All Tracks written and produced by HAZ, based on patterns by Willoc Babbyz.
Sample Support by Willoc BabbyzTracks 1 and 2 was composed in Zofingen (AG), during cancer vacations at Haz’s “parents-in-law”.
Tracks 3 and 4 was composed in Glattpark (Opfikon) next to Zurich, during cancer inflammation.
It was almost ten years ago when A.Moss released Dead Language with Black Flag Records. Since then, he’s occasionally dropped gems via Soundcloud to show that he’s still alive & kicking. Well today, there can be no doubt that he’s alive and no question of whether or not he’s still got something to say. Today he delivers not only his first proper release since 2010, he also delivers one that is undoubtedly focused and on fire… an EP this time around.
With “Gravel King”, A. opts to keep things laser focused… six tracks… nothing more. He does the same thematically, every song feels like it belongs with the next. He paints a picture of who he is and where he comes from like so few successfully do.
When you kick back and listen, along the way you’ll be introduced to a couple friends of his… Wals (who you’ll get to know more in the coming months when he also releases music here at blocSonic) and JJ Bass (who also recorded for Black Flag Records). You’ll also get to hear turntable wizardy by our old friend cheese on the incredible “Wahta”. So… anyway… don’t sleep on this… download… load it up… bump it… enjoy… and most importantly… spread the word about the Gravel King.
A.Moss… I know this has been a long time coming for you to get something new out, I’m honored and hyped that blocSonic could be a part of it. Let’s continue to build!
Of course, thanks once again to you for downloading & listening. We always strive to deliver the music you’ll love. Please spread the word about blocSonic, if you enjoy what we do. Remember… everything we release is cool to share! Always keep the music moving… share it… blog it… podcast it! If you’re in radio… support independent music and broadcast it!
Special Netlabel Day release including three remixes of selected tracks from the original The Veil album.
“Sobria Ebrietas was born around 1995-1996 as a side-project to my
former band Absolutely Curtains, and became permanent after its split in
>From the outset, this project aimed at a research on sound, without any
other goal than creating a specific visual feeling and the wish to
generate a dark, powerful and captivating mark.
Following several albums, EPs and many sonic & visual collaborations
spanning 20 years, this search asserted itself, spawned its evil twin
Eurovision Über Alles and opened out to create a unique and unclassable
soundscape still true to its original quest: the love of Sound.”
With this EP BeatMyth demonstrates their signature electro breakbeat style – an outgoing onslaught of beats, basslines, synth-stabs, and fast vocal ranting. On the flip a slower-tempo story emerges but keeps us in attentive check: deep gridning bassline, snapy snares and playful details in-between.
released July 18, 2019Igor Vuk · production, recording, arrangement, mix and mastering
N’toko · vocals on Multiply
Stella Ivšek · design
Luka Prinčič · executive production
Shoves turn to punches when DK DANCE release their 4th for D-TRASH. The band are in top form, churning out black metal riff-driven industrial punk, consistent with all their previous material – But don’t let that consistency put you at ease… DK DANCE become more lethal and explosive with every song, let alone this brand new full length. Enjoy… but don’t say we didn’t warn you.
released November 1, 2013
For 2019’s Netlabel Day, as the strong Mahorka tradion is, again we have for you a very special collaborative/reworks release, this time by the very boss of another cult netlabel – 4T Thieves of Kahvi Collective. The album features exclusive edits/remixes by him of previously available on other releases 4T Thieves tracks (1, original available as part of his release “Wayfield Asylum” on Kahvi, and 5, done as part of the “Sketches” remix competition), fresh new originals (2, 4) and one extended version (8, “Pata Minim” edit is previously available on “Forms” VA on Kahvi), as well as remixes he’s done for aAirial (3, previously available on aAirial’s CD album “Wanderings” on Mahorka), Curious Inversions (6, exclusive), Pandacetamol (7, exclusive), Depeche Mode (9, 11, exclusive) and Captive Portal (10, exclusive).
The largely successful, Scape From Reality EP by Code Therapy, is back with vengeance, reconstructed by some new and old members from the Digital Diamonds family. Part two of the dualistic remix series has a more sinister, progressive trance feel. Gelled by the inimitable stems from the original EP it contains cavernous pads, cheeky motifs and unblemished sound design. These 5 tracks by Multi-Tul, Lampé, L-XIR, Kavalier and Musgolino couldn’t cause more trouble on the dance floor with their late night intent and staunch demeanour. Believe it or not they will reshape your reality.
M.A.K.T. Sono ‘s new release TTTango is an improvisation recorded in november 2018 by Magali Albespy & Kecap Tuyul with the same kind of lo-fi set-up as the one used on album “11 Songs”
Magali Albespy : amplifiers, microphones, synthesizer, voice.
Kecap Tuyul : amplifiers, microphones, synthesizer, mix.
This is what Francesco Lenzi does in his latest release, in the truest psychedelic spirit: Playing his guitars, he offers us a remarkable palette of psychedelic sonic landscapes with no traces of a song format
This first Orgonon Sound Machine’s release on Sucumusic, out for the Netlabel Day 2019, aims to be what the title suggests: a dangerous overload of radiations.
That’s what you’ll be exposed to.
The creative mind of Salvatore, behind the project, lets us exlopre what pure instinct and composition flow means in electronic music. So you can’t say if you’re listening to IDM, breakbeats, industrial or some kind of weird dance music, coloured sometime by ninety-ish rhythmic and synths shades.
“On her back over distances rode not even a bird.”
