Search:movement

Visibility Is A Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix of 'He Was Human And Belonged With Humans'. The EP heralds the arrival of the Edinburgh-based project's sophomore album, Will To Be Well, due out on Blackest Ever Black in early Summer 2014. Dalhous first announced its existence in 2012 with the Mitchell Heisman 10', and last year released its debut full-length: An Ambassador For Laing. Both Visibility Is A Trap and the upcoming Will To Be Well LP reflect writer-producer Marc Dall's continued interest in the language and imagery of self-help, R.D. Laing and the anti-psychiatry movement. Though recorded after Will To Be Well, the tracks on Visibility Is A Trap at first appear to have more in common with the blue ethereal drift of Ambassador. While 'Information Is Forever' and 'A Change Of Attitude' are firmly in the ambient mode, 'Active Discovering' fizzes with arpeggiated energy, and a battery of percussion disrupts the calm surface of 'Sight Of Hirta'. Something is up. All is not as it seems. The Regis remix of Ambassador highlight 'He Was A Human And Belonged With Humans' finds Karl O'Connor in unusually pensive mood. In fact this near-beatless, dubwise version is unlike anything he has put his name to before. Discarding the rhythmic skeleton of Dalhous's original, he gives their weeping saxophone more space to roam and resonate, adding off-beat, sleep-deprived keys, murmured vocal fragments and swells of sub-bass pressure. It could be construed as a love letter to his former home in West Berlin; certainly it evokes and effortlessly updates the drugsick grandeur of later Neubauten or Low side 2.

With a self-proclaimed goal to showcase newcomers as well as established artists, Melodymathics hands out their 'second punch' with a killer track by Detroit veteran Gari Romalis. Gari is at the forefront of the Detroit techno scene, working close with Terrence
Parker, Mike Banks, Cliff Thomas and labels such as Tresor, Transmat, Soma and many more. His productions clearly show that his 30 years experience Dj'ing made him realize what works on the dancefloor. 'The Web' on Melodymathics Ltd.002 is a sublime example of soulful keys combined with funky rhythm, resulting in the ultimate Dj tool.

Our new talent 'Barce' was discovered in Spain and sets the tone with his 'SP' track for a possible lifetime relationship with Melodymathics. Barce's music speaks parts of his life and relfects a musical image of his soul. 'SP' brings deepness to another level in this release, with a manipulated organ chord - hypnotizing you throughout the whole chord -
and a story being told on top with various snares, dope basslines and sample work.

The traditional endless grooves, provided byThe Melodymann, are a nice addition for any Dj who wants that little extra..

Dj Feedback

SEAN DEASON (Matrix records)

Very nice! Smooth deep and funky as hell! Great work!

ROBERT OWENS

Great EP, would be nice to play.

SAMUEL JAMES (Elektrosouls Recordings)

One of the deepest releases of the year. Melodymathics is definitely a label to keep an eye on !

JULES WELLS ( KMS, Submerge records)

Great, I love it !!

RENNIE FOSTER (Transmat / Rebirth )

Sick

BEN SOLAR

Great Stuff

FABRICE LIG

Great EP, so deep !

TITONTON DUVANTE

All tracks are solid! Really like the way the Gari Romalis track builds. The Barce track is

cool in the second half. Expect some deck time for this one..

DONNA BLACK

This is DOPE!

SEBASTIAN SAN

Good stuff, Deep as i like it !

DIMITRI ANDREAS

Nice smooth and deep, Like it !

LA WILLIAMS (Peacefrog, DJAX)

PUREEEEEEE DETROITTTTTT ! Richard Pryor sample classic

PAT LEZIZMO

Vraiment Bien !

SATORE (Hizou Deeply Rooted House)

Really nice Ep!

AUBREY

really good .. like it.. deep moody stuff !!

PETE HOWL

Deep & smooth, great package! love it

ANAXANDER

'wow, strong EP, proper dancefloor killers'

BERNY GARDIN

Interesting, can feel lot of infuences, style!

ANDREW DUKE

Veteran artist Gari Romalis brings the heat as expected; both Barce's original and the

remix from The Melodymann hit the spot. With these 3 tracks all in my bag, Melodymathics

Ltd keeps bringing the goods.

DEEP MOVEMENTS LABEL

Instant support, will play for sure !

OLIVER KAPP (Indulge, Raygun Records)

Very nice old school vibe..... love it

We welcome back one of our favorite artists, Brendon
Moeller. This time as Beat Pharmacy. Brenson has
been releasing several records for us before, on
Echocord and Echocord Colour.
On all these tracks, one thing becomes apparent, with
a few simple elements and a dub approach to mixing,
one can create space, movement and groove without
the need to change keys. magic maybe.
Thank you dub manipulators of the past and present
for the music and lessons.
Brendon has been releasing music in many years on
many labels, also running his own famous Steadfast
label.

