Born in the late-1800s Monkey Warhol began making electronic music of various sorts, tones, and timbers in 1947. Inspired by Bob Dylan’s loud and abrasive “Metal Machine Music”, Monkey turned to music as a source of income after failed stints as both a zookeeper and dental hygienist. EP4 is HIS take on POP music (watch out Max Martin… there’s a new sheriff in town!).
Artist: Alpha Male Project
Title: I Could Come
License: CC BY NC SA
Composed and arranged by Alpha Male Project
Lyrics by Alpha Male Project
Produced, recorded and mixed by Fabio Chiantini @ Strato Dischi Studios, Roma
Mastered by Fabio Pieri @ Strato Dischi Mobile, Roma
Cover by AMP
Fabio Chiantini: programming, bass, guitars
Marco Di Marco: voice
01 – For Lunar Dust – Fabulous Cat Queen
02 – Bachrodi – The Way It Was
03 – After Midnight Technically Tomorrow – Bitcrush On You
04 – Fred Daphne – SA Palms
05 – Circuit Demon – You Should Not Driving This Car
06 – Samuel Bone – Grusenbelt
07 – KargO – 3
08 – c4 – coaster
09 – Q – Peace
10 – Breakmaster Cylinder – Day Three (Meiji Shrine/Harajuku/Yoyogi Park)
11 – Television Sky – Do U Kno
12 – Konsumprodukt – 80s are back for a while
13 – Masticx – Nina Sings No More
14 – Kamikaze Deadboy – All Hallows Eve
15 – Dawktah – Transistor
16 – Skoz – Sympho Nick
17 – Rhythum – Think Too Much
18 – Paradeigma – Rotation of 6 years (Outro)
15 years ago I released ‘white blazes’, an album made while hiking on the Appalachian Trail. A place that feels like my true home. Always residing in the depths of my mind, calling me back to the solitude and beauty that only nature can provide. So life recently provided me a little window of a bit over a month to return to this magical trail. Naturally, I thought it was a perfect time to compose a follow up to the original ‘white blazes’ and so you have here before you ‘return to the white blazes’. An album composed in the forests on the AT in Virginia, North Carolina, & Tennessee in the months of October and November of 2016. Back in the early 2000’s when I conceived the first release, I carried a heavy (15+ pound) laptop. The battery would barely hold a charge, and in the colder months of a winter hike would barely work at all. Oh, how times have changed in this short moment between then and now. This trip, I was able to carry 2 cell phones, a tablet, a plethora of power banks, etc. all weighing well under the weight and thoroughly out performing in terms of specs the original laptop. The trip provided much adventure and time for deep thought. I was surrounded with beautiful vistas awash in the splendor of autumn, clean crisp air in the star filled nights. I shared my campsite with packs of coyotes, got interrupted during dinner by a hungry bear, read lots of books, experienced the intensity of forest fires, and generally got rid of years worth of clutter in my head in a way only the trail can provide. It is my hope, that in some way, I may have captured just a bit of that magic in what I present to you here. That in these tones and rhythms you can experience a bit of that solitude and beauty for yourself, and if I failed, I only hope I can encourage you to go out and experience the wonders of nature for yourself. Much Love!
Past Future is CerebralAudio’s second in a series of re-releases of Ambelion’s back catalog. Ambelion approached us about re-releasing these works in the hope that we would be able to gather more attention to his work, and improve on the packaging and mastering of his work: in essence bringing new life to his relatively unknown and neglected work.
Having being familiar with Waiting For Quarters, there was immediate interest in listening to the works that Ambelion had previously released. He sent us two releases: Quasi-Stationary and Past Future. It didn’t take much for us to agree that these works needed to be heard, and Ambelion needs to be appreciated by a more receptive audience.
So, Past Future is the second of these releases. In the future we are working on several more releases from his back catalog, including the potential release of some previously un-released tracks.
This new EP from See Pereria builds on previous releases and continues to play and experiment with a process led approach to making experimental electronica.
Preset loops are used as set parameters with the addition of vocals as a further instrument. These limits and boundaries allow for See Pereria to really experiment with the software to create new sounds. Each track in the song is manipulated and sculpted by being layered, cut up and/or looped. Songs are made with heavy emphasis on synths, beats, repetition and harmonies.
Stato Elettrico presents Bodies by See Pereria from Sheffield, UK.
“An electronic blend of sounds, with bubbled up basslines, funky acid looniness and a sensual voice that sings as if she is one human synthesizer”. (‘Yeah I Know it Sucks’, Oct 2015)
See Pereria has a process led approach to making experimental electronica. Preset loops are used as set parameters with the addition of vocals as a further instrument. These limits and boundaries allow for See Pereria to really experiment with the software to create new sounds. Each track in the song is manipulated and sculpted by being layered, cut up and/or looped. Songs are made with heavy emphasis on synths, beats, harmonies and repetition.