(Liliana Herrero, Confesiones del viento)“When we look in our environment for the elements that can condition or enhance our character, the ways of bonding, the ways of our expression, we usually fix our eyes, our feelings and think about the earth that we tread, that we inhabit and that inhabits us. Its geographical features, its colors and textures. The species that thrive in the conditions that it positions before us. More difficult is to account for how the air defines us. Being an invisible matter and much less tangible than a piece of rock, to think of ourselves surrounded by that elastic medium and to meditate the consequences of that immersion is less probable. How is it that the air that surrounds Inti every day from the place on the planet where she decided (or not) to situate herself, to dwell and create, conditions and enhances her art? ‘Gran Madre’ (pn143) invites me to that exercise.
In the habitable dimension presented by the three tracks that are part of this release, I can immerse myself in that perception and reflect on the air in a vast spectrum. Thus a breeze appears in the form of her voice, to which she decides to tie the rest of the materials that she sonically molds. Sometimes she brings words, at others only tonalities that tighten and loosen the link with the electronic textures but that never try to impose their meaning and their ‘humanity’. From breeze to wind there are degrees of atmospheric pressure where the air is agitated and charged, in this case, dust and static. At various moments along the path that ‘Rea’ or ‘Mina’ lay out, it is this abrasiveness of the particles in suspension that defines the atmosphere, stripped of all dew, open to the sparks and micro-lightning so common when the air has 0% humidity. Mediating its duration, ‘Mina’ displays the sound of rain. But there is no indication of freshness or relief in its appearance, instead it makes the electricity even more palpable (and the added risk of walking through that sound space with feet bare and wet). What threats do those bursts of electronic static that shake the environment carry?
Every so often, as in that pulsating drum at the end of ‘Rea’, I think I’m listening to the radioactivity measurement of a Geiger counter. It is not clean air or purity that seems to matter to Inti and contamination can be felt here as a concept distilled from its negative connotations. Here we breathe strange and invisible agents that will inevitably modify our genetic constitution. Interestingly, I do not perceive an imposition in this action. This possibility is attractive, like a storm in the desert that advances towards us as we wish it to engulf us. Sand that hugs.
Already fused in these volatile molecules, ‘Ciprés (Cypress)’ arrives and the air becomes a whirlpool. We recover our body and integrity to be transported to a time that is not today or here, inhabited by ghosts. An old lament, a couplet, an epic of distance that reminds me of the pain of being separated from that which surrounds me.
So the air and its molecules that compress and expand to shake our eardrums. So the wind, now carrying seeds, now turning poplars. So is the atmosphere of this disc and this geographical and poetic site where Inti is planted to capture the ether and materialize its language.
In this edition, which is undoubtedly an artistic action in itself, for the beloved and respected Pueblo Nuevo label, a valuable Chilean publishing project, Inti plays with the air as well, investing the operation of the dry Argentinian winds. Then the mass of arid and rough air, decides for once to follow the Great Mother Son on its trajectory. Returning over her steps, she climbs the mountain range to look for the baggage of freshness and humidity that she hid there, to return to the sea that saw her leave once.”
Edgardo Palotta, clarinet, bass clarinet, Indian flute, double bass and percussion.
Ana Foutel, piano.
Gonzalo Manco, engineering and mixing.
Recorded live at Estudio Libres, Buenos Aires Argentina. February 2019.
Photo: Foutel / Peiretti
The moment, when sound waves surprisingly appear in vacuum.
A cosmic dream symphony,
presented by a playful gravitational wave orchestra.elAstrum is a conscious electronica cosmonaut from Russia, online already known from his releases at Kahvi lately and one album earlier on Otium, as well as different spacey noise releases, that can be found at archive.org.
You can expect masterly sounding melodic electronica, sometimes playful and also sometimes referencing old soviet-russian radio sounds or songs, rising to the uber hymn, the “Epic Rise and Fall”, where all the essentials: love, longing and hope come together for the climax in the Now, heading for the tomorrow, binding you with us and all the other listeners through spacetime.
xDEx is a project and main scene pseudonym of Victor Prodanov. Lately, the constant accelerating societal decay and de-stricturation, the alienating aspects of the globalisation processes and the so called “common thought” became, by their unavoidability and omnipresence, a field of inspiration and cynicism for this project. Victor’s longstanding fascination with DIY digital and analog electronics has put out a solid emprunt over his sound.
The release “PANTA RHEI” is his first and hopefully not the last on Mahorka, after years of discussions, preparations, variants and waiting for the right circumstances in the right moment to come for this debut on the label. Most of the drum parts are produced with 808 and 909 clones, the non-melodic sound layers are mostly filtered spring and digital reverbs, various overdrives and distortions, feedback loops; there are extensive modular synth recordings and most of the paddy parts originate from a FM8 clone and a Waldorf Blofeld. All tracks were recorded on a multitrack at one shot, with little post-editing.
It’s finally Summertime, but press play, close your eyes and you’d never be able to tell. Lamont Kohner’s third single for RP lands with a roomy bass pulse and a dusty loop that slowly splits open to reveal white noise-crusted dub chords and a thumping traincar rhythm. BECKONS does what it says on the tin, with minimal side effects, drawing us into the seedy nightlife of Kohner’s noir cityscapes and neon vapors. Following the irresistible groove of BECKONS is CLOSE IT, a slightly more traditional dub techno affair, recalling the Detroit strains of Deepchord and Echospace while also conjuring a thick-as-a-brick rhythmic foundation that goes even further back to the first couple Maurizio 12″s in Germany. The whole thing congeals into that trademark Kohner shuffle, and we’re once again sitting back in a darkened taxi, window half open, smoke wafting out into the greasy streets. Falling beneath the music’s spell, you feel compelled to close the window – we’re doing something intimate in here.
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