Cerca:x press

For their ninth iteration, Hamburg's The Press Group punches back in with the sizzling hot debut to a VA series bound to scout and shed a broader light on exciting artists from various territories and backgrounds.
Pulsating to the bone, "Future Prospects vol.1" showcases a quartet of heaters courtesy of Germany-based Robert Dietz and Aii PS on the A-side and Kyiv-based Vlad Stuparenko & Ghetto Sunrise plus Sasha Zlykh on the flip. Either sides of the
disc inbound for optimal and non-pareil impact on the dance floor. Dietz's "Salbung" paves the way old-school style, grinding everything from lethal breaks to rowdy drums, via lysergic synth flights straight out a wild sci-fi scenario.
Aii PS' bouncy and oneiric contribution "Donteven" is more of a low-slung affair with its mischievous fusion of filtered synths and acid-informed bass spurts painting the sky all shades of radioactive green.
Flip it over and Stuparenko/Ghetto Sunrise's stealth, aqueous weapon "Pine Water" ushers us in a corridor of groove-enslaved echolocation, delayed stabs and propulsive bleepin' n bloopin' from the depths. A further dusty, shuffling affair
blazing with clanky hats on a Chicagoan tip and futuristic electroid inflections, Zlykh's "Pidozepam" tops it all off in implacable fashion, casting a spell of exquisitely thrilling menace upon the ravers.

Reissue des Debütalbums 'Press On' (2007) des Multiinstrumentalisten, Produzenten und DJs Adam Gibbons (aka Lack of Afro). Gibbons ist ein Koloss der UK Retro-Soul/Funk-Szene, war jahrelang auf Freestyle Records gesignt und betreibt nun sein eigenes Label Bastion Music Group. Sein glorreiches Debüt 'Press On' wurde von iDJ als 'eines der wichtigsten Alben der modernen Funk-Ära' beschrieben und kürzlich vom Future Music Magazine als 'Klassiker' bezeichnet. Transparent-gelbes 180g Vinyl im Gatefold mit farbigem 12x12" Booklet.

Following the first ever vinyl reissues of Aurore and Royaume, Aimant + Aimant – Penultimate Press is finally proud to make available the final part of this extraordinary trilogy. Bleu is the final gesture and culmination of this period of creation where poésie and la nature form a magical alliance that resonates as an alchemical wedding. Having the conviction that Bleu was the ultimate arc based on the purity of natural sound and poetry, leaning towards a mystical spiritual search towards their own souls the band moved into commadere and collaboration with friends and ideals such as Lydia Lunch and Alan Vega.

From its earliest utterances, experimental music has been particularly disposed to transnational and cross-cultural collaboration. Seeking the answer for a fundamental problem - how to transcend the boundaries of difference, distance, and time - it presents a means to find common ground and communicate through the elemental form of sound. Over the last 5 years, this precisely what the duo of Félicia Atkinson & Jefre Cantu-Ledesma has achieved, intertwining sublime sonorities across the geographic expanses between their respective homes in France and the United States. Their third album for Shelter Press, ‘Un hiver en plein été’ (‘A winter in the middle of summer’) - the first to have been largely recorded by Atkinson and Cantu-Ledesma together in the same space - distills a mesmerizing pallet of acoustic and electronic sources into an open discourse of radically poetic forms, offering glimpses of warmth and intimacy waiting in the post-covid world to come.

Both veteran experimentalists with celebrated bodies of solo work behind them - each traversing the challenges of electroacoustic practice in their own singular ways - prior to their first recorded outing in 2016, Félicia Atkinson and Jefre Cantu-Ledesma had only crossed paths in person once, initially meeting in San Fransisco during 2009. The mutual bond formed during that brief encounter flowered into their first LP, ‘Comme Un Seul Narcisse’, followed two years later by 2018’s ‘Limpid As The Solitudes’. Both recorded remotely - sending files back and forth, fortified by conversations on a vast range of subjects - these two albums were guided by impassioned conceptual nods to Guy Debord, Baudelaire, Brion Gysin and Sylvia Plath, while seeking resolutions for the challenges and unique possibilities that working at a distance provoked.

