Emerging from a generative paradox of laser precision and fluid dynamism, Metallur fuses percussive, metallic force with warping tempos and a field of ethereal resonance and debris.
The result is an insurgent, elemental, time-smearing of hyperspace, where "tellurian beats merge with alien glossolalia and vocal samples blip tesseracts of human affect into a ghostly, melodic aether".
Music for a crushed infinity.
Coming from a diverse background of equal amounts hip hop and rock, the producer behind the alias of nrl:ndr got into dance music late in his musical career. After playing in kraut-oriented bands like So Many Mammals, parts of that group reformed into the live techno outfit Tren Né, with the goal of fusing techno elements with live drums. Playing for illegal raves with a punk-like energy, nrl:ndr has cemented his relationship with his machines in service of the dance floor.
But his solo debut on blundar is quite far removed from that scene. To understand this music, one should be aware of the conditions under which it was manufactured. Reluctant to consider himself an artist in the traditional sense, nrl:ndr makes his music free of anticipation and without apparent goals. To glean into this outré musical space is like putting one's ear to the boarded up windows of the photograph that adorn the front sleeve.
The album makes extensive use of the Roland JV-2080, a sample-based synth rack from 1996 with a distinctly clean sound. Our producer dives deep into the expansion cards (labeled after genres like “Hip Hop” and “World”) for curious and sometimes cheesy samples. But he also forces the JV-2080 to do things which are not its forte, like the arduous task of programming decent kick drums.
Another technique that is testament to his experimental view on music making, is the idea of using sketches of unfinished tracks with different time signatures, and mash them together into something new - of which the results of one of these experiments can be heard on the closing track and its bilingual conversation between ambient and tribal.
Full of stunted rhythms and eerie melodies, the unclassifiable nature of the music of nrl:ndr lies somewhere in the vicinity of IDM, classical avant garde and private press synth. From the epic opening track - echoing the post-kraut drumming style of Michael Shrieve - to juggling with chopped up vocal samples and treading into almost trap-like territories on A4, he crosses into a multitude of genres without getting his hands too dirty with nostalgia.
On her sophomore album "Germ in a Population of Buildings", upsammy moves through her surroundings with the curiosity of a place-bending landscape architect. The album is rooted in her interest for ambiguous environments in constant shift, and the feeling of discovering strange patterns in different ecosystems. Often, the Amsterdam-based artist finds herself zooming in and out beyond a place's most recognizable surface features to inhabit the microscopic and gigantic. Gathering field recordings and evocative environmental sounds, she shapes this source material into vibrating electro-acoustic rhythms and unstable, psychedelic textures. upsammy's debut album, 2020's critically-acclaimed "Zoom", was praised for its careful reimagining of IDM, evolving vignettes that nodded towards the dancefloor without being shackled to its rigid set of rules. On "Germ in a Population of Buildings" her process has evolved considerably; the skeletal trace of IDM is still present but it's been trapped in amber, allowing her unique sonic landscape to develop organically. 'Being is a Stone' is a proof of concept in many ways, layering upsammy's contorted voice in rickety patterns beneath a lattice of fragile rhythms and faintly melancholy synths. It's never immediately obvious where the sounds are coming from - a hiccuping beat might be glass cracking underfoot, and larger pulses could be wet concrete, rusted iron or bent plastic. As the sounds develop they morph into each other, demolishing what came before and building on top of the ornamental wreckage. On the dynamic 'Constructing', upsammy's sound design fluxes through hyperactive bass music structures, abstracting expectations at every turn. Often her sounds are whisper quiet, rattling and vibrating until heavier masonry drops and disrupts the structure. And when discernible rhythms subside into the background, like on the album's eerie title track, they become almost illusory, morphing between the real world and the electronic. upsammy's processed voice works like a bridge between these realms, snaking between stark, whimsical melodies on 'Patterning', arching from AutoTuned detachment into cooing, dreamy intimacy. By considering the harmonies between each location she's visited, upsammy has been able to build a unique topology that's an uncanny digital amalgam of her lived experience. It's a thoughtful alternative in an era more concerned with flatting the landscape than crumpling it and examining its peaks and troughs.
The qualities of that object may be summarized as follows: 1, Formal legibility of plan; 2, clear exhibition of structure, and 3, valuation of materials for their inherent qualities „as found“ “ Reyner Banham „The new Brutalism“ Architectural Review (1966)
Following on from our audio visual experiences in St. Gertruds church in cologne, this album contains eight excerpts from live sets, specially produced for the unique space of the building designed by Gottfried Böhm, in an attempt to capture its architecture and sound. Since 2015, our goal has been to establish a format at the interface between pop and club culture, as well as "academic" electronic music, in which media art, visuals, sound installations and dance performances play a central role in an immersive and architecturally memorable environment alongside the sophisticated musical program.
