quête:plan b recording

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Turbo Recordings is proud to present a 12”-inch vinyl release of Tiga’s trance pilgrimage to the centre of your personal space, “There Is No Distance Between Us.”
Co-produced by Tiga and on-again/off-again musical life partner Jesper Dahlback, the track was originally released digitally as a b-side to the Tiga mega-hit “Easy” earlier this year, and is now available in its glorious physical manifestation with an insane after-hours techno remix from Paris producer u.r. trax, perhaps the first Turbo
artist with a Master’s Degree in something other than Comparative Tiga Studies.
“Yeah, I’m back up in your area,” says Tiga from atop the rock-climbing wall inside his virtual panic room. “Something just didn’t sit right with me about this track not existing on the material plane. Here I am singing about human connection and not giving you something you can hold in your filthy hands? Anyone who knows me knows I
hate hypocrisy, so I had to make things right, vinyl-style. If I could make the world’s problems go away by pressing records, I would. And I can, so I will. This is only the beginning."

Though severely cut, Red Circle doesn't exactly sweep along. It has a deliberate pace as Kallabris sets up the score of thirteen chance acquaintances who plan and carry out the sacking of our acoustic consciousness... Understatement is the method of these compositions for a small modular synthesizer. If there ever was something like heist music, this here surely is. (Vincent Canby, with a few minor changes and adaptions).

Kallabris is a musical project that was begun in the mid 1980ies out of the scene around Coitra's Clan. Since ist inception Kallabris has persistently neglected any usage of advanced recording technology. Ever since not technical or compositonal innovation is at the core of the group’s work but, the active engagement with the limitations and the objects of every day life. This sound positivism can result in stylistically varied outputs ranging from chanson or country blues to musique concrète – while all musics live by their surfaces. Save the surface and you save all.

Faitiche presents Groupshow’s Greatest Hits: The ten tracks on this first vinyl album by Groupshow (Hanno Leichtmann, Andrew Pekler, Jan Jelinek), recorded between 2005 and 2018, document concert recordings and studio improvisations by the trio.

In improvisation there are no mistakes, only missed opportunities. Groupshow found their first opportunity in the routines of live performance and they used this opportunity to break with these routines. The trio consisting of Jan Jelinek, Hanno Leichtmann and Andrew Pekler came together in the context of Kosmischer Pitch, playing live versions of the music from Jelinek’s 2005 studio album of that name. During this project, the musical interaction between the three participants quickly emancipated itself from the original programme, departing from fixed roles and finding a distinct form in constant change.

Groupshow sessions – rehearsal, concert or recording – are always improvised. The interplay of the various sound sources, converging from the directions of “electronics”, “percussion” and “guitar”, does not follow the Krautrock wave logic of crescendo and morendo. Jelinek, Leichtmann and Pekler have established a method of transparent density in which links and breaks are not concealed but remain audible. The music works through attraction and repulsion, with a loosely organized structure that always leaves enough room for the next intervention.

The principle here, repeated even in the smallest units, is that of duration. Groupshow think of their music in terms of an installation: no starting point, no dramaturgy, and ideally no end. Concerts take place not raised up on a podium, but in the middle of the room on a level with the audience, who only enter the space with the musicians and instruments once their interaction is already underway. In 2008, Groupshow used this approach to create a live soundtrack for Andy Warhol’s film Empire, over the full length of eight hours and five minutes.

Recordings in general and the “Greatest Hits” format in particular are another key aspect of this ongoing work on a collectively modulated continuum. The ten tracks on this first vinyl album by Groupshow, recorded between 2005 and 2018, document the ephemeral capturing of opportunities that were not missed. Extracts and essences of an endless movement of searching. The sprawling form of the whole, suspended in succinct, separate units.
To paraphrase Lao Tzu and Roland Barthes, one might say: Once their work is done, they are no longer attached to it. And because they’re not attached to it, it will remain.

Arno Raffeiner, 2022

To celebrate the 10th anniversary of Cloud Nothings' seminal album, Attack On Memory, the band has announced a very special limited edition vinyl pressing. 3000 copies worldwide.