Where the triumphs of its predecessors rose from the bridging of disparate moments and divergent spaces, ‘Un hiver en plein été’ culminates as a celebration of closeness, a result of Atkinson and Cantu-Ledesma working together in the studio, responsively in real time, for the first time. Recorded in Brooklyn during August of 2019 - a handful of months before the pandemic would impose chasmic distances across the globe - its six discrete works, carefully crafted and finalized over the ensuing year, evolve seamlessly across the album’s two sides, weaving a sprawling tapestry of sonority, within which both artists retaining their own voices and visions, while drawing each other towards uncharted ground.

Atkinson likens the recording of ‘Un hiver en plein été’ to have been akin to “a playground”, each artist “hungry for each sound, a bit like the rush in the Louvre in Godard’s Bande à part”, to which Cantu-Ledesma adds that the process seemed to have had “a mind of its own”, with both “along for the ride”. This organic sense of entropy and enthusiasm - a joyous exploration of the unknown - guides the momentum of the album’s evolving arc, as unfolding chasms of ambient space ripple with humanity, life, and fleeting glimpses of the actions that led to its material core.

Crafted from deconstructed melodic elements and drifting long-tones - laden with subtle nods to Indian classical ragas and free jazz - searching patterns of speech, textural elements captured within the studio and the outside world, and searching tonal and percussive interventions, ‘Un hiver en plein été’ coheres as a multi-faceted series of electroacoustic dialogues; nesting conversations between two artists working at the juncture of abstraction and narration, field recording and harmony, and the philosophical and phenomenological, in search for the meaning of friendship, and its manifestation in pure sound.

Dirtybird White Label series #3 goes even further outside the lines featuring 20/20 London's own, Ivy Lab. This duo are figureheads in the Future Beats movement, and their “Press Play EP” is a collection of 4 tracks that explore all facets of the sound. From futuristic acid half step to Neptunes-influenced BBQ beats and sublime Drum n Bass, the EP shows range and skill few producers can match.

Both noted for strikingly forward-thinking bodies of solo work dating back to the 1990s, the duo of Andrew Pekler & Giuseppe Ielasi - collaborators for the better part of a decade - reemerge with 'Palimpsests’, their first outing with Shelter Press. Built from deconstructed layers of texture, tone, and arrhythmic percussiveness, the album’s 2 sides distill 6 years of work into 9 splintered, airy reimaginings of minimalism - each surprising, creatively rigorous, and startlingly beautiful - that rest at the outer reaches of contemporary electroacoustic practice and musique concrète.

Based in Berlin and Milan respectively, Andrew Pekler and Giuseppe Ielasi have individually carved singular paths across numerous disciplines within experimental music for more than 20 years, each deploying sampling, synthesis, and acoustic sources to weave their own, distinct worlds of sonorous abstraction. Brought together by years of friendship and a shared devotion to layered texture and complex, fractured structure, the pair first joined their creative energies in 2013, a collaboration that culminated as the LP, ‘Holiday For Sampler’, issued by Planam.

'Palimpsests’, the duo’s second outing, draws its material from a series of improvisations made by the Pekler and Ielasi in Milan during 2015. Over the ensuing six years, those recordings would undergo various transformations - cut, reworked, sampled, and added to by each artist, working at geographic distance between Berlin, Kyoto and Monza - before culminating, like the album’s title suggests, as a unique manifestation of musical palimpsest; “an object reused and altered, while still bearing visible traces of its earlier form”.

With each of the album’s compositions nodding toward a city with which Pekler and Ielasi hold biographical connections, 'Palimpsests’ constructs sound as poetic metaphor; a series of ghosts - traces of memory, image, and action - cut and reassembled, in cycling permutations, before been set into action at a glacial pace with layered, transparent forms.

Defined by remarkable restraint and pointillistic precision, across the album’s two sides Pekler and Ielasi weave the fractured remnants of their sessions - reduced to glitches and warbling fragments of texture and tonality - into pulsing expanses of spatial ambiance that defy imagism, blur the boundaries between the synthetic and organic - reducing their sources to a series of unknowns - recast the boundaries of electroacoustic practice on markedly singular terms.