With France's long-fallow club scene back in international resurgence as Paris storms back into fighting form, Europe now has found a new source for yet-unheard music. It was a long time brewing, but names like Concrete, Katapult, Zadig, and Society of Silence, have begun to appear in the international clubbing circuit, and the growth is not limited to the capital. Further south in Lyon, a city quickly gaining its own renown for busy club parties booking bigger names, there exists a smaller circle of energetic operators whose name is also spreading rapidly and whose recent accomplishments include Nuites Sonores, Boilerroom and more. Spearheaded by Kosme, a DJ and producer of quickly increasing notice, the provincial powerhouse has already turned heads throughout France as Kosmo's Caramelo Records was snapped up by legendary Parisian distributor Syncrophone; he has a new label set to launch in 2014. It is with this background in mind that THEMA proudly offers Kosme's international debut, the 'April Moon' EP.

Kosme comes to the table with six tracks of low-slung Detroit-referencing house music laced with extra grit. 'Fondamental' rides shuffling hats and a building acid line to dramatic heights. 'Ever Shake My Mind' is slower and dirtier yet, with crushed hats and a bottom-lurking bass between Theo Parrish-esque drum-machine-down-the-stairs breakdowns. After an interlude, 'Mothafunka' resumes the beatdown with a talkover house track that escalates uncontrollably in intensity as drums shuffle before breaking down in congos & pads. 'Deep Function' dials down to sexier sounds with sultry vocal samples and sampled hiss, but it doesn't lose the drum kink. Finally the digital bonus 'A Thought for Yvonne' is the most subdued and skeletal of all with echoed drums and a lonely bassline tumbling over each other in slow motion.

Following the explosion of new sounds from the capital, it is no surprise to find the movement spreading, and THEMA arrives first with the freshest France has to offer.

This release is an homage to IDM, Intelligent Dance Music, a movement perhaps much better than it's name, but still the place of Aphex Twin and Autechre.
Myrakaru was the most famous IDM project in the Baltic States as Tallinn, Estonia duo Indrek Tamm and Joel Tammik. Their production was beautiful and timely in 2000, after which they disbanded and disappeared.
This is crate diggers IDM now updated with Deep, Balearic, and Main Floor remixes from Tigerskin (Dub Taylor), Filipsson & Lindblad (Sasse), Pan-Pot, and Escape Art.

Struments Records starts 2013 launching Nuevo Dia EP, second release of the label from Barcelona. In this occasion the reference is signed by the Catalan duo Aster, which counts with high quality remixers such as Benjamin Damage and Dexter. Nuevo Dia, the homonymous topic that starts and gives name to this second reference Struments Records, backs seven minutes in which multiple and varied melodies of different natures mix up with rhythmic patterns coming from a dynamic bass and evoking feminine vocal samples. A cut treated with strong dynamism in which the allusion of movement is constant. In Placido Domingo an acid bass line goes along the minutes transforming into the main character. The theme goes on for five minutes at a slower pace responding to the classical patterns of acid-house, introducing initially percussive rhythms, followed by dynamic involving notes and ending with a fantastic melodic take-off. The remix brought by Dexter increases and decreases during seven minutes, converting the original melody into an easily adapting scale to the first hours of the night. Using vocal samples it gives a surrounding perspective and introduces a powerful bass perfectly suitable for this newer clubber version of Nuevo Dia. Benjamin Damage bends Nuevo Dia with frequencies and filters, darkening brief melodic spaces to introduce a powerful and raw drum which reveals a postindustrial background through the late hours of the night. The monotonic rhythms of this reconstruction include in itself a progression of a surrounding physical and mental dance.

Native-Detroiter Terrence Dixon's longtime alliance with Godfather of Techno Juan Atkins has helped forge his own powerful sound in the world of minimal Techno. Originally released on Claude Young's Utensil Records in 1995. Both Sino (Hong-Kong) and Thema (New-York) join hands to re-release this classic which many consider as one of the early foundation in the minimal techno movement. Thema presents part.1 featuring remixes by Mike Huckaby, Silent Servant and DVS1 Sino presents part.2 featuring two remixes by Ben Klock and one by Edwin Oosterwal (Rejected)

Six years have passed since the last album by Andi Otto alias Springintgut, ("Park and Ride", City Centre Offices, 2007). In this period, Otto has done nothing less than inventing a new instru- ment: His "Fello" is a cello with movement sensors attached to the bow and a corresponding software. The development has been kicked off at STEIM in Amsterdam already in 2007. Since then, Otto has achieved vital refinements of the system, cooperated with artists of various fields as diverse as choreographers in Macedonia, theatre in Nigeria and Techno DJs in the Berghain Kantine in Berlin or the Fusion Festival. He even played solo with his instrument on different continents. For this third album, "Where We Need No Map" Otto takes the "Fello" to his studio in Hamburg for the first time. He records his instrument which has until today only been presented live on stage. In these Fello Sessions, the bow gestures immediate- ly modulate and process the amplified cello sound. In the subsequent editings he selects and cuts these sessions and merges them with other styles, such as Skweee, House and Jazz. Springintgut's trademark sound, this unique playfulness, is pre- sent throughout, while the live-processed cello adds an unrivaled deepness. The artist's expeditions even add more colour. Two tracks have been recorded in India. The lead voi- ce in "Bangalore Kids" is a field recording of a schoolboy in Cubbon Park, Bangalore. Andi Otto spends three months in Japan as artist- in-residence in the Villa Kamogawa in Kyoto. Du- ring this concentrated period he produces the more contemplative tracks of the album, like "Ka- mogawa Cycling" and "Western Kyoto". In Sri Lan- ka, finally, he meets Sasha Perera, the voice of Berlin's Dub Techno band Jahcoozi. They record two songs together. Especially in "Bullet" one can sense the lazy, muggy, peaceful heat of the after- noons in which this beautiful track has been com- posed. These stories may help to locate the music's orig- ins but still the sound of "Where We Need No Map" points us to unknown territories. The journey itself is the reward, let's listen!