It’s housed in a foil jacket with all new colorized artwork, is pressed on Sky Blue vinyl, and includes two bonus flexi 7"s with two never-before-released tracks, "You Will Turn" and "Jambalaya" from the original sessions at Steve Albini's Electrical Audio.

In 2009, Cleveland’s Dylan Baldi began writing and recording lo-fi power-pop songs in his parents’ basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On—a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release of Cloud Nothings’ self- titled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, Attack on Memory.

After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.

For all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and co. created an album that showed vast growth for a very young band.

WORM's zweites Album, das Anfang 2020 erschienene "Gloomlord", ist der direkte Vorläufer des massiven "Foreverglade", welches 2021 die Welt erzittern lassen sollte. "Gloomlord" war im Vergleich zum Debütalbum ein großer stilistischer Sprung nach vorne und verschaffte der Band eine breitere Aufmerksamkeit, und ihr Funeral Florida Doom hat seitdem eine eigene kultähnliche Anhängerschaft angehäuft.

Bis jetzt war "Gloomlord" schwer zu bekommen und oft nicht erhältlich. Da die Band nun fest auf 20 Buck Spin zu Hause ist und ihre ersten Live-Auftritte für 2023 plant, war es an der Zeit, die steigende Nachfrage zu befriedigen und "Gloomlord" für die breite Masse zugänglich zu machen.

Als zusätzlicher Bonus wurde das Album von Greg Chandler von den Funeral Doom Legenden ESOTERIC in den Priory Recording Studios in Großbritannien komplett neu gemastert. Und wie schon bei den Vinyl-Veröffentlichungen von "Foreverglade" und "Bluenothing" liegt auch der Neuauflage von "Gloomlord" ein großes Poster bei. Mit diesen zusätzlichen Aspekten betrachtet Hauptprotagonist Phantom Slaughter dies als die definitive Version von "Gloomlord".

"Gloomlord" ist eines dieser großartigen Alben, das die richtige Art von Hörer sofort durch die schiere Stärke seines Sounds und seiner Vision fesseln wird, aber es wird weiterhin sorgfältige Details offenbaren, je mehr und genauer man es hört." - Last Rites Mag

Swamp Green Clear Vinyl

WORM's zweites Album, das Anfang 2020 erschienene "Gloomlord", ist der direkte Vorläufer des massiven "Foreverglade", welches 2021 die Welt erzittern lassen sollte. "Gloomlord" war im Vergleich zum Debütalbum ein großer stilistischer Sprung nach vorne und verschaffte der Band eine breitere Aufmerksamkeit, und ihr Funeral Florida Doom hat seitdem eine eigene kultähnliche Anhängerschaft angehäuft.

Bis jetzt war "Gloomlord" schwer zu bekommen und oft nicht erhältlich. Da die Band nun fest auf 20 Buck Spin zu Hause ist und ihre ersten Live-Auftritte für 2023 plant, war es an der Zeit, die steigende Nachfrage zu befriedigen und "Gloomlord" für die breite Masse zugänglich zu machen.

Als zusätzlicher Bonus wurde das Album von Greg Chandler von den Funeral Doom Legenden ESOTERIC in den Priory Recording Studios in Großbritannien komplett neu gemastert. Und wie schon bei den Vinyl-Veröffentlichungen von "Foreverglade" und "Bluenothing" liegt auch der Neuauflage von "Gloomlord" ein großes Poster bei. Mit diesen zusätzlichen Aspekten betrachtet Hauptprotagonist Phantom Slaughter dies als die definitive Version von "Gloomlord".

