Cerca:lot

Dresden based scientist, producer and weightlifter DJ Pirna returns with some brand new Funk. On his "Prehistoric Passion" LP he displays lots of lovin, 140bpm soul, Akai S900 drums, some top notch rappin´, funk guitars and once again unpredictable arrangements. Inspired by 8Ball & MJG, protoscience and dance music from the 313; this one covers lots of ground in real style.

Gábor Lázár’s “Boundary Object” is a collection of eight real-time recorded, unedited tracks made in Budapest and Prague between 2020 and 2022 using a self-designed compositional interface. It's Gábor Lázár’s second album for Planet Mu following “Source” in 2020. The title comes from the idea of a Boundary object as a flexible concept of sociology and computation of how collaborations could happen between groups of people who have different kinds of backgrounds and different levels of knowledge. A Boundary object could be anything which translates between these groups to make a collaboration happen. Boundary objects are plastic, interpreted differently across communities but with enough common identity across social words and contexts to maintain integrity. This is a neat summary of how Gábor’s approach and working process led to his music on this album. Prismatic, flexible, and functioning on different levels of interpretation. On “Boundary Object”, the shiny surfaces and uniformity of “Source” have collapsed inward, leaving intact the recognisable pulse and frames of his music. While each individual track has a non-linear structure, the album as a whole has a strong narrative. Passages that start out Trance-like and familiar warp and weft into different shapes as if Gábor is examining the music like a 3d object, pulling at the edges, breaking and rebuilding what he examines, turning expectations inside-out. “Boundary Object” is intense, full-spectrum and a lot of fun.

Siavash Amini is a composer from Tehran, Iran. He Has worked with labels like Room40, Hallow Ground, Opal Tapes and Umor Rex for the better half of the past ten years. He has performed at festivals like CTM & MUTEK and many other well known international events. Apart from it Siavash is a co-founder of the “SET experimental art events” and “SETfest” in Tehran, Iran. His work ranges from fragile ambient pieces and brittle IDM (incorporating his distinctive style of atmospheric guitar playing) to noisy drones and bleak modern classical pieces. His compositions have been inspired by films such as Andrei Tarkovsky's The Mirror as well as novels by Dostoyesvky and poems by T.S. Eliot.

Saffronkeira is the Sardinian sound researcher Eugenio Caria being active in the electronic music scene since almost two decades. His most recent work - a cooperation with the Italian jazz trumpet legend Paolo Fresu - earned a lot of praise from the international music press for the pure timelessness of the album.

"Upon hearing a small snippet of sound an image is conjured, not a memory but not unfamiliar. A shell of a memory, thousand events superimposed on each other. While trying to extract points of a narrative to ease the discomfort of this recollection, I try to separate and unfold the image and with it the points of the spectrum which make up the sound, a shell of a narrative. Here is an album based upon an almost entirely imagined/ synthesized happening upon hearing a snippet of sound. It sounded like of a whole story that never happened but yet I felt myself amongst it’s participants, a sound triggering a false memory. Each sound in Eugenio’s collection of sounds and ideas guided me a to a point in the narrative and it’s construction. He had handed me a portals of some kind to a few scenes of the whole narrative. This is the soundtrack for that false memory from all the perspectives I can think of."

From the deep depths of Noord Brabant (NL), high school friends and long term collaborators Klont and Whistle aka Wessel and Luuk join forces once again. Growing up a mere few towns away from each other and even appearing in the same punk band albeit at different times, the meeting of minds occurred over their shared persuasion for absurdist humour and a fairly unconventional music taste.

They knew they had something special in their pursuit of gnarly breaks, textures and all things on the curveball spectrum, as Klont the ultra music nerd approached with a desire to sculpt sound whilst the breaks disrupter and club-goer-outer Whistle brought his all-around disruptive energy to the table. Separated by the pandemic they practiced their musical efforts away from each other with lots of late night video call jam sessions fiddling with ableton to produce a certified booty shaking masterpiece for ANUS Records.

Coco Bryce makes his solo debut on AKO after featuring on the Defender album. Two beautiful tracks – Sweetheart has that trademark sound by Coco Bryce, melodic sound, and a rolling break and just has a vibe.

