We were waiting for this Depersonalization Syndrome album impatiently! We proudly present “DXM” – 40 minutes of “top-shelve” alternative/synth metal. This group from Pavlodar/Kazakhstan simply rock as hell and will infect you with their crazy sense of humour. They conquered our hearts with “Project Gleenah” single and now coming back with the full album. Just thinking… When we heard something that good and that style and felt this way last time? Only “Toxicity” by System Of A Down crossed our minds.
DEPERSONALIZATION SYNDROME – DXM (2016)
01. Piano Roll (1:30)
02. Hand Roll (4:49)
03. Break Me Down (5:14)
04. Fade Away (3:48)
05. Project Gleenah (3:40)
06. Some Shit (1:12)
07. Never (4:46)
08. Pussy Balls (4:33)
09. Zero (5:44)
10. Love My Hand (5:10)
Total time: 40:26
All music and lyrics written and performed by Depersonalization Syndrome.
Bjorn Jordan is a musician who already know, being a member of Phobos 3. Here with Matteo Pinna at the drums gives us the new single of Ish The sign, a very interesting project that takes us between esoteric mysteries, Tool and good writing at the edge of wet forests on the edge of the sea . You will be impressed by the power of images to what is Bjorn, or a modern shaman, who leads us where he wants, where there is peace.
We are happy and honoured to have Nor in our label. Nor is a young rapper from Savona, a city that got a good names in rap, like Dsa Commando, Overkill Army and others. Here we had a little talk with hi,e, and Nor confirmed to be a true rapper, never obvious. He talks well, but his music speaks better, rap without redemption for nothing and no one. Show no mercy.
01-[Heartworm] – I Killed My Best Friend [High Noise]
02-[Heartworm] – Bitch Butterfly
03-[Heartworm] – Senator Kennedy & Acid Trip In Chicago (Cut)
04-[Heartworm] – Break
05-[Heartworm] – Cold Morning
06-[Heartworm] – Epic Death
The skillful composer Marco Lucchi reafirm his talent once again with this lovely music album presented to us under the name Se da lontano. His particular atmospheric sound have the right balance between the classic and vanguard worlds.
Music by Marco Lucchi except for “Psiche Abbandonata”, music by Matteo Marchisano-Adamo and Paulo Chagas, recomposed by Marco Lucchi.
Marco Lucchi – piano, mellotron, synth and tools with Paulo Chagas – oboe and Matteo Marchisano-Adamo – piano, in “Psiche Abbandonata”.
Amálgama is: The mixture of different elements as a whole.
A chemistry between Mercury and Silver. Mercury is also the messenger of the gods (Greek mythology), fluid metal known as “prata-viva”.
Literally and peculiarly, Amálgama has the same meaning and basically the same spelling in a broad universe of languages, making it understandable for everyone.
In this album, refers to any influence that experiences (many of them unrelated to music itself) bring to the composition, such as family, places, everyday people , ethnic roots, common aspirations, everyday …
Amálgama is the willingness to talk about the world as living experiences.
The inspiration at the most unpretentious moments, which this album rescues, is the main compositions of the singjay Laylah along her way in Reggae Sound System culture, which began around 2005.
Amálgama is a fusion between music and truth.
“this this” is an extraordinary collection of sounds made with a Raspberry Pi (the credit card sized bit of circuitry which is used to teach kids about coding). Maguire manages to create a world of microscopic sounds, clicks, whirrs and fields of electrical noise that are compellingly alien, and yet capture something of the excitement of those early forays into “glitch” music of the mid ’90s. It’s a whole new delicate beauty..
Solaris was formed by Mark Sanderson, Richard Sanderson and Mark Spybey as young krautrock fans in Teesside in 1974, when they were aged 12 and 13. As the members grew up through post-punk, electronic music and free improv they have remained friends and still occasionally record together. These sessions were produced by Mark Spybey in Northumberland in 2010 and 2012 during the Summer holidays, and although the musicians have matured in the intervening decades, the influences of those original favourites (particularly the improvisational alchemy of Can and the cut-ups and aggression of Faust) are still audible.
Linear Obsessional is delighted to present their debut album- some 42 years after forming!