"Gloomlord" ist eines dieser großartigen Alben, das die richtige Art von Hörer sofort durch die schiere Stärke seines Sounds und seiner Vision fesseln wird, aber es wird weiterhin sorgfältige Details offenbaren, je mehr und genauer man es hört." - Last Rites Mag

1974 entstanden die Zusammenstellungen Planeten Sit-In und Sci-Fi Party mit der Musik aus den Jam Sessions der Cosmic Jokers. Unter einem konzeptionellen Mantel wurden die legendären Aufnahmen einem jungen Publikum nähergebracht. Unter den Musiker die Elite der damaligen Krautrocker, wie Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf und Dieter Dierks der für die Aufnahmen, Arrangement und den Mix zuständig war, aber auch als Musiker mitwirkte. Neu transferiert von den originalen analogen Bändern und sorgfältig und erstmalig remastert. ENG The compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. Under a conceptual mantle, the recordings were brought to a young audience. Among the musicians the elite of the Krautrockers of that time, like Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf and Dieter Dierks who was responsible for the recordings, arrangement and mixing, but also participated as a musician. Newly transferred from the original analog tapes and carefully remastered for the first time.

1974 entstanden die Zusammenstellungen Planeten Sit-In und Sci-Fi Party mit der Musik aus den Jam Sessions der Cosmic Jokers. Unter einem konzeptionellen Mantel wurden die legendären Aufnahmen einem jungen Publikum nähergebracht. Unter den Musiker die Elite der damaligen Krautrocker, wie Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf und Dieter Dierks der für die Aufnahmen, Arrangement und den Mix zuständig war, aber auch als Musiker mitwirkte. Neu transferiert von den originalen analogen Bändern und sorgfältig und erstmalig remastert. ENG The compilations Planeten Sit-In and Sci Fi Party, both originally released in 1974, are a contemporary document of the legendary jam sessions of the Cosmic Jokers. Under a conceptual mantle, the recordings were brought to a young audience. Among the musicians the elite of the Krautrockers of that time, like Manuel Göttsching, Klaus Schulze, Jürgen Dollase, Harald Grosskopf and Dieter Dierks who was responsible for the recordings, arrangement and mixing, but also participated as a musician. Newly transferred from the original analog tapes and carefully remastered for the first time.

Baroness will release their eagerly-awaited new album ‘Gold & Grey’ on June 14th via Abraxan Hymns.



“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound,” offers Baroness founder, guitar player and vocalist John Baizley. “I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate.



I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few ‘firsts’ for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises.”



While ‘Gold & Grey’ found the band once again working with Purple producer Dave Fridmann (The Flaming Lips, Mogwai), sequestering themselves at Fridmann’s remote upstate New York Tarbox Road Studio. The 17-track album ushered in two significant changes: a decidedly different recording process and guitar player Gina Gleason’s debut on a Baroness recording.



The band, who tracked portions of the vocals, guitars and overdubs in Baizley’s home-basement studio, another first for them, eschewed their normal routine of entering the studio with meticulously detailed plans and instead opted for a looser, more improvisational approach that resulted in their most collaborative and emotionally evocative release to date.



Featuring John Baizley (vocals/guitar), Gina Gleason (guitar), Nick Jost (bass) and Sebastian Thomson (drums), Baroness received a GRAMMY Award nomination for Best Metal Performance for ‘Shock Me’ from the 2015 album ‘Purple’.

Five tracks of masterful, ritualistic, and pitch-black evil make up the
entirety of Ng'ambu - an album which is meant to be interpreted as a
hymnal to invoke and praise spirits - shows the band drenched in
offerings to the bands personal connection and dedication to Quimbanda,
the Afro-Brazilian diasporic belief system based around magic, rituals,
and offerings
The band explains, "It is both an offering to our Cabula, that is our house, as it is
to the spirits of Quimbanda themselves. In some sense we are turning what could
otherwise be poison into medicine. It is a process of engaging, through struggle,
with those aspects of ourselves and the world which live at the pivot point of
chance and desire. It is about seeking agency even in the thistles of the road.
Quimbanda is the fire by which we forge our iron and the strangling plantst that
cure disease. Quimbanda is both the pox and the inoculation. Quimbanda is our
anxiety and the motivation that anxiety produces. It is conflict and the strength
that comes from engaging that conflict. People say, idle hands are the devil's
plaything, and so we have put those hands and The Devil to work."
For the band's sophomore release, MEHENET connects a powerful fury of black
metal mastery to the deeply rooted sounds of New Orleans - by way of utilizing
samples of the bustling French Quarter and by paying respect and praise to the
cultural music of the city by incorporating congas, whistles, and bells. Recorded
and mixed in 2019 by James Whitten at High Tower Recording in New Orleans,
LA.

