Buscar:uncon sci

The B-52's The B-52's on Numbered Limited Edition LP from Mobile Fidelity Silver Label
Ranked at #152 on Rolling Stone's List of the 500 Greatest Albums of All Time Delightfully Campy, Intentionally Goofy, Lyrically Kitschy: 1979 Set Is Nothing But a Good Time
Mastered on Mobile Fidelity's World-Renowned Mastering System and Pressed at RTI (America's Best Record Plant): LP Bursts Forth With the Color and Vibrancy of the Brilliant Pop Within
The B-52's' Wild Planet and Cosmic Thing Also Available on Silver Label LP Boffo! Beehive hairdos, goofy sci-fi humor, lava-lamp kitsch, thrift-store fashions, party-starting tunes, unconventional perspectives, and the unique blending of the underground aesthetic with mainstream accessibility: The B-52's mix all this and more into a dizzying cocktail on their self-titled debut, which remains one of the most ahead-of-its-time, endlessly enjoyable, and vividly colorful albums ever released.
Ranked at #152 on Rolling Stone's list of the 500 Greatest Albums of All Time, The B-52's has its roots in the band's improbable genesis, itself reflective of the record's gleeful moods and quirky charms. The five members first played after sharing a tropical alcoholic beverage at a Chinese restaurant, the ironic silliness and spontaneous irreverence indicative of the music on its breakthrough record. Not to mention how it mirrors the unusual hodgepodge of instrumentation: organs, walkie talkies, bongos, glockenspiels, tambourines, toy pianos, smoke alarms, and more!
Musically, the band proves just as adventurous and whimsical. Using pleasant harmonies as a backdrop and Kate Pierson's squealing organ as a starting point, the B-52's draw upon surf-rock grooves, beach-bound soul-pop, herky-jerky funk riffs, minimalist rhythms, and Ricky Wilson's unusual guitar lines to craft songs that tower above the sarcastic suggestiveness and campy declarations. Of course, the latter are plenty entertaining on their own, but there's no denying the dance-bound persuasiveness and melodic shimmy associated with the classic cult single 'Rock Lobster' and splendid cover of the ubiquitous Petula Clark standard 'Downtown.' You've never heard anything like this.

Indeed, the B-52s were about a decade ahead of the alt-rock revolution when they recorded this delightfully campy, intentionally goofy, lyrically tawdry, and undeniably harmonic 1979 new-wave set that comes off as the best dance party you might ever hear. This is 40 minutes of nothing but a good time.
Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI (America's best record plant), Silver Label numbered limited edition LP presents the B-52's brilliant debut in a fidelity it's never previously enjoyed. So detailed and realistic are the timbres, accents, and harmonies, you'll think the band's bright outfits are appearing right in front of you. Plus, the LP is worth the cost alone for the iconic album cover, which spotlights those bouffant 'dos.

In 1990, raising their voices over the sound of Neuropolitique's 'Mind you don't trip' Sebastian S. and Mike DMA (Direct Memory Access) met, breaking the ice by swapping opinions on LFO and 808 State. They later went on to create the first live configuration of BWP Experiments (Bad Woofer Posse Experiments, for more info see basicmoves), and produced dozens of tracks together which, for the most part, were live takes and remain unreleased. Only
a few made it out into the world, and to this day have stayed well under the (discogs) radar:
Our Techno Theory' was put out on an 8-tracker cassette by Research and Development,
while only two productions 'Escape' and 'Pay your taxes' were pressed on vinyl for the same
imprint. Now Sebastian S. (aka Caustic 14) returns to the label with two previously unreleased tracks
found in his personal archive. 'Excalibur' was produced in tandem with Mike during the last
session the pair ever did in Sebastian's studio (Z'ha'dum) in 1996. It's a vibrant hommage to
their common passion outside of music: Sci-fi. This track refers specifically to the series Babylon
5 , which was a revolution in the genre, and the first tv series to outdo Star Trek (the intergalactic
reference since the early 1960's). The idea of being 'united against darkness' was key to the
series, and the motto remained essential for Sebastian, Mike and Deg's music productions,
collaborations, live shows and dj sets. The influence of what had been a passion since
childhood can be felt in their sound: unconsciously they had dreamt up the soundtrack to their
own space journey. The second track 'Cliffhanger', a solo production by Sebastian S., is a dig from several years
earlier (1994). The Detroit influence is strong here, yet the signature Caustic 14 "space opera"
melodies hold their ground and shine out.
We are very proud to propel this Belgian electronic music heritage out into the world.

In memory of Matt Cogger.

walrus & islas , September 2018.

Fast-moving Times, In Which Popularity And Quality Are Often Equated Or Commonly Confused With One Another, Aids And Abets This Imitation Game Some Call Conformity, Others Professionalism. In The End, Both Paths Will End Up In Predictability. Here's Where Stathis Kalatzis, Aka Mr. Statik, Comes To Play. The Resident At Athens' Multi-purpose Cultural Space Six D.o.g.s Has Not Only Been One Of The Scene's Pivotal Figures, But Since He Started To Release His First Solo Releases In The Mid-00s, The Now Berlin-based Greek Dj Has Earned A Reputation For Being A Trend-ignoring, Unconventional Producer.

