Next up on Curtea Veche's serii speciale it's TIJN and and Leftback's Dudley Strangeways, Two originals and a heavyweight remix by none other than Franco Cinelli , very limited press on 12" Transparent Vinyl
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This compilation features music from artists who perform regularly at the Diane's Hunting Club annual gatherings. Heavily inspired by and indebted to the influence of the natural world and open spaces, this is music for motivation, movement, and meditation. Conoley Ospovat (Kimochi Sound) begins with a breezy slow-house theme, followed by some similarly slow but a much more tangled webs by sug (Hausu Mountain). Lokua contributes a melodic deep-space techno roller, Area (Kimochi Sound) offers gentle ambient rhythms, Mukqs (Hausu Mountain) produces a shimmering sunshine beat, and K-rAd closes out with an vast dub house journey. Enter the zone.
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Cuartero Concept is moving forward firmly with its third reference signed by label boss himself plus the Argentinian beatmaker Bodeler. They are the responsible of ‘Lamine’, an ambitious three track EP where limits of groove are in a constant challenge.
Opener ‘Lamine’ shows the capabilities of such a powerful combo offering a slick house production. The female vocal shout drives listener while the sci-fi percussion set a dynamic vibe and a personal touch.
Next up, ‘Comba’ and its danceable bouncing bassline moves your feet since the very first beats of the track. The rattling hats adds an infectious extra rhythm offering a danceable an actual beat that goes extremely well with the early Chicago days house sound.
Following the old-school vibes but now focusing on drums, ‘Macra’ closes brilliantly this work. With a broken beat and a cleverly used background the track has as target every dancefloor. An indistinguishable vocal its added to give an unique touch becoming this track a weapon.
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yellow marbled vinyl / vinyl only
After a long wait we are happy to finally share the next release on Sleepless Musik and welcome Canarian artist Moises to our family!
A1. Circular
The title track is a dancefloor bomb, bursting with groove. You'll find it aptly placed on the A side, along with a remix from Sakro. The deep, rolling bassline of Circular takes similar form to previous Moises releases, a fast pace dance between low and high notes. Eery breakdowns signalled by spiralling synths accentuate the mysterious melody that dominates the track, before rave like chords creep to the forefront. Then with a cheeky hi-hat flick, the bass is back. The energy emanating from this one is enough to have a crowd going wild at peak-time.
A2. Circular (Sakro Remix)
The remix is a little more subtle, yet equally as suited for late into the night. The percussion overtakes this one with a deeper bassline. It becomes clouded with minimalistic growling and an echoing vocal, injecting the dreary trip we've got quite used to hearing in Sakro's productions.
B1. Homecoming
Flip the record over and the four-tracker becomes complete with two more of Moises' own productions, both of which retain that signature groove. Homecoming pulsates repetitive rhythms laced with chattering patter and choppy voice. A sweet layer to house the jabbing synth that follows for another dance worthy beat.
B2. Inside Out
Inside Out completes the set, representing a different approach. This feel good finale ditches the darkness and is instead full of dreamy high notes and percussive swing, making it the uplifting one of the bunch. It's fun, playful and full of life, perfect for celebrating those moments at the afters when the sun is up and so are the people.
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Next EP comes from Dutch Wizards Aron Volta & Kreutziger with their 'I Feel It' EP! Massive supprt on this from Chris Stussy, Prunk, Enzo Siragusa, Litmus, DJ Caspa and more!
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It is with distinguished sensuality that Mazargues Affair have crafted this release for Sentaku, an EP effortlessly blending the sizzling sunshine of Southern France with the decadent personality of Tokugawa Ienari. By infusing their melodies with a delicate touch of extravagance and an intoxicating yet delicious buzz, the collective are set to captivate the imaginations beyond their local scene of Marseille. Electrifying beats pulsate throughout the tracks, with intricate and vigorous sonorities reverberating against the floating soundscape. This indulgent house composition is reminiscent of the Edo nightlife under the reign of shogun Tokugawa Ienari, a time where the senses are consumed by nothing but absolute pleasure.
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Clear Vinyl Repress
Shinichi Atobe’s fifth album for DDS, his first in two years. Deep and sublime, the classic Chain Reaction Chicago House vibe, but this time with a swarming Drexciyan undercurrent,
somewhere between DJ Sprinkles, Dopplereffekt and The Other People Place, still 100% Shinichi.
