We happy to announce our new release by Mariano Arellano from Buenos Aires, Argentina. In this EP you find five excellent tracks for the dance floor, excellent quality, with remixes of Matias Bagato, Rewx & Uriel GZ.
Abjective first arrived on Kahvi back in December as part of the VA compilation (Waves). Now they’re back with an album entitled ‘Into the Labyrinth’.
Heading towards the more glitchy end of the audio spectrum, the nine track album scratches on the edges of ambient (slightly reminiscient of Curious Inversions or the Orb), while including a touch of Autectre to give the tracks more of a distinct feel.
The album could be seen as a cleanse of the palette, taking the listener to more pleasant times, a summertime shower, or spring sunshine.
Tracks of choice: Summoning of the muse, Organium drone.
Netlabel Pan y Rosas Discos has released a new collaborative album from C. Reider and Jeph Jerman. The album consists of a single 30 minute track comprised of edited vinyl pops and crackles. C. Reider wrote the following about the album:
in 2015, my friend jeph jerman sent me a very lovely lathe-cut record. one side has a twelve minute track of the pops and crackles that are typical of vinyl records. all of the sounds in pop variations were derived from that recording, using various techniques, like running the pops & clicks through a de-clicking algorithm, or slowing down the recording to the point where you can hear the needle bouncing at each pop.
You can download the full release from the label’s website
“The duo FRVSNT navigates the convergence of at least three grand streams: contemporary music, electroacoustic in real time, and free improvisation.
Luciano Giambastiani makes use of clarinets in different registers to provide a sound world that is based on the broad spectrum of instrumental techniques associated with contemporary music, passing through materials defined by pitch, multiphonics, keyed percussion and the classic rough sonorities of the frullatos.
For his part, Rodrigo Castellanos contributes the electroacoustics through digital processing, where the aural richness is not always easy to explain, but certain techniques may be recognized, such as sampling and transposition of the sound captured by the computer, synthesis, delay and reverb among others, all in real time.
The general feeling is of symbiosis, an integration in terms of color that generally has a continuous evolution, sometimes accentuated by gestures of greater contrast. It is probable that Castellanos makes use of complex techniques such as monitoring of pitch, spectrums and dynamics or granular synthesis, and if the latter is true, it does not appear clearly or with the typical quality common in mixed music.
It is interesting to note that, according to the musicians, they never rehearse; rather they simply get together and play. Of course they do not start completely from scratch, as they know each other (eight years ago to be exact), they know what the sound space of their counterpart is, but from there they launch a dialogue that goes vibrating in a spontaneous and ‘effervescent’ way. They call it creation in situ, and this, as one may appreciate, they link not only to a determined physical space wherein the music awakens, but also to mental, emotional and conceptual spaces. Their previous communications are realized on a more generic level, where they discuss ideas of diverse nature, beyond the purely musical question.
Because this is a stereo recording, unfortunately it remains distinct from the multichannel component manipulated by Castellanos in the duo’s live performances, where the use of loudspeaker systems delivers an enveloping spatial element truer to their creative vision.
The album is a collection of miniatures, pieces that situate themselves in a minute and a half, two minutes, three and a fraction or at most five minutes and sixteen seconds. Juxtaposed with these pieces are micro-compositions of a few seconds (16, 18, or 24 seconds), of a concise and effective style, that exploit a sonority, rather a gesture that closes itself in but is able to connect with the preceding and the ensuing, with the general coloration awarded by the authors materials.
We hope this album is only the beginning of one or more subsequent contributions, either in stereo or why not in some multichannel format.”
(Sheffield, England, Febrero / February 2016)
Another delivery from the legend of troglodisco! Snippets of manicness inspired equally by 90s viva german dance music and teutonic ebm industrial – in attention deficit portions reminiscent of the Residents’ commercial album and similar tongue-in-cheek approach to the genre.