Sonar is an Amen track that has caught the eyes of many and brings a nice balance to the release. Both have been getting a lot of AirPlay from the likes of DJ flight, Mantra, Decibella, and others.

On ‘Luminal rec.’ s next 12-incher Black Lotus starts the acid engines with the title track “Thrust”
- a raw old-schooled rave interpretation cut from a freestyle 303 jam.

“High-Octane” dives towards even faster worlds while developing a relentless grinding touch that reminds of good old days.

“Mechanic Galaxy” on Side B is their soft counterpart;
With its dreamy chords and dancing shakers it balances this four-tracker out - a constellation we are used to from previous EPs.

Also “Interplanetary” comes along with a puristic touch, while focusing on less elements
- never compromising on the speeds.

New stuff from recent times.
Play it loud!

Piano, handmade electronics, tenor sax, couple strings.

I was after something tangible. Sounds you could roll around in your palm and consider different, complex, and flawed textures. Feel the weight, maybe even smell them.

This desire is probably a reaction to the dissociative nausea from the constant simulacra of these early 2020s. Like deliberately going barefoot to feel yourself grounded in a real place, as I read Andrea Needham did when facing charges for disarming a warplane.

Anyway, my methods to achieve these sound "objects" was to use a healthy amount of acoustic instrumentation with all its familiar sonic unevenness, to free sounds from rhythmic or thematic structure, and to give plenty of blank space around each note so the ear can reach in and pluck it out. A berry from a bush, an eyelash from a friend's cheek.

Really though, a lot of the time now I just want to listen to the birds. There are plenty on here. Mourning dove, titmouse, helicopter.

"Hunter on the Wing" is a reference to De'Andre Hunter, the Atlanta Hawks small forward.

KF, Dec. 2021

Birds’ second Höga Nord offering is a 4 track EP created entirely during the first UK Coronavirus lockdown in spring / summer 2020. The themes throughout the record are inspired by various thoughts, feelings and coping mechanisms adapted by herself and her peers; from live streams to micro-dosing, to exercising patience and trying to feel comfort in the fact that there will be other opportunities and we’ve just got to wait this thing out whilst trying to stick together for emotional support. Sonically it moves around a lot from gurgling 303 bass lines, to break beats, to dubby guitar breakdowns, to heavy club inspired 909 kick drums, whilst always maintaining a droney undertone.

For the first time ever, here is the soundtrack from the 1983 post-apocalyptic flick directed by Joe D'Amato, Endgame - Bronx Lotta Finale. A compelling Carlo Maria Cordio's mighty Vangelis-meets-John Carpenter score. With hangovers from previous Giallo-based outings, Endgame's themes are more gentle and introspective than, say, Claudio Simonetti's muscular work for The New Barbarians and Hands of Steel but also, arguably, musically more diverse. In particular, the opening title track 'Atomic Contamination" is genuinely chilling when set against the stock footage of a nuclear bomb going off.

While liberally pinching the vibe of Blade Runner's more symphonic textures, Cordio's synthesizers also do bombast, melancholy and menace when required, whilst the pretty pieces for Lilith are like semi precious jewels shining out of the murk and machismo.

Here we are! Back for the second volume of Back from the Canigó ! In the same spirit as Back from the Grave, our goal is to look back at what happened in the South of France near Perpignan at the beginning of the 21st century. As you can hear it in the first volume, the city of Perpignan (and its region, Northern Catalonia) has been a strong place for underground rock'n'roll for many years. In the 90's, there were a lot of garage bands and an important mods community. These guys created a spirit in the city that's still present today. This volume showcases the new bands created by Perpignan's city rockers and the country punks from the nearby villages. Bands like Les Gardiens du Canigou, The Ugly Things, The Likyds, The Toxic Farmers, The Vox Men, The Feedback, heard on the first compilation, spawned plenty of new formations. This time the scene has its own labels - Nasty Products and Profet Record are two of them. It has never been easier to record music and put it on vinyl. There are live venues all over the city. The beginning of the internet also makes life easier, even when you're in a town in the South of France near the Spanish border and the Mediterranean. Myspace is growing fast and local bands make contact with the other side of the Atlantic. The Sonic Chicken 4 are signed by In the Red and Trouble in Mind. Parisian labels are also interested in the work of bands from Perpignan. The Hushpuppies, ex-Likyds, go to the capital and are signed by Diamondtraxx. They're certainly the best known band of that era with their hit "You're Gonna Say Yeah", featured on Guitar Hero and in several commercial ads. Boosted by international touring, Catalan bands make their way into the world. The Fatals go on tour in Italy and Canada. The Sonic Chicken 4 are booked for a US tour while Jack of Heart, signed on Born Bad, play all over Europe. The whole world listens. This is the story told by our compilation. Just put the needle on the record and let the music do the talking...