It’s odd working with an artist without ongoing dialogue; no context or an exchange of ideas. It’s all conjecture. Here’s another CD of material in the post from Shinichi, two years more or less since the last one. No words except for the track titles. Oh, a photo this time.
‘Yes’, positivity, hope. But the album starts with a dystopian vision; something like Dopplereffekt’s sound-chemistry experiments, a tense builder. Big optimistic chasms open up, the Piano House euphoria of the title track, beautiful sunset closer ‘Ocean 1’. But there’s a noticeable change too.
‘Lake 2’ is more fraught sci-fi, ‘Lake 3’ a sort of percussive Chain Reaction monster, ‘Loop 1’ on a Drexciyan tip.
It’s all coated in that weird - some people say infuriating - toppy production, witnessed this time in a more tempered and different formation courtesy of an amazing Rashad Becker master, all precise but loosely swung arrangements. Everything slow to unfurl but, also, everything in exactly the right place.
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Hey Existeers!
The new Pudel Produkte release has arrived!
This time, it’s more like a record for yellow press readers – due to the high celebrity density on the two tracks! First, there’s Richard Fearless. The guy has been on the “Mission Impossible” soundtrack and he was famous in New York and London as DEATH IN VEGAS. He composed the music on this record and recorded it together with the slackers of Circuit Diagram, which is why the project was aptly named DEATH CIRCUIT. That’s logical, that’s correct, excellent!
One track of theirs is called “Strom Dub”, and the full length of it has been pressed onto the A-Side of the record. It sounds like Synthesizer music usually sounds: Sexy and warm and cold. The tears of technology dripping onto your head for eight and a half minutes while the spirit of the 80s sneaks in through the back door.
Like the B-Side, this track is a grower, a slow creeper you’ll want to hear again and again. Ac-cording to science, this is just what the people need in these days of unhealthy acceleration. And yes, the B-Side: There’s the track “Teeparty am Waldbrand” which translates to “Tea Party at the Forest Fire”, and it features the fat-mouthed DAS BO and RALF KÖSTER. Trust us, it’s just as hard for native speakers to decipher what they’re saying, but we were assured there’s even a “political dimension” to the track, so I guess we’ll have to listen again. Soundwise it’s a beautifully clut-tered mess, a cold wave sprinkled with bizarre brittle that lures you out into nature.
Ah yes, Pudel Produkte – it’s still minority music from the planet of the apes for people that know where to go, and that is elsewhere than the others.
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The first collaborative release between Roman Flügel and Daniel Avery arrives on Live at Robert Johnson, under the guise of ‘Noun’.
Initially recorded some years ago across just two days at Flügel’s former Frankfurt studio, both tracks represent a meeting point between the sensibilities of two of the best-loved producers in contemporary electronic music. Patient, even minimal psychedelia shares space with the driving club music that defines both Avery and Flügel’s individual DJ sets, as well as a number of occasional back-to-back performances, where the music of Noun has since been reliably reached-for and re-contextualised ever since.
Indeed, it speaks for the confidence and craft in this debut collaboration that Noun begins with ‘Meeting of the minds’, a textural delight that finds the Anglo-Germanic pair at their unremittingly trippiest. An analogue, unwavering transmission, as if pirated from Avery’s celebrated frequencies, is wrapped around minimal drum percussion, guaranteed to equally appeal to fans of the more experimental, reduced moments in Flügel’s back catalogue. Tense as the mood may seem, in these offbeat sonic corners, lay pockets of intrigue and moments of bliss.
On ‘Team Silent’, the impact is more immediate. As the seams between individual influences melt away, Flügel and Avery roll out something tougher and more direct; a blossoming, somewhat dystopian drive-by-night of softly soaring synths, ecstatic feedback and tough drums. Somehow both understated and anthemic, this is a true late night jam courtesy of two masters of club culture. Years later, and what a difference two days makes.
