlich aushält, ist mit diesem Track als Messgerät bestens bedient.
A2 - Fake Heroes
Kleiner Reminder, aber kleinteilig-klappernder Minimal mit Seele, das gibt's noch immer. - Fake Heroes' schimmert zunächst kalt durch die luftigen Höhen, taucht dann aber umso weiter vor in ungeahnte Tiefen.
B1 - MiniMi
Irgendwie Jazz, aber als House gedacht. Ähnlich hypnothisch, genauso frei. Als roter Faden dient die Bassdrum, entlang dieser geht aber eigentlich alles. File under: Secret Weapon für die ganz späten Stunden und DJs mit Mumm.
B2 - Schörless
Ein Track der Larry Heard auf Orient-Reise schickt und dabei viel weiter trägt als seine knapp viereinhalb Minuten Spielzeit. Für alle, die das - Deep' im House noch ernst meinen.
After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur's more acoustic, piano-based solo work and Janus's synth-heavy electro pop, with their collaborative electronic project Kiasmos.
By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur's newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.
We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.' - Ólafur Arnalds
The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.' - Janus Rasmussen
Long-term Erased Tapes graphics collaborator Torsten Posselt at Feld Studios in Berlin created the cover artwork. Feld Studios was a natural choice for Kiasmos, seeing he also designed the cover for their Thrown EP, released previously.
Kiasmos is made up of Icelandic BAFTA-winning composer Ólafur Arnalds, known for his unique blend of minimal piano and string compositions with electronic sounds, and Janus Rasmussen from the Faroe Islands, known as the mastermind of the electro-pop outfit Bloodgroup. Based in Reykjavík, Arnalds used to work as a sound engineer, often for Rasmussen's other projects, where the two musicians discovered their common love for minimal, experimental music. They eventually became best friends, often hanging out in their studio, exploring electronic sounds.
As much as, in modern days, it has become increasingly difficult to pin things down to a specific genre this release brings very defined genres but also a refreshing feature, a constant change of energy in one single track, and most importantly, it all comes with this modern feel to it which indicates it is the new generation rising making justice to what Ultrastretch stands for, surfacing fresh and new talents. Signed by Austrian duo Foehn & Jerome.
The A side is of the EP consists of the genius idea that it is a relatively simple track, however, with the feel that so much is happening, the type when you listen to a loop but one you can listen to forever and not get tired of it, always the best sign. A rolling and constant bassline makes it into a super fat and rounded dancefloor groover, while on top you have these fragments of chopped up vocal samples in and out creating a sense of confusion, a mind drilling element is then complemented by very loose and fine hihats floating around.
On the B side starts with quirky minimal track with a galloping kick throughout, when the open hihats slam in with a vocal it quickly develops into a very happy and playful housy vibe and just when you are riding, the clap slams in now on a tighter hat sequence followed by the break and rebuilding, when it comes back however it adds another element changing the energy yet again, through introducing a synthline. The quirky frog sounding noises throughout certainly makes it a super witty track overall.
There is a way to reach into the pulse of everything. It comes when ideas
are stripped down to their bare essentials, blossoming then into massive monoliths that are designed with elegant simplicity. Such is the path taken on our next limited 7", led by Chronicle veterans Staffan Linzatti and new comer to the stable, Arnuad Le Texier. Entitled "Far Behind The Line", it embarks
with a sense of soaring weightless that only Arnaud can provide. "Radar"
is a statement of futurism, thrusting the listener forward and farther into the in nite. It's sonic qualities mimic radio towers, satellites, and frequencies transmitted from the far reaches of the unknown. "Destination" acts as the perfect counter, disrupting the psyche in all the right ways with dissonant wails and unearthly chimes. Together they come as a distinct package, presenting an impressionistic interpretation of what may come, or what already has.
NTD005 adds a new artist to the collective - Metamethod aka Simon Haynes.From Adelaide, Australia, Metamethod (Undefined Recordings) returns from a long hiatus with a new EP.
The product of much time refining sounds and ideas, both tracks on the EP are essential synthesis. Sounds primarily sculpted from scratch, resulting in biochemical rhythms and algorithmic loops.
A must have record for anyone wanting to add some raw energy to their collection.