Protrusion is an epic and dreamy release, but boiling emotions will not let you dream about nice and positive things. As the artist himself describes: “suddenly all things that were piling up for years collapse into a destructive and painful fury against yourself, killing all emotions and resentments.” Every track of this album seems to be a separate journey, but all of them are connected by similar mood. “The defying of reality, absolute corruption of worldview”. But no one is crying in this album. It is more like a triumph of a narcissist against a wish to hide in the corner and cry.
A new guest artist arrives on Kahvi this time. Faastwalker sent over a demo which immediately caught my attention with it’s deep analogue warmth, heavily inspired by classic analogue retro sounds.
Hailing from Australia, but originally from the UK, Faastwalker uses influences from both continents which becomes apparent as you listen. Minimal electronica from Australia, and classic early 90s techno and ambient from the UK (with some elements of Boards of Canada mixed in for good measure).
Tracks of choice: Plonk Unit (amazing BOC warmth in this short track), Surveying the surface (that classic techno vibe).
Lil’ Stewy gives insight into a romantic encouter with “Last Night”. Based in Knysna, Western Cape, Stewy returns with his second label single following “Break Free” his record-breaking debut release.
With an upbeat RnB twist, Stewy uses 808s to verbalise mental scenes of a sultry and sensual encounter. His signature singing-and-rapping combination offers an unflitered journey into his artistic nature.
In comparison to previous Shaloma works, Last Night offers a unique up-tempo and commercial sound from the Cape Town-based South African netlabel.
Matt Turner – cello
Hal Rammel – amplified palettes
Recorded by Hal Rammel, December 2015.
Mastered by Alex Inglizian at the Experimental Sound Studio, Chicago, IL.
The title of this disc and track titles are drawn from the writings of American journalist and amateur ethnographer Lafcadio Hearn (1850-1904); in particular, his novel Chita: A Memory of Last Island (1889) and the travel diary Two Years in the French West Indies (1890)
“Sinfonía para un hombre solo… en su casa” (Symphony for a man alone… in his home), a piece composed in the second half of 2015 based on recordings made in the parks of the neighborhood of “Conquistadores” in the city of Medellin, in apartment 203 of the building “Los Vikingos” in the same neighborhood, and on the day of San Jose in the year 2013 or 2014 in the district of Santa Elena on the outskirts of Medellin. This piece is a tribute to Pierre Schaeffer and Pierre Henry, dedicated to María Juliana and our new home; to Peluza, Azuka, and Mizu and their new parks, and to the men alone in their houses full of possibly expressive sounds.
José Gallardo A.
(Medellín, Colombia, Junio / June 2016)
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.
Plasman 51 searches for new forms of expression to communicate with extraterrestrial worlds. Long sessions with synthesizers made of endless arpeggios drive the listener toward distant horizons, where forms become blurry shapes, memory fades away leaving space to cosmic contemplation.
The release is collection of impro material recorded in 2015/2016. Gears used: Roland mks50, Roland sh101, Oberheim matrix1000, Novation nova, Gotarmann’s demoon, Dave Smith’s mopho, MAM map1, Roland analog echo, Electrix filterfactory.
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.
Russian Canon is the first CD of the Moscow based Fake Cats Project. The title certainly doesn’t mean our seventeen pieces form the Russian Canon, rather we are in search of it.
We try to avoid Russian cliches, but sometimes play with them. There are no folk songs accompanied by bayan (the Russian Accordion) though you will hear Kiriill Makushin playing bayan. We don’t play typical Russian rock, though Alexey Borisov is a luminary of Russian rock himself, of the bands Nochnoi Prospect and Tsentr. This is not an album of the Russian intelligentsia, singing their sad, simple songs around the kitchen table, though some fragments were recorded by Igor Levshin in Alexey’s kitchen.
Our Russian Canon is not confined to national culture: we use the Turkish saz and Latin percussion. Our electric guitars certainly do not originate from Russia, and Konstantin Sukhan’s trumpet is more akin to Free Jazz rather than any Russian tradition.
Any overlaps with industrial music or krautrock are sometimes coincidental and sometimes deliberate. Since there is a Russian tradition of fierce speculation on philosophy or revolution at the kitchen table, we use for our sound not cast iron rails, but a buffet filled with utensils, bottles, glasses and a trash bin. We’ve also added the creaks of rusty swings, screams, laughter and the songs of ordinary people in the Moscow streets. We include both the sane and insane, because no Russian Canon can go without a touch of insanity.
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