John Thorp
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After his exciting album Elasticity' on his own imprint Elastic Dreams, A Sagittariun delivers the equally fascinating three track Oxidize EP' for german label Couldn't Care More. While Heights' is a stripped-down basic-channelish techno ride, rough, edgy and with a hint of hypnotic melodies, the title track heads in a quite different direction: still it's raw expressionistic techno, but the flow is ever-changing, mesmerizingly shifting and twisting between hissing beats and enlightened synths. For the remix of Oxidize' Golden Pudel Club resident and odd-house virtuoso RVDS fires up the acid machine and does it Detroit style, warm and cold, uplifting and melancholic.
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Barcelona based YAKAZI imprint proudly reaches its fifth installment in the form of a synergic collaborative release signed by chilean artists Alexi Delano and Marcelo Rosselot, counting also with canadian Buchla wizard Marc Houle in the role of never-failing remixer. Presented as a two sided release, and splitted in two original tracks plus Marc Houle's remix, YAKAZI maintains its unwavering commitment to their core values, to move people through good music, prevailing fads and trends and strengthening the label's very own sonic identity. On this occasion, Alexi Delano, a close relative to the label that was also featured on label's previous compilation, joins forces with his studio fellow Marcelo Rosselot building up "Take Me / It's On me", two finely-crafted excursions of heavy bass minimalism and dark vivacious techno based on subtle vocal samples, trippy synth-chords, and layered drum patterns constantly evolving throughout both progressions sounding uniformly fantastic, without falling into the obviousness of a long steady beat narrative and keeping in mind how to charm the dancefloor in style.
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OFFPath is back and bringing the trusted formula, 4 solid tracks for all occasions. Once again pulling together some of the best up and coming talent from the underground scene. Deep dubby vibes come from ADMNTI, bouncy minimal brought to you by Tijn & Dudley Strangeways. Shacklo turns up the heat with some rolling tech and Josh Baker brings the low swing trippy vibe. A solid record covering all bases.
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Last year saw Casablanca-based Cosmo Records launch its most ambitious project todate, celebrating five years of cross-cultural collaboration. The three vinyl releasesfeatured producers such as San Proper, Radiq, Pier Bucci and Dandy Jack working with Moroccan musicians to create a true fusion between modern electronics and ancient traditions.
The purpose of Cosmo has always been to find a natural meeting place between thesedistinct musical forms, bringing out the best strengths of each practice through real time spent together in the studio, where each artist can truly understand the other in a
shared quest for sonic harmony. As such, this latest release marks a step forward in exploring this idea through a new series entitled Cosmo Jam.
As the title suggests, the focus here is on live improvisation. In late 2014 Parisian producers Masomenos and Vadim Svoboda travelled to Morocco and set up their equipment at the Coda Casablanca Music Center. They were joined by M'hamed el
Menjra playing bass, Abdessamad Boussahfa on violin and Sanhaji on darbuka, and the ensuing jam sessions between these musicians now make their way on to vinyl.
No editing or post-production took place - the music you hear on the record was created entirely in the moment.
Each track highlights the magic of a different instrument - on "Be" Menjra's double bass comes twisting through effects processing and subtle distortion, meeting with a low-slung broken beat groove from the visiting French producers. Sanhaji's thrilling
percussive flair on the darbuka flirts perfectly with the crisp programming of drums and bass on the uptempo "Kaled" and the more laid-back "Petit". Boussahfa's violin makes for some of the most arresting moments on the release, meeting with intricate
minimalist rhythms on "Mon" and shining in the heart-rending ambience of "Frere".
Presented across two 12"s, this collection of six tracks tells a most honest account of how gifted artists from entirely different disciplines can find a common ground and create something truly unique. Without any studio trickery to hide behind, this is the
concept of Cosmo Records laid bare, and the results prove it is a concept worth exploring further.
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20 years since the original release on Richie Hawtin's M_nus imprint, Exalt Records reissue the minimal classic - Swayzak vs. Theorem 'Break In At Apartment 205' 12'.
The two main tracks from the original release have been remastered by Paul Mac and come on either clear or black vinyl with artwork by Grid Pattern.