This is a vision of dance music revelling in its own simplistic approach and playful in its bending of genre’s boundaries and limitations. Like a 12 year old fed only by early dance music and armed in an array of 80s music samples and a book of “rules of disco music” that he dropped into a vat of acid for a few seconds it is concentrated on fun and simply enertaining to watch it stumble, spin and burst at the seams with forbidden energy.
it’s time for a little bit of serbia! being long overdue, finally we present to you another chapter of unfoundsound’s “location series” — which features compilations of artists based in one city. first, we did buenos aires, then marseille, then melbourne, and then philadelphia. this time around, it’s novi sad (serbia’s second largest city). unfoundsound’s cofounder sean o’neal (a.k.a. someone else) continues to travel often and move around. after he himself has been living for a couple of years in novi sad, he realized it was time to put together a compilation of some of the finest electronic music artists in the city. very soon after he relocated to novi sad, sean quickly discovered that the city has an intelligent and thriving underground electronic music scene. so maybe it’s time to help put this city on the map. on happy in novi sad, you get a whopping 15 tracks ranging from minimal techno to deep tech-house to ambient to glitchy experimental, and there’s even a touch of loopy indie rock thrown in for good measure. the novi sad-based artists on this compilation include dako loop orchestra, fall apart (featuring the voice of radoje cupic), otto von disko, klaus pp, sloxxx, yoma, nebes, mthaza, daniel fritz, noise destruction (featuring dj z and dj fakir), daniel alexandar and mika technika. so, be happy…in novi sad!
« The look of which I know is the look he knows me »
This sentence is taken from Western Exile, thoughts and mystical story of the Persian philosopher Suhrawardi. It sums up the album. Hykayat in Iran, is a mystical story. Western exile is a journey to the celestial pole, to immaterial palaces.
This album is a tribute to the Persian thinkers and scientists of medieval Islam. It invites the listener to travel throughout eastern lights, axioms of creative imagination that influenced alchemists, mathematicians, astronomers and western philosophers. It was designed to stimulate your light guides to accompany your souls to the house of chants. It passes through time and space through hybridization of genres, rhythms and tones (metal, swing, electro, rock, philharmonic…).
It’s a light album: live performance is played on stage with lights DMX reacting to sounds. The album artwork is black and white, inviting the listener to focus on sound work, on composition and to develop a photism experience (feel color through another sense than vision). Live performances are still ecstatic, energetic, wobbly and increased by some unusual instruments like a guitar tuned with a wiimote, a MIDI flute, and sometimes a robot santoor.
For Da ! Heard It Records’s 29th release, Infecticide returns to heckle with French chanson with psychoactive brilliance and fervor: “Poil de Coeur” arrives with the new year, like a musical greeting card under a dead Christmas tree. Inside, a journey into deep waters, through treats of neuroleptic wave, punk sweat, and the poetry of evenings that end at 3 pm in the morning… The dominical pleasures proposed by Michel Drucker will never have the same flavor.
As accomplished artists, the nasty three invest any and all means that get between their dirty hands to turn their offspring into a nocturnal weapon with a sadistic character, and the audience finds itself on its knees in front of such mastery in the art of bullshitting.
We are dealing with a precious trouple, in picturesque French scenery. Even if the Parisian trio keeps pounding pies in our faces, like with “Fais-le moi-le”, and even if the flat country that is not theirs suits them perfectly, to reduce it to the elegant EBM would ensure showers of rotten tomatoes, as evidenced by the abrasive “Pistache” which could have dubbed a block party at the time of the Boogie Down, or “Ton Tanga”, between electronic power and the exaltation of intimate undergarments. With “Prehistronic” or “Petit Tricheur”, we once again encounter what made the squadron trademark of the first album: a rock mix of synthetic music, or, as one sees fit, a rock synthesis of synesthesia.
One must also point out the panache behind the lyrics of Infecticide, such as in “Le monopole du coeur”, a phantasmagorical vision of the great dictators of our history; or in “Une petite motte de peur”, of which the hellish slomo dub accents of hell give us a friendly reminder of our condition as humans: “un chimpanzé en pull, un babouin maléfique” (“a chimpanzee in a sweater, a maleficient baboon”).
The heartening illustrations of Junie Briffaz add a final touch to these 13 firebrands. The physical object, touchable with the figures of one’s hand, offers 1 badge, 2 postcards, the lyrics, and a sticker.
“Poil de Cœur”, the 29th release of Da ! Heard It Records is distributed under a Creative Commons BY-NC-ND license. The album is available for free listening and downloading at the following address:
Drummer of the band dUASsEMICOLCHEIASiNVERTIDAS and noise therapist of the A.T.R. collective, Zé Trigueiros shows us for the first time a set of homemade songs, created in recent years between trips and stops… A melancholic instrumental work, which has the collaboration of the musician and luthier Domenikos de Visser on the bass and tzouras, “Bear With Me” was recorded in 2014/15 at his home in Amsterdam.