Formato: Lp digital
País / Ciudad: España / Madrid
Fecha Publicación: Julio 2016
Estilo: Downtempo, techno, acid
Portada: Inês Barroso
1. Succesfull Failer
2. Falling Up Stairs
3. The Kult
7. Drone People
8. Forevers Aloners
9. Loop Trip
Nacido en Madrid (España), Alberto Vázquez, conocido artísticamente bajo el alias de Chuzausen, vive y crece en Vigo desde los 3 años de edad. Lleva realizando desde hace más de 12 años música en trackers (Impulse Tracker, Scream Tracker…). Ha sido integrante del Netlabel Alemán “Rump Funk Records” y del Portugués “Enough Records”. También ha colaborado en directo con el sello Vigues “Parafuso”. También como músico y técnico de sonido en distintos proyectos audiovisuales.
Scratchy leads and jumping bass whisk to unusual, haunting music. Sounds like Super Mario with hipster beard and nine extra lives in Berlin-Neukölln. Preferred noisemakers are synthesizers and a handful of dollars.
Everywhere Kingdom continues the adventure in the improvised/stream-of-consciousness realm but again takes the music in an entirely new direction. Whereas its predecessor was a hypnotic chillout adventure meandering through blurry clouds of warmly distorted synths and subdued guitars, here NOISE and RHYTHM are kings. Pummeling distorted beats, squealing and stuttering synth loops draw the listener into a brutal, yet groovy, experience. Bouncing between primitive hip-hoppy beats (Jellypit, Chimp Thug), industrial (Corrosive, Sno-Blower), techno (Saibaba Goblets, Shrrum Vacuum), ande even making a stop at noisy-casio-ska (When I Die), all slathered in static and distortion, the 9 tracks here make for an uncompromisingly thrilling ride which similarly exhausts and leaves the listener wanting more.
Released on Underpolen Netlabel, home for the raw, weird, homemade lofi treasures.
Torque EP is the Pueblo Nuevo debut of the Chilean duo Guerra & Rammsy (Álvaro Guerra and Rodrigo Rammsy), renowned musicians and producers from the Santiago rock and electronica scene.
In a little more than 20 minutes and three tracks they take us on a danceable tour with a clear timbral influence in the rhythmic base of a more “classic” cut, this in the still young universe of electronic music, but to advance the disc leaves everything gradually entering a kind of sound tunnel, with some solid bass lines that seem carried from the underworld, to these they add, in a very subtle way, perplexing “pads” and arpeggios that enrich the harmonic palette, carrying us to risky sound moments, which arrive (commonly) to be distant to the style. And I think that’s what I like about Torque EP: that impression that seems at first like everything will go as it should be, but very subtly, without abusing typical resources such as excessive “reverbs” or “delays”, they go placing you in this sound maze and they leave you without an exit, unless you realize and unless you stop dancing.
Very good disc of Guerra & Rammsy, to go losing yourself dancing, without fear.
“Francisco Pinto returns to the tracks with “Retarded“, a more defined, more pop, more danceable work, suitable for all music lovers who enjoy quality pop made in Chile.
A flashback to the 80’s with sounds full of synths, highly sticky melodies like in “Los sueños (the dreams)”, with the collaboration of singer Fakuta, or “Mil Noches” (Thousad Nights), with the participation of Elisita Punto (MKRNI), Javier Barría, Diego Ridolfi and La Entrópica.
Faithfully following the national electro pop scene that characterizes us so much, Francisco Pinto manages to find his space with a sound more envelopving , taking us on this journey that we are looking for so often when playing a disc, tracks like “Time to Time”, “Spring Boy” are examples of this.
As a versatile disc, pop, retro, spaciality, and elegance are all elements that make up the formula which after long years Francisco Pinto utilized in his new work, which will surprise more than a few.”
DJ, Productora / DJ, Producer.
(Santiago, Chile, Abril / April 2016)
“Nearly eight years have passed since the launch of “Boo Boo“, the previous disc of Francisco Pinto. And though that may not mean much in more purist genres, in electronica and on the dance floor it’s an eternity. In 2008, Pinto fit perfectly with the trend of the time, which was looking with admiration to the time that disco music turned from the orchestras to the synthesizers, without losing the sense of melody, the chorus, and the hooks. On this path singer / composers as diverse as Fakuta and Javier Barría accompanied him.
Jump to 2016 and many of his local colleagues, and those around the world, have drifted away from melodies to emphasize the rhythmic or the atmospheric, through concise and reduced releases, born of the times. Because of this, Retarded, Pinto’s new album, seems a strong declaration of principles. It not only has 14 songs – longer than even many LPs of today, but it also does not move the focus a single millimeter from his need for melodic expression, no matter what happens with the rest.
Still more people accompany him here: in addition to the same Fakuta and Barría, other names appear from the local pop scene like Elisita Punto (the voice of MKRNI), Deplasticoverde and La Entrópica. He accompanies himself, either with his own voice or through a vocoder as well. In sound, the references remain in the period between 1975 and 1985: space disco and synth pop. Music that can function as much on the dance floor as at home, a task that much electronic music not only fails to seek, but which it could hardly achieve.
Retarded is a timeless and effective album.”
Periodista, DJ y Productor / Journalist, DJ & Producer.
(Santiago, Chile, Abril / April 2016)