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THE ONLY DIFFERENCE BETWEEN ONE AND NONE IS N
TRANS HUMAN OBJECT
(THO) ////////////////////////////////////////////////////////////////////
THE SUPERIOR FUNCTION*
X1N SAYS:
////////////////////////////////////////////////////////////////////IN THE VAST SURFACE OF ALL MATHEMATICAL EQUATIONS, ONE CAN SENSE EVENTS WHICH SEEM TO COME FROM OTHER DIMENSIONS - RIPPLES AND PATTERNS. THE ZERO POINT NINE INFINITE NUMBER LINE NEVER REACHES ONE, YET IS ONE, NONETHELESS. 0.9999... READ THAT SEQUENCE LIKE A MANTRA. A MANTRA OF DEATH. ////////////////////////////////////////////////////////////////////
“I TALK IN ALPHA NUMERALS”
denotes “end”. No more messages to follow.
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A three track EP composed of pulsating grooves laced with sultry melodies is mastered to perfection, ready for any dance floor with a sound system worth its salt. Titles reflecting abstract themes like Area Seven, Astral Travel and Void, compliment the out of body feeling beautifully entwined into each track.
The first of many more to come from the duo's sonic lair...
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Featuring the music score from Shelley Parker's performative collaboration with Fernanda Muñoz-Newsome and Peder Mannerfelt's brazen version of an iconic piece of American minimalism, the fourth instalment for the Decouple Series aligns around the desire to create music from the simplest set of sounds, and to make the most of joy and fun from basic elements.
Shelley Parker opens with LET THE BODY, a collaboration with choreographer and dance artist Fernanda Muñoz-Newsome. The work considers what emerges through disorientation and reorientation around pleasure and permission in the body, positioning dance as a form of political expression. Entirely composed from recorded sounds of the dancer's bodies moving in space, the three tracks represent an excerpt of the longer performance originally commissioned by Arnolfini Bristol 2016 and recently programmed and performed at I.C.A. London 2020.
On the flip side Peder Mannerfelt throws an unsettling adaptation for Roland TR-909 of the well- known classic 'Music for Pieces of Wood'. Far from being any sort of academic gesture this recording comes from a rather profound Steve Reich phase (pun intended) of the Swedish producer in which a score, found by chance, of this iconic piece was deciphered thru a DAW and transformed into sound by an equally iconic drum machine. The process of mechanization—a founding concept of the original composition—finds in MUSIC FOR PIECES OF 909 a new magic dimension, unironic and full of meanings at the same time, confirming Mannerfelt's acute take on experimentation and Reich's genius in a singular movement.
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Repeat Music finally back on Vinyl. We are proud to present Repeat Black as new Sublabel. For the first Vinyl on it we share two original tracks with you, first comes from Reclame (Italy) the second one was deliverd by Raru (Ukraine). While Reclames' Track - Entry into the Italian Parliament focuses on the floor moments, Raru's - Feel is a broken beat afterhour anthem! That's not all. We engaged two remixers which dont need a further introduction. Fuse London Labelhead Seb Zito remixed - Feel in a stripped down manner and Traffic Frankfurt's very own Martyne made a weird melodic but great remix of Reclames' Track.
Enjoy and never forget: play, stop, repeat.
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Easy Tiger is back with its fourth release curated by Marko Nastic, this time bringing Dubfound's remix into the fold.
The tracks are imprinted by Marko's signature style, delicately blending modular synthesis into punchy rhythm sections, best heard on Marko's "Fallinhigher" track. Dubfound's remix kind of differs to the mood of the release, unfolding as a stripped down, breaks version of Fallinhigher.
On the flip side, "An Error Doesn't Become Mistake" captures the groove through intricate drum programming and arrangement, well fit into gloomy atmosphere. "Alpha One", the last track on the release, showcases dancefloor capability through its massive bassline, perfectly complimented by glitchy, showstopping breakdown.
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'Sing the Gloaming' is the latest collaboration between Simon Kirby, Tommy Perman and Rob St John.
Rob St John is a member of Modern Studies (FIRE Records). Tommy Perman is an artist/musician/designer and former member of the FOUND collective.
'Sing the Gloaming' features guest vocals from Kenny Anderson (King Creosote), Nerea Bello, Aidan Moffat, Emily Scott (Modern Studies), Su Shaw (SHHE), Hanna Tuulikki and Andrew Wasylyk.
The release has been reviewed by The Wire (who also ran a feature on the trio's collaborative work) and has been played by Hannah Peel as part of her 'Night Tracks' show on BBC Radio 3.