Sechs Jahre sind seit dem letzten Album "Park and Ride" (City Centre Offices, 2007) von Andi Otto alias Springintgut bereits vergangen. Diese Zeit hat der Pingipung-Mitinhaber genutzt, nicht weni- ger als ein eigenes Instrument zu erfinden: das "Fello", ein Cello mit Bewegungssensoren auf dem Bogen und einer dazu gehörigen Soft- ware. Die Grundlagen dafür entstehen bereits 2007 am STEIM in Amsterdam. In der Folgezeit gelingt es Otto, das Instrument immer weiter zu verfeinern, mit unterschiedlichen Künstlern zu kooperieren und international aufzutreten. Für "Where We Need No Map" trägt Otto das Fello erstmals ins Hamburger Studio und nimmt unzählige Sessions auf, in denen die Gesten des Bogens direkt den verstärkten Sound des Cellos verändern und neu formen. Diese Fello-Sitzungen werden anschließend editiert und mit anderen Ein- flüssen vermengt, die von Skweee über House bis hin zum Jazz reichen. Der Markenzeichen-Sound von Springintgut, diese ureigene Verspieltheit, ist weiterhin vorhanden, gewinnt durch das live-pro- zessierte Cello aber eine bisher unerreichte Tiefe. Weitere Farbe erhält das Album durch Ottos zahl- reiche Tourneen in ferne Länder. Zwei Stücke ent- stehen in Indien. Die Stimme von "Bangalore Kids" ist eine Feldaufnahme eines Schuljungen im Cubbon Park in Bangalore. In Japan verbringt Andi Otto drei Monate als "Artist in Residence" in der Villa Kamogawa in Kyoto. Während dieser kon- zentrierten Zeit entstehen die ruhigeren Tracks des Albums wie "Kamogawa Cycling" und "Western Kyoto". In Sri Lanka lernt er dann Sasha Perera kennen, die Stimme von Jahcoozi. Sie nehmen zwei Songs zusammen auf. Vor allem in "Bullet" kann man der faulen Nachmittagshitze nachspü- ren, in der die Stücke entstanden sind. So lassen sich die vielfältigen Entstehungspunk- te von "Where We Need No Map" zwar karto- graphieren, aber der Sound des Albums schickt einen trotzdem in unbekanntes Terrain. "Der Weg ist das Ziel, frag nicht viel, hör mal..."

Synewave adds the youngblood of Delko. Hailing from Portugal this EP is 4 solid tracks of thumping techno with moods and proper bass movements.Limited vinyl release

On May 11, 2008 the Turbinnenhallen (Oberhausen, Germany) was the location of the first edition of THRILLZZ!

Hui Terra. The dreamlike shape of the half-heard word, abstracts with faint impressions of bucolic landscape, or handfuls of translucent and brightly-colored gemstones that hold odd, elusive, asymmetrical form. This enchanting, gently surreal debut album from Alex Cobb's Etelin project explores the power and playfulness of impulsive action diffused through electro-acoustic and ambient sound.

This music was created with digital synthesizers and a sampler in the four months immediately following the birth of his first child, a hazy period marked by a lack of regular sleep and a diet of INA-GRM, Nuno Canavarro's "Plux Quba", and Microstoria's "Init Ding" - records that appeared to produce both stimulating and soothing effects on a newborn's nascent consciousness. Recorded and arranged at all hours, this is an album that reflects on moments of tumult and fragility. Cobb sews small sharpnesses and surprises into its movements to uncover different aspects of each sound source, doubling as hypnic starts cast to advance and variate the narrative in subtle and unexpected ways. Sound and atmosphere manifest in eccentric, alchemical fashion, as though forming in processes of sublimation - solids dissipating into vapor - and deposition - clouds resolving and dropping to the ground in piles - to an obscure and domestic rhythm. There's the purveying sense of moving within the boundaries of small, hermetic ecosystem. This is underscored and doused by a slow, blooming sense of warmth; growing joy without bombast. Even the more startling textures conceal this same truth and emphasis, such as the alien, sour salt-butter electronic babble in "Little Rig", largely sampled from Cobb's son's voice at just a week old. It is emotional music - devoted, affectionate, and playful.