Whether His Output For Bpitch Control, Rotary Cocktail, Or Even Last Year's Debut Ep "rogue
Cherub" For Away - Mr. Statik Enjoys Thinking Outside The Box By Crossing His Diverse Pop-cultural Interests And Pulling In Expertise And Perspective From Beyond The Usual Functional Formulas. After A Decade Of Not Staying In One Comfort Zone Or Sticking To One Musical Direction, He Finds Himself More Comfortable In His Producer Shoes Presenting His Debut Album "metamorphose". Housing A Few Film References In This For Mr. Statik Typical Nebulous Fashion, The Ten Tracks Not Only Carrying The Narrative Potential Of An Imaginary Score, But Primarily Exploring A Versatile Array Of Influences, Themes, And Contradictions (which Mr. Statik As An Illustrator Also United On The Albums' Artwork). Ranging From The Sci-fi Infused Album Opener "insomnia", The First Non-dancefloor Piece He Ever Produced Around 7 Years Ago, Over "atastrophe", An Homage To Ancient Greek Theater, To Collaborate With Others Such As Beatrice Ballabile, Jan Niklas Jansen (locas In Love), And Rbma Alumnus Claude Speeed, Who Contributed Synth Work On "soulfur".

"metamorphose" Succeeds In Constantly Changing Its Tones, While Maintaining An Emotional
Frame, In Which Mr. Statik's Melancholic, Introvert, At Times Hopeful And Euphoric, Bottom End
Inclined Electronic Music Can Elaborate.

Mr. Statik On His Album Debut:

"i Have Always Tried To Approach Producing As Storytelling Exercises. This Allowed Me To
Experiment Finding Myself In Uncharted Territories, More Specifically In Music That Doesn't
Necessarily Fit To A Dance Floor - Unless It's A Very Adventurous One. 'metamorphose'' Is Loyal To That Mindset. I Usually Draw Inspiration From Cinema And Comic Books And Have Always Been Fascinated With Sci-fi, South Asian Culture, Surrealism And The Dreamworld. Initially The Album Was Supposed To Be A Collage Of The Various Influences That Had Shaped My Life, But Ended Up Being Something Very Different. During The Conceptualization And Recording Process A Lot Of Things Around Us Have Changed, Primarily For The Worse. I Became More And More Sensitive And Susceptible To Pessimism And Trendy Visions Of 'dystopian Futurism', So That The Lp Emerged Being An Exercise In Positivity: 'metamorphose' Is A Verb Describing The Act Of
Conversion, But In Greeklish It Is Describes The Urge Towards Others To Start Transforming Their
Environment, In This Case For The Better."

Finnish visual artist and filmmaker Hannu Karjalainen's music draws inspiration from ambient, drone, modern classical and dream pop. His first album Worms In My Piano was released in 2007 on Osaka Records and the second album, Hintergarten in 2009 on Simon Scott's Kesh Recordings. A Handful Of Dust Is A Desert, his third album - and the first under his full given name - arrives after a prolonged break.

Hannu Karjalainen's association with Karaoke Kalk started with his remix of Dakota Suite's The End Of Trying Part III on The Night Just Keeps Coming In in 2009 which also featured remixes by the likes of Hauschka, Deaf Center, Loscil and many more. Now, luckily for all concerned, Hannu is releasing a full length album on the label in the form of the exquisite record A Handful Of Dust Is A Desert.

The album opens with the track Angel which is a truly heavenly composition reminiscent of Boards of Canada's finest work. The Emigrant makes effective use of sinister synth-lines and delicate glockenspiel patterns to invoke a kind of science-fiction soundtrack atmosphere. Throughout the record, our ears are graced with truly sublime sound-scapes and transcendent textures.

The title track is actually the shortest tune on the album, but in no way less evocative. It's looped piano melodies are comparable with Susumo Yokota's later recordings in their minimalism and poise. A Year In a Day continues to walk the fine line between ambient and electronica - which is one of the albums great virtues: it shows how lively and eventful ambient music can be. Certainly ambient music benefits from having a strong pulse as Karjalainen demonstrates in various tracks on the album. The song Love Is A Black Lion features a sample from the afore mentioned Dakota Suite tune The End Of Trying Part III, and therefore somehow closes a circle.

This powerfully contemplative album comes to a controlled landing with the majestic Breaks My Heart She Aria, another in a long line of mesmerizing drifts, with a floating choral voice delicately enveloped in strings and pitched percussion.

A Handful of Dust Is A Desert is instantly captivating and for lovers of ambient music, dream listening. As an artist who trained in photography and is mostly active in the world of visual art, Hannu Karjalainen clearly enjoys a great deal of creative freedom in his music. This is the kind of desert you won't mind getting lost in and even take pleasure in roaming through the expansive sonic landscapes and horizons it embodies.

Mr Tophat, an enigmatic Swedish house head who's awkward grooves and unconventional arrangements has heads nodding across the universe. From Another Dimension EP was inspired by his addiction to the club tracks that Music For Freaks originally released, with Rob Mello's No Ears Dub version of Discorobot in his top 10 tracks of all time. Here, Mr Tophat generously serves up 3 of his textbook trips down the rabbit hole. This is entertainment for the freakiest of people. Aliens From Another Dimension is a squeeky adventure in sound, navigating the inner workings of Mr Tophats imagination and penchant for Sci-Fi. Prophet Funk is a chugging, progressive slice of hip house surrealism. Its quirky call and response melodies and gawky vocals are straight out of an episode of the Twilight Zone. New Release Information Message To The Stars is a love song to the multiverse and the stars that reside within her. A funky breakbeat is underpinned by discordant melodies and lead lines that resonate with the head and the hear

A surprisingly unified fusion of classic psychedelic rock, Krautrock rhythms and proto-hip hop beats.