The trio's previous collaborations include 'Concrete Antenna', a sound installation in the landmark tower at Edinburgh Sculpture Workshop which was an album of the week on BBC Radio 3's 'Late Junction' and was also played by Stuart Maconie (as part of The Freak Zone - BBC 6 Music) and Gideon Coe (BBC 6 Music) amongst others.
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Tom Akman & Nacho Bolognani - Nowadays EP BARWAX002 BIOUK label BienAimer Records returns with their second release from Parisian producer Tom Akman who delivers the shimmering 3-track ‘Nowadays’ EP.The analogue driven EP begins with title track ‘Nowadays’ and combines lush pads with an irresistible bassline to form the soundtrack to any dancefloor sunrise moment. Argentinian hotshot artist Nacho Bolognani smooths out lead track on A2 while over on the B side Akman further demonstrating his knack for drum programming and an ear for a funky bassline on‘You Know’ and ‘Several Directions’ respectively.
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Inspired by the likes of Raresh, Zip, and Villalobos, the artist known as Kepler has something special in store for your local area dance floor. "Making Chords" is an exciting new release that's guaranteed to please.
The title track "Making Chords" can be appropriately described as nothing less than an addictive, bona fide banger that will instantaneously hook its end user after one listen. From the beginning Kepler. sets the pace with a smooth, sexy bass line that will command your attention and aggressively compel any crowd to start dancing. This passionate production pushes its agenda with a rumbling tempo, dynamic drums, and intriguing vocals that are well worth repeating. Laced with clever sounding samples and purposeful piano licks, "Making Chords" is made for anyone and everyone.
The second offering, "Wire" is a quirky, fun departure that gives insight to Kepler's wide range. This spooky sounding track is characterized by its off-beat rhythm, saturating bass tones and curious sounding signals that slide up and down while continually building momentum. As the "Wire" progresses, one can't help but to take note of how its unpredictable nature is dictated in such a well-organized manner. Very, very interesting.
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Until recently, the legendary Ricardo Villalobos was the only one to remix acclaimed Norwegian folk singer Mari Kvien Brunvoll. Ricardo s -Celestial remix- of the track -Everywhere you go-, has been widely played in the underground music scene this year. The Italian Dj,Producer Marco Faraone, who s music has also made it into labels like Desolat, All inn and Moon Harbour, loved Mari s voice, and decided with his friend Piegaja, to Remix a different song called > Something Inside<, just for fun, himself and in his own DJ sets. But when Mari heard it, she decided to officially release it !!! Check this masterpiece rework! Limited one-sided vinyl 12 140gr gatefold! VINYL ONLY
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Orion Records is all about freedom. Techno freedom. The Milan based label is an open space for club and non-club music.
The first release is a 4 tracker from label owner Orion and investigate the area between Techno and Ambient.
Celestial pads, whispering voices and melancholy melodies are the main elements of this first EP.
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Felix Bernhardt´s brand new EP on Vi Tva Records comes with 4 fresh, hot, driving Minimal-Techno tracks. After more released remixes on Vi Tva of Patrick Arbez´ tracks we´re very proud about now to present our first complete Felix Bernhardt vinyl. It´s time for - TriebStück now...
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Belgrade´s lovers of electronic music are knowing to do good and endless parties. Also the producers of Serbias capital are just awesome and every time again we are proud to release a piece of music from this beautiful place. Pesto Quinti is coming with a new fresh sound which is giving us mood to dance or to relax. You can choose! And you will love it!
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Black Label Series 03 on Banoffee Pies Records welcomes new additions to the fold with another low slung collection of minimal house and breaks. Opening with patient mystery the label debut from Monotronique delivers 118 bpm sample heavy 'Baggage With A Secret'. Nicely warmed, the A2 turns for the floor with Freerotation resident Tom Ellis in control on 'Third Morning', a groovy roller with glitched vocal loops. The curveball of this release comes on the B1 with a garage inspired high tempo d&b track, '23 Ghettobee' from Filip Szostak - One to cool or shake the dance. The B2 invites Lyssna Records own Flord King with another micro gem for the head bopping late nights on 'Shanti'. Together the four tracks investigating different moods with a similar style. BP X
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Since its inception in 2019, Thinc have catapulted onto Australia's minimal scene offering followers a conglomeration of prodigious recordings and premium tracks released from around the world. Moving onto the next chapter of their journey, this imprint looks to rattle cages with their first and highly anticipated vinyl only release.