New MIDEX EP - a no label release linked to John T Gast's 5 Gate Temple BUT NOT out on 5 Gate Temple
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Savage Grounds is the synthpunk and minimal synth swiss project of LUX REC head Daniel Cosmo among Florin Büchel and the mesmerizing Kleio Thomaïdes (part of Bound by Endogamy as well). After nine previous releases, Separation Shock represents the last record by the trio before the temporary hiatus they have decided to start. You could expect the classical, raw, and minimalistic sound that defines one of the best acts in the genre coming from central Europe. Pure analog synth madness with the always-evoking and hypnotic vocals of Kleio. A must-have for any minimal wave collector. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid SILVER GREY vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
Zillas on Acid don’t hold back on their Neubau debut release, offering four brute tracks that could easily also work for soundtracking a dystopian science fiction movie.
recorded @ staalman studio
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What can't be said about Funki Porcini. From doing Film scores to the surreal live performances with his recent 'Laserium' tour.
An Incredible album of weird & wonderful ridiculousness. An exclusive first time on vinyl, collection of Funki's Famous Fat ones. A fusion of downtempo to eclectic jazz cuts & horns with b-boy latin funk breaks with elements of blissfull strings & melodies throughout.
Funki Porcini delivers his most Incredible vinyl, buffed & ready to play. The most joy you will have with a 12" since 'Lets See What Carmen Can Do'.
Alden Tyrell dusts of the Roland MC202 MicroComposer for a 6 track EP based around just the one synth. Easily floating between techno, electro, IDM and ambient this collection shows the versatility of the machine and the producer. MC-202 MICRO COMPOSER The MC-202 is a 2 channel microcomposer incorporating a monophonic synthesizer and offers a total memory capacity of 2600 steps (approx. 150 measures with 8 steps in each measure). Also the display window tells you how many more steps you may enter. The LCD indicates the current information or tempo, etc. A beep wil be heard if the operation has been done correctly.
It's time to clock up more Air Miles here as the small but well-formed label invites Supreems for another excursion into emotional yet robust breakbeats. 'Being' floats above the dancefloor on perfect frictionless drum loops that lurch to and fro and 'Touch' is a deep space trip with pensive cosmic pads and delightfully delicate but dynamic breaks. There is more weight and crispy texture to the zoned out sounds of 'Running Back', then 'Soft Spring' brings a heart aching female vocal to a loose cluster of beats, breaks, hits and churchy chords. 'Yunnan' shuts things down with a dark yet alluring energy. There is great craft in these cuts as well as plenty of dancefloor clout.
New music from veteran Scottish IDM producer Pliiant, who throughout the years has had releases on Pub's Ampoule label and his rare as f&ck Talent Hoover series.
This new one dips and dives between Spanners era Black Dog and early Bola / Skam Records type madness.
31st century electronic soul in 4 new sound purses from Pliiant.
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Jäger 90, from Germany, stands as one of the last genuine bastions of body music, akin to DAF or Liaisons Dangereuses. Their album “Rückspulen” provides an hypnotic sonic experience characterized by simple yet powerful instrumentals, where acoustic drums intertwine with deep square wave monophonic basslines to create an immersive and intense atmosphere.
Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid WHITE vinyl and an EXTRA SERIE of 100 copies in solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).
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Legowelt returns to L.I.E.S.Records with a new album full of ultra-RAW hypnagogic lo-fi electrofunk. Classic, murky, cold as ice Hague-style slammers from the king of Smack. These eight tracks go back to the essence of the Legowelt sound, cutting through the noise of modern dance music charlatans, taking them to school with his undeniable signature stamped all over this release. A dancefloor classic in the making.
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Temples of Jura is proud to present ‘The Great Beyond’, the ninth studio album from Ilija Rudman. The concept of the album is the afterlife with words from Nikola Tesla, Slavoj Zizek, Jim Morrison, JF Kennedy, Charles De Gaulle, WH Auden, Azar Nafisi and Eleanor Roosevelt woven together to tell the story of ‘The Great Beyond’ and what may lie ahead for us all. The voice itself was created by Ai (let’s call him ERIC) and is set beautifully to music that has a timeless cinematic quality. Ilija only uses pure Analogue equipment in the creation of his music, resulting in a rich tapestry of basses, drums, chords and lead sounds. He’s been a prolific producer for over 20 years now with a discography that runs deep with more than 100 Vinyl EP releases and 8 studio albums, but we feel he’s reached the pinnacle with this concept album. We’ll leave the final word to ERIC “You gain strength, courage and confidence by every experience in which you really stop to look fear in the face.”
BufoBufo (Klasse Wrecks, Dream Ticket, Cabaret) and Qeta (Further Electronix, Wave Function, brokntoys) join forces for an eight track split LP, diving into aquatic synths, sliding breakbeats and amphibious atmospheres. Moving from the galactic leads and drum & bass tempo of BufoBufo’s ‘Caloris Basin’ to the dreamy melodies and trip-hop beats of Qeta’s ‘Art II’ , it ends on the expansive, horizon-gazing tones of their collaboration ‘Gloaming’, all shimmering interwoven bleeps and hefty breaks.