Shelter Press is thrilled to present 'Palimpsests’, another brilliant outing from the duo of Andrew Pekler and Giuseppe Ielasi. Issued in a limited edition of 500 copies on black vinyl, with artworks on printed inner and outer sleeves by Traianos Pakioufakis.

Fuelled by an uncertain future and conflicting feelings towards the
connectivity and intensity of the modern world, Press to MECO’s eagerly
awaited new album ‘Transmute’ follows up from 2018’s critically acclaimed
‘Here’s to the Fatigue’.
Produced by Machine (Clutch, Lamb of God, King Crimson) in a 16th century
tower in the UK, ‘Transmute’ feels more defined, where the heavy moments
are brutal, the quiet aspects are beautiful, and the cinematic flourishes make
the whole thing feel epic.
FFO: Foals, Biffy Clyro, Billy Talent.
Print ads going in Kerrang, Rock Sound, Upset/Dork, Alt Press in UK, Visions DE
plus more EU TBC.
25k+ across socials, plus 300+ Discord group and guitarist has 500+ Twitch
channel
Key supporters of the band include BBC Radio 1, MTV Rocks, Kerrang! Radio,
Kerrang! Magazine, Alt Press, Rock Sound, Upset alongside editorial support
from Spotify, Apple Music, Deezer and Amazon Music.
Previous touring includes touring Europe with Shinedown, UK tours with
Don Broco, SikTh and Arcane Roots alongside performances at festivals
such as Download, Slam Dunk, Truck Festival, 2000 Trees, NAMM and Teddy
Rocks.

White vinyl repress, last time this one comes back. In the grayness by concrete of the Amsterdam suburbs we find Pascal Pinkert (Dollkraut) working on his darker wave salvation, going by the moniker of De Ambassade. Final ever repress of this one. This debut EP forming an alliance between the past and the present deliver one take recordings, drowned in reverb, using preferably older recording methods. The result are poppy wave tracks that shiver your spine and let you chant along to lyrics from the dutch lowlands. Mastering by Rude66.

The label ZIEMIA (Polish for EARTH) is centred around a growing group of friends from Poland. Administered by Bartosz Kruczyñski (Earth Trax), Adam Brocki and Jan Wójcicki (Private Press), it is a natural extension of a studio in the heart of Warsaw, where the majority of their music is being created. Ambient sounds and club vibes make the foundation layers of this collaboration, and you can see this theme evolving in some of their first releases on labels such as Growing Bin, Into The Light, Shall Not Fade, Indigo Aera, Phonica Records and Dopeness Galore. ZIEMIA's focus positions itself between club music and ethereal with an Eastern European background.

The second release captures different shades of club environment, from the straight-forward, rough DJ tool by Earth Trax and Newborn Jr. (A1) to deeper and more ethereal dub oriented grooves of Private Press (A2, B1). The last cut on the EP is an after hour downtempo anthem (Earth Trax and Newborn Jr. again), with uplifting pads and chilling leads layered over deep TR-808 drums.

Noah Gibson marks his first appearance on North Electronics with an EP of plaintive meditations on his innermost causes and conflicts. Acidic enthusiasm spirals out of control in innumerable ways across 'Press On,' routing us through the reflective atmosphere that hangs heavy in the background of the thrilling adrenal spikes.

As the world turns the page towards yet another decade the Two Swedes from SpaceTM in MLU embraces new beginnings and paves the way for their very first, and very own musical outlet. MLU Private Press is their new label-not-label and the result of years of joint music making. “We looked ourselves in the mirror and all we saw was us” - it’s a vanity label in the truest sense. An audial outlet candidly and simply releasing streams of future and past sounds flowing through a crack from their Stockholmian mountain and out into the world.

The first release features three tracks of MLU-matic electronics, spanning in making over the last decade. From the energetic rave-sentimentality of “Blue...” eloquently dreaming of approaching future skylines to the sound of breakbeats, to the nostalgic arpeggios of “Astro Travelling Pt. 2”. A track which got lost but recently resurfaced in the MLU lost-and-found bin, recorded almost 10 years ago and sound-wise very reminiscent of their earliest work. The aptly named “Madame of the Magic Mushroom” with it’s mix of acoustic drums and shroomy synthesis ends the 12” in weightless psychedelia recollecting memoria of ecstatic driven 70’s loft-rock.