THC001 presents a 4 track EP featuring 3 tremendous groovers from Bucharest-based artist Direkt and includes a mind-warping remix from Vincentiulian. The record opens with 'Lagrange Point', presenting a warm and spacey roller. 'Ephemeris' follows suit with Direkt’s punchy beats and seeping harmonic flow. On the B-side, Vincentiulian’s interpretation of Lagrange Point takes you through a hypnotic voyage, stripping the track down to its bones and adding his signature genius touch. To finish off this EP, Direkt's creative ability turns to a darker corner in 'Nova', featuring a monster bassline accompanied by eerie pads and heavy hats.
Early support from Arapu, Cally, Gescu, Giuliano Lomonte, Nu Zau, Priku, Sepp, Vlad Arapasu and others
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Oh, lovely appearance of death, No sight upon earth is so fair; Not all the gay pageants that breathe, Can with a dead body compare.
- Charles Wesley, A Funeral Hymn for a Believer, 1780
So begins New Atlantis, the fourth full-length album by longtime Berghain resident Efdemin aka Phillip Sollmann. The words, sung by 60s California art icon William T. Wiley and embedded in glowing drone swells, set an otherworldly tone for Sollmann's first solo release on Ostgut Ton. Over eight tracks, New Atlantis oscillates between fast, kaleidoscopic techno, multilayered drones and acoustic instrumentation, fusing for the first time Sollmann's deep dancefloor productions as Efdemin with his sound art and experimental music projects. The latter include 2017's Harry Partch- inspired Monophonie performance and 2018's Panama / Suez EP with Oren Ambarchi and Konrad Sprenger. Long drawn to utopian musical traditions, Sollmann took inspiration for New Atlantis from Francis Bacon's unfinished 17th century novel of the same name, which describes a fictional island devoted to social progress through the synthesis of art, science, technology and fashion. In the story, Bacon imagines futuristic 'sound houses', which contain musical instruments capable of recreating the entirety of the sounds of the universe; a 400-year-old prophesy of today's digital sonic reality. Through Sollmann's lens, Bacon's vision ebbs and flows over 50 minutes in varying speeds and colors, emerging as a tapestry of different utopian musical traditions - through billowing synth lines, early Detroit techno, resonant wooden percussion, trance, droning organs, dulcimer, electric guitars, hurdy-gurdy, just intonation, poetry, hymns and murmuring voices. Sometimes they merge into epic, rhythmic journeys like the 14-minute long title track; other times they appear as a briefly open sound portal ('Temple'), or in the forlorn human voice on 'Oh, Lovely Appearance Of Death', calling to be freed from jail of the human body and pass into the afterlife. Like previous Efdemin albums on Dial, New Atlantis veers off the techno path to explore other musical territory. Here however, Sollmann occasionally abandons the club entirely, returning only to push its boundaries with other instruments, mythologies and psychedelic story telling.
Oh, lovely appearance of death, No sight upon earth is so fair; Not all the gay pageants that breathe, Can with a dead body compare.