Five tracks of masterful, ritualistic, and pitch-black evil make up the
entirety of Ng'ambu - an album which is meant to be interpreted as a
hymnal to invoke and praise spirits - shows the band drenched in
offerings to the bands personal connection and dedication to Quimbanda,
the Afro-Brazilian diasporic belief system based around magic, rituals,
and offerings
The band explains, "It is both an offering to our Cabula, that is our house, as it is
to the spirits of Quimbanda themselves. In some sense we are turning what could
otherwise be poison into medicine. It is a process of engaging, through struggle,
with those aspects of ourselves and the world which live at the pivot point of
chance and desire. It is about seeking agency even in the thistles of the road.
Quimbanda is the fire by which we forge our iron and the strangling plantst that
cure disease. Quimbanda is both the pox and the inoculation. Quimbanda is our
anxiety and the motivation that anxiety produces. It is conflict and the strength
that comes from engaging that conflict. People say, idle hands are the devil's
plaything, and so we have put those hands and The Devil to work."
For the band's sophomore release, MEHENET connects a powerful fury of black
metal mastery to the deeply rooted sounds of New Orleans - by way of utilizing
samples of the bustling French Quarter and by paying respect and praise to the
cultural music of the city by incorporating congas, whistles, and bells. Recorded
and mixed in 2019 by James Whitten at High Tower Recording in New Orleans,
LA.

2023 black repress !

Yung Lean releases his new album Starz via YEAR0001. The album is Lean’s seventh full-length following 2018’s Poison Ivy and includes previously released singles “Boylife in EU,” “Violence,” and “Pikachu.” Much like Lean’s overall catalog, the new album feels almost impossibly cohesive. In part, that’s thanks to production entirely from longtime collaborator whitearmor - they kept the sessions intimate and secluded, recording partly in an old ballet hall in the Swedish countryside. But this is an album only Lean could make, as a young veteran, with a sound and career that’s well-entrenched globally but still doggedly, even perplexingly, on its own planet.

Soma welcome the debut album from the ever-growing roster of youthful talent as Lewis Fautzi drops The Gare Album, named in homage to The Gare Club, Porto, where Lewis made his discovery of Techno. A bold 4 track single debut gave rise to the album process midway through 2013 and under the careful supervision of Soma, Lewis has provided a definitive peak in his sound cultivated on the back of years of studio work. A collection of deep, dark and twisted techno awaits.

A definite maturity in production shines through on this fantastic LP from Fautzi as he creates a cold and calculating output, clearly focused on the future. The Gare Album has allowed Fautzi to express himself fully through electronic music, a task that he has taken to whole-heartedly.
The Gare Album will be released on limited double LP.

Celebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music hand-picked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings.

Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo record around with you.

Vinyl expert Michael Fremer, of Analogue Planet and Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album.

What separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces, as well as reproducing details that were hallmarks of vintage labels — the "deep groove" label of Blue Note LPs, for example.

The craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. And incorporating computer microprocessors on our presses to precisely control press functions with absolute precision. And an imbedded temperature sensor in the dye cycles the press with just as much control. The result — more consistency in each LP, high fidelity and reduced distortion. The ultimate sonic advantage.

Less than a hundred miles inland from the capital city of Lima lies the great Peruvian jungle, an untamed land of impenetrable forests and endless winding rivers. In its isolated cities, cut off from the fashions of the capital, a unique style of music began to develop, inspired equally by the sounds of the surrounding forests, the roll of the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked up from distant stations on transistor radios. With the arrival of electricity, a new generation of young musicians started plugging in their guitars and trading in their accordions for synthesizers: Amazonian cumbia was born.

Powered by fast-paced timbale rhythms, driven by spidery, treble-damaged guitar lines, and drenched in bright splashes of organ, Amazonian cumbia was like a hyperactive distant cousin of surf music crossed with an all-night dance party in the heart of the forest. While many of the genre’s greatest tracks were instrumental, and others were simple celebrations of life in the jungle, the goal of every song was to keep the party going.

Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneering
record producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a city
reachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their best
tracks. Although many became local hits, few were ever heard outside the Amazonian region … until now.
With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrack
to a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.

Recorded both in Spain and Finland, the 13-track album Myriadi documents Tatu Rönkkö and Raúl Pastor Medall's first standalone collaboration, entirely created, performed and mixed by the pair. With Myriadi, the two artists walk listeners into a world that somehow manages to feel ancient and modern at the same time. It is peaceful and dreamy but also raw, solemn and unsettling. Tatu's improvisational, crude and almost ritualistic sonic approach blends in seamlessly with Raúl's more melodic and melancholic schemes of composition. With its simplicity and clarity, Myriadi belongs in the realms of dark ambient and drone as much as it belongs to a tradition of minimal acoustic music. Myriadi embraces loose ends, harmonic freedom and even atonality; regardless of whether it involves the sound of glass-blowing water bottles, a small Finnish harp, bell-like sounding metal plates or piano strings played with paint brushes and sticks, the overall improv-based character of the project gives Myriadi a primal, unpredictable and meditative feel. This spontaneous study of form and timbre has room for bold rhythmic pieces played with a drum set consisting of six floor toms, but also for hypnotic chants of granular flute-like sounds and spoken word poetry (featuring voices by Raúl and Tatu's moms). The spontaneity and lack of premeditation that permeate through Myriadi paradoxically reinforce the cohesiveness of the record, reminding us that sometimes creativity really benefits from avoiding too much analysis and overthinking. Rauelsson (Raúl Pastor Medall's musical moniker) and Tatu Rönkkö met in 2015 through common friends. They both have released music on the Berlin-based label Sonic Pieces and have collaborated on stage and in the studio on a number of occasions. Tatu appeared as a guest musician on Rauelsson's Mirall (2018) and contributed significantly on some film and TV projects that Raúl has worked on for the last couple of years. For the recording sessions of the dystopian TV Series Anna (2021) Tatu travelled to Spain where they explored countless rhythmic ideas with relatively untraditional instrumentation. These free and relaxed creative meetings led to other recording sessions completely unconnected to any scoring project, planting the seed for what Myriadi would become. RIYL: Ben Salisbury and Geoff Barrow, Alva Noto and Ryuichi Sakamoto, Jefre Cantu-Ledesma, Rafael Anton Irisarri, Brian Eno TRACKLIST: A1 Rombo A2 Vidre A3 T A4 Keinu A5 Ryminä A6 Ö B1 K B2 Silta B3 Golondrina B4 U B5 Kuvakudos B6 Pont B7 Muinoin

Strategy guided by activity. How to best cross the threshold? By allowing the untamed rhythm of thought to reign, or through the possibilities that arise from assembly and cooperation?

Game Plan is the meeting of Gabriel Rei and Gene Tellem. A longstanding friendship unfolded through mutual love for dance music and experience. ‘Club Negotiations’ arrives on Bienvenue Recordings as their first official studio collaboration. Three melodic and hypnotic compositions to help find your focus from the ecstatic nature of the party to the daily hustle of modern life.

arbitrary presents the third in the Black Box series of releases by Mads Emil Nielsen. The release, which showcases a more sample- and grid-based side of the Danish musician/composer’s work, is part of a sequence of publications with music and audio originally made for theatre, radio soundtracks and more.

Black Box 3 is based on sound pieces produced for Sprækker (Cracks), a dance performance & installation in Denmark, 2021. The starting points for these pieces are improvisations recorded with contemporary dancers, in which Nielsen guides the listener through a corpus of synthesizer recordings, everyday sounds and radio archives. These original recordings were reworked for this LP and edited into the six tracks in early 2022.

Written & produced, recorded and mixed by Mads Emil Nielsen, Copenhagen, 2021 / 2022. Acoustic sounds on Installation – 2 by Victor Dybbroe. Mastered and cut by Kassian Troyer at D&M, Berlin. Graphic design by Mads Emil Nielsen. Thanks to Aaben Dans, Thomas Eisenhardt, Catherine Poher, Chris Watson, Antoine Hubineau.