‘Break Free’ is a cross-regional collaboration between three regions of the South African Western Cape province.
The song features both West Coast and South Coast rappers, namely Tha Real U and Lil Stewy, accompanied by an Overberg artist known as The Essence.
It is the first Shaloma Muzik release by Lil Stewy, after joining the label in November 2014. The song anticipates the #ShalomaFuture series, proposed by the label for the year 2015. Upon release, ‘Break Free’ reached the Soundcloud Download Limit of 100 downloads after 3 hours and 38 minutes, making it the most rapidly downloaded Shaloma Muzik release to date.
It reflects the life of the three artist and their outlook at possible stardom. Knowing that they would need to increase their artistic reputation and build their careers in music, they each reflect on what it means to break free from everyday life through their passion for music and how this passion is interlinked with their reverence for God.
The song could be linked to a previous Shaloma Muzik release in 2012 known as ‘Long Nights’. This was the first Shaloma Muzik breakthrough release into the West Coast Hip-Hop community. Similarly, ‘Break Free’ became Shaloma’s breakthrough into various other communities – and audiences. It is the first release by the label after it’s redevelopment.
The first verse sees Lil Stewy introducing his ambitions with reference to his faith in the Lord and the promise he finds thereof.
The song continues with Tha Real U analyzing what his life feels like on a regular basis, and touches on what he aspires to withhold or reach. It also tickles the current state of Hip-Hop as Real U critiques and expresses his remorse thereof.
The concluding verse by The Essence provides a summary of both the previous two verses through the perspective of the rapper’s life.
Essence mentions that music is his release and expresses that although fame and stardom might not be reached, music is still a tool for expression.
He then adds that with God everything is possible to those who believe, motivating the listeners to put their faith in a Higher-being and striving to achieve their dreams.
It’s quite a bit of time that Strato Dischi Notlabel host I Neurologici in its studies. In recent years we have accumulated a lot of material, enriched by the collaboration to the collective of singers and musicians. It has come to the idea, announced by a video ( I Neurologici – Riddim To Riddim), to publish a track per month, in different interpretations went out along the way. So Riddim To Riddim was born, which debuts in this month, January 2016, with the track that best relates to the style of the collective before the more electronic experiences. 440 Hz is in fact the opening track of the 1999 album, selfproduced and pressed on vinyl, which has already seen a newly remastered release on our netlabel.
The riddim was subjected to new production. Opening version starring once again, as seventeen years ago, Alexander Mazziotti’s flute and his quotation of a popular tune. It follows the version sung by Ras Moray, Kenyan-born singer, with his warm and powerful voice. The third version is the interpretation of our friend Jobba (Roberto Addo), italian reggae scene new promis, born from that resource of artists that is Campania.
Enjoy … to the next month with Riddim To Riddim second release
n mid 2012 in Salvador-Bahia/Brazil, was founded Duppy. The musical proposal of the band is mainly exploring the blend of reggae / ragga to the metal, with the theme of the letters mysticism and African culture!
This is their first album titled “Canções de uma Roma Negra”, which represent the living culture that exists in Bahia state where they live, establishing religious and musical values.
The Duppy is seeking space in the world, to show that in music there are no limits but a science that one can take a risk and build the originality!
A metà del 2012 a Salvador, Bahia / Brasile, è stata fondata Duppy. La proposta musicale della band sta esplorando principalmente la miscela del reggae / ragga al metallo, con il tema della mistica lettere e cultura africana!
Questo è il loro primo album dal titolo “Canções de uma Roma Negra”, che rappresenta la cultura che esiste nello stato di Bahia in cui vivono, esplorando i valori religiosi e musicali.
La Duppy è alla ricerca di spazio nel mondo, per dimostrare che nella musica non ci sono limiti, ma solo una creazione che ricerca il rischio e costruisce l’originalità!
No meado de 2012 em Salvador-Bahia/Brasil, foi fundada a Duppy. A proposta musical da banda é principalmente explorar a mistura do reggae/ragga ao metal, tendo como temática das letras o misticismo e a cultura africana!
Este è o primeiro disco intitulado como “Canções de uma Roma Negra”, onde representam a cultura viva que existe na Bahia, estado onde vivem, firmando valores religiosos e musicais.
A Duppy vem buscando espaço pelo mundo, para mostrar que na música não há limites e sim uma ciência de que se pode arriscar e construir a originalidade!