- Charles Wesley, A Funeral Hymn for a Believer, 1780
So beginnt New Atlantis, das vierte Studioalbum des langja¨hrigen Berghain-Residents Efdemin alias Phillip Sollmann. Jene Worte, gesungen von der amerikanischen 60er-Kunstikone William T. Wiley und eingebettet in glu¨hend schwellende Drones, setzen einen ga¨nzlich anderweltlichen Ton fu¨r Sollmanns erste Solovero¨ffentlichung auf Ostgut Ton. Im Lauf von acht Stu¨cken oszilliert New Atlantis zwischen schnellem, kaleidoskopischen Techno, vielschichtigen Drones und akustischer Instrumentierung. Erstmals verschmilzt Sollmann die deepen Dancefloor-Modulierungen seines Alter Egos Efdemin mit den Klangkunst- und experimentellen Musikprojekten unter seinem bu¨rgerlichen Namen. Zu Letzteren za¨hlen seine von Harry Partch inspirierte Performance Monophonie (Volksbu¨hne, Elbphilharmonie / Kampnagel, Ruhrtriennale, 2017) und die EP Panama / Suez, als Trio geschrieben mit den Experimentalmusikern Oren Ambarchi und Konrad Sprenger (A-TON, 2018). Utopische Musiktraditionen standen schon lange im Mittelpunkt von Sollmanns Denken - fu¨r New Atlantis diente ihm Francis Bacons unvollendeter Roman gleichen Titels aus dem 17. Jahrhundert als Inspiration. Darin beschreibt Bacon eine fiktive Insel, die sich ganz der sozialen Entwicklung durch die Synthese der Ku¨nste, Wissenschaft, Technologie und Mode verschrieben hat. Im Buch werden futuristische, akustische Werksta¨tten erdacht - von Bacon ‚sound-houses' genannt. In jenen werden Musikinstrumente vorgehalten, die in der Lage sind, die Ganzheit an Kla¨ngen des Universums zu erzeugen. Eine 400 Jahre alte Prophezeiung der heutigen digitalen Klangrealita¨t. Bei Sollmann schwillt und ebbt Bacons Vision auf 50 Minuten in unterschiedlichen Tempi und To¨nen, sind utopische Musiktraditionen ineinander verwoben: wogende Modularsynth-Lines, fru¨her Detroit- Techno, klingbare Holzperkussion, Trance, dro¨hnende Orgeln, Hackbretter und Stromgitarren, Drehleier, reine Stimmung, Poesie, Hymnen und raunende Stimmen. Mal - wie im 14-minu¨tigen Titelstu¨ck - stimmen sie ein in epische Rhythmusreisen; hier entladen sie sich als sich kurz o¨ffnende Klangportale (- Temple'), dort fordert eine desolate menschliche Stimme (- Oh, Lovely Appearance Of Death') die Befreiung aus dem ko¨rperlichen Gefa¨ngnis und ein U¨bersetzen ins Utopia des Jenseits.
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The title track NEPTUN is filled with creaky, deep dub elements while the Exercise One remix of LEISEWEISE surprises with crispy sounds and an odd but beautiful ending. Both tracks showcase the artist talents: straight-forward technoid beats and lovely melodic structures.
As a part of Berlins after-hours club and art space SISYPHOS, the label SISYPHON is a platformfor musicians / producers and combines the hedonistic wild-life of the club and the impulsive sets of its resident and guest Djs. SISYPHOS reflects the DIY principles and alternative lifestyles of the owners, team members and artists who created and continue to re-invent the club.
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finally repressed! For the 15th release on musun we're proud to present the superb classy Track "Busted" from 2001
by thomas schaeben wich was originally released on his own imprint Firm and since long time out
of stock and never repressed!
The new Ep comes around with a huge Matt Star Interpretation and a cool remix from Danjel Esperanza!
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A stunning 17-minute-drumming-trip from feathery spheres through bold grooves to a dense thundery finish by Simon Popp and Sebastian Wolfgruber, the two drummers known for channeling World Music, Afrobeat and Jazz drumming in solo projects and with Munich-based Jazz quintet Fazer.
The B-side holds a rework by fellow Munich producers Zenker Brothers. The Ilian Tape heads and notorious audiophiles put their drum machines aside and weaved the recordings with layers of mystic synths into a tingling organic IDM tune.
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Like the Grass documents and reimagines a warm summer's evening in Basel, Switzerland, in June 2018. Four musicians convened: Johannesburg composer and bow expert Cara Stacey, South African violinist and composer Galina Juritz, German harp player Antonia Ravens and Swiss guitarist and sonic explorer Beat Keller.
Together they improvised using a graphic score titled "Luhlata njengetjani" ("Green like the grass" in the southern African Siswati language), inspired by the rivers of eSwatini, blackbirds in the parks of Basel and the evocative, red-flowered umcinci or erythrina tree. The South African umrhubhe mouthbow's dense harmonics folded around skittering, fractal violin loops; temperate swells of guitar were punctuated by agitated harp pings and the hearty thuds of Ugandan and Mozambican lamellophones.
This joyous, unfettered outpouring criss-crossed between southern Africa and Europe, forwards and backwards, for the following two years. The fruits were unpicked and rewoven into new mosaics by Cara, Galina, and two of our favourite recording artists, Object Agency and Hello Skinny.
Recorded as part of Cara Stacey's studio residency in Basel, Switzerland, supported by ProHelvetia Johannesburg.
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expected to be published on 23.04.2016
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