orange marbled vinyl

"How does it feel to reminisce? That was something I wanted to try to capture in soundwaves. I tend to reminisce a lot. About the good and bad parts in the past, and everything in between. I try to remember which specific parts in my life made me who I am today. Thinking about those events is going to make me feel a certain way, and i wanted to try to convert these feelings into songs.

Reminiscing to me, is also a very visual experience in my head. So I decided to take sounds that were close to me from the past and make something cinematic that still works as a full song. I've been using a lot of granulated sounds, which is almost like a shattered memory reconstructed into a new one, as your feelings can change recovering the same memory. So you can close your eyes and go on your own reminiscing journey, discovering loads of layers weaved through these soundwaves."
- Sam A La Bamalot

A new hub solely for the Icelandic talent’s unreleased material, BJARKI will also serve as a platform to launch a wealth of forthcoming audiovisual projects in the coming months, with the label logo designed by Paul Nicholson, NUMBER 3, and all artwork designed by Thomas Harrington Rawle - the creative behind the Care More project. Operating and creating its own storyline with every release, intertwining projects between Harrington Rawle and Bjarki across various mediums, the imprint will also drop a series of offshoot white label releases while being reactive and unveiling random drops across its upcoming schedule. Delivering his first solo release since ‘Oli Gumm’ on трип in 2018, late-February marks the first release on the new label as he unveils his four-track ‘I Wanna Go Home’ EP.

“I want to share more of my unreleased works, especially the tracks that I have created specifically for parties in each city I play. People impact my work a lot, and I would like to share this music directly before or after the show. I don’t see any other way than to set up my own channel or label where I can share all these ideas. Next year will be a lot about sharing stuff and being in direct contact with the audience.” - Bjarki

Opening the label with authority, ‘I Wanna Go Home’ welcomes a quartet of cuts showcasing the genre-spanning polymath at his best, delivering a medley of serious yet playful productions which arc back to previous material while also looking ahead to the future. A creative force with an unrelenting swathe of experimental ideas, influences and directions, this new eponymous imprint looks set to home some of Bjarki’s finest and most unpredictable material to date.

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.

Diablo Swing Orchestra is an Swedish eight-piece ensemble known for pairing elements of jazz, swing, classical, progressive rock with just about everything in between. Since the start in 2003 the band has released four studio albums pushing musical boundaries with humor, creativity and a healthy dose of positive aggression. Together they have dug deep into each genre explored on the 13 tracks on the album and worked hard to find the appealing characteristics within that genre and forged it into their own sound. This approach has resulted in a impressive list of guest musicians and some very interesting clashes between sounds which, at least on paper, shouldn’t work. But listeners with an open mind will be rewarded since there are a lot of goodies to be found on the album ranging from the tribal assault that is “War Painted Valentine” to the Zeppelin gospel infused “Snake Oil Baptism”. The band presents new interesting ways of looking upon rock and metal music while managing to stay quite accessible in spite of the fact they’re often described as avant-garde metal.

Diablo Swing Orchestra is an Swedish eight-piece ensemble known for pairing elements of jazz, swing, classical, progressive rock with just about everything in between. Since the start in 2003 the band has released four studio albums pushing musical boundaries with humor, creativity and a healthy dose of positive aggression. Together they have dug deep into each genre explored on the 13 tracks on the album and worked hard to find the appealing characteristics within that genre and forged it into their own sound. This approach has resulted in a impressive list of guest musicians and some very interesting clashes between sounds which, at least on paper, shouldn’t work. But listeners with an open mind will be rewarded since there are a lot of goodies to be found on the album ranging from the tribal assault that is “War Painted Valentine” to the Zeppelin gospel infused “Snake Oil Baptism”. The band presents new interesting ways of looking upon rock and metal music while managing to stay quite accessible in spite of the fact they’re often described as avant-garde metal.

Noon Garden is an exotic psych-pop odyssey from one of the founding members of Flamingods. Drawing on worldly sounds from the likes of Francis Bebey and Dur Dur Band to Shintaro Sakamoto, tearing up the sonic rule book and conjuring up a distant land where you find yourself cutting loose to grooves that meander their way through a wide spectrum of African disco, funk, exotica and psychedelia. Noon Garden has received support from the likes of Clash and The Line Of Best Fit and recent single Decca Divine was playlisted on Amazing Radio. The track also picked up love at DSP playlists including Spotify’s ‘Fresh Finds: Indie’ and Apple’s ‘New in Alternative’. British born with Nigerian & Jamaican heritage, Prest spent his childhood living in Bahrain surrounded by people, like himself, who were all living on an island away from their homeland. Seeing the world from a young age and the experience of 10 years of globe-trotting touring with Flamingods are imprinted on his new project and have been a huge influence on shaping Noon Garden’s tropical adventurism. As a talented multi-instrumentalist Charles has written, self-produced and played all the parts on the single himself. Noon Garden says of the album: "This debut was an experiment to get to know myself better. Taken from the name of an area not too far from my family home in Norwood south London, the literal words ‘Beulah Spa’ conjured up imagery of being a place to contemplate in warmth and complete tranquility. Writing music is a therapeutic process for me and it’s taken about eight years on and off to finish this album by myself, to try understand what it was exactly that I wanted to say lyrically and explore sonically. The album’s lyrics have shape-shifted so much with time but they take a curious look at the human experience; in my case growing up and soaking up a lot of cultures from an early age in the Middle East, the UK and briefly in Singapore. It’s a reflection on what’s past and what’s yet to come, my connection with others over the years and how that inevitably shapes your outlook on what’s around you. All of this told through the lens of psychedelia which has always given me a sense of possibility. Beulah Spa is the first marker of where I’ve gotten to so far in my life, channeling it all into a musical odyssey that lays the foundation for a lot more to come.”

Hustle Till I Die is the second studio album by Three 6 Mafia member Juicy J.

Not to add to the deluge of artistic clichés brought on by the Global Event Which Shall Not Be Named, but spending more or less a year in the house offers plenty of time for reflection, reevaluation, and revision. Though there was a lot to process already in those months, it was an opportune time to try and get your shit together, whatever that may mean for you. For Jakob Armstrong—in addition to many other things like the rest of us—part of it meant fine- tuning a collection of songs first recorded in late 2019. A prolonged process leading to five of the seven songs on Get Yourself a Friend retooled into their better-than-even final form. Jakob Armstrong—youngest son of Green Day frontman Billie Joe—began playing guitar at seven years old and honed his craft privately until about sixteen, playing in bands in and around Oakland after meeting friends with like-minded tastes in music. Soon enough, with the memories of Ultraman action figures fighting in his mind, he and a group of friends he cultivated from those years playing around and pouring over records, formed Ultra Q (its name inspired by an Ultraman prequel series). Opening double-shot “Pupkin” and “It’s Permanent” soar to the heights of Ultra Q’s powers in much different ways; the former a black-clad romp through a rainy graveyard, the former pushing straight to the clouds with its soaring chorus. “Straight Jacket” veers pleasantly close to the jangle-pop of the Go-Betweens. “Bowman” features guitars like cats getting into a scratch-fight while an astoundingly metronomic drumbeat is played live rather than punched out on a beat pad. Closing the EP is its title track, an affecting end credits anthem full of nostalgia and a twinge of regret. As a whole, Get Yourself a Friend marks the synthesis of a songwriter’s vision and his band’s ability, forged through an invisible existential threat and an ever-changing world, eager to show what they’ve found while we were all inside