When it comes to fat beats designed to drive a dancefloor nuts, Lampés music is what you are looking for. A thrilling bass pumping straight into your guts, accompanied by well-crafted sounds to cheer to, this EP fits well into the selection of any DJ willing to set a crowd on fire.
The Crystal Cave EP features three brand new tracks by this artist from Hamburg, whose output is difficult to pinpoint. Lampé manages to create a perfect blend from Techhouse and Trance, spiced up with UK House and electro elements difficult to resist.
The EP is completed with a sensational remix of Alic’s “The Host”, masterminds of the Digital Diamonds label, transforming their track into an unstoppable rollercoaster.
Max Bober is a musician born in the windy south of Argentina, near Atlantic ocean and the Andes mountains. He studied violin, composition, philosophy and other interesting things in Buenos Aires. He is interested in experimenting with the ideas of silence, space, and resonance. Since 2017 he is living, studying and composing in Warsaw, Poland. When he is not thinking about music, or writing, or working, he likes to walk near the river and drink wine watching to the sunset.
Another set of post-everything impressive expressions in rock and roll vein for voice, casio keyboards, electron guitar, fuckton of pedals, choirs, samples. Dubbed by the artist, “psychedelic chaos-pop”
The second volume of collected early works spans the years 1994 to 2001, when I was twenty-three to thirty years old.
Most of these pieces are either unreleased or have been out of print for decades.
Some of my more drone-based work from this early period has ended up on this volume of work.Free to download for those who can’t afford it, or pay something if you can afford it and want to support what I do.
Dominic Razlaff (aka DR) is an ambient musician from Braunschweig, Germany. Interested in making music since 2007 he bought his first synthesizer (Novation Xio) in 2009. Currently he uses classic subtractive synthesis, granular synthesis, field recordings and tape loops to create evolving, melancholy ambient/drone soundscapes.
“After 2 years since the award-winning debut album “Todo no es Todo”, the audio-visual collective C/VVV is once again
sending out signals with this EP called “Miniatura + remixes”, as a preview of a future album in constant evolution.The group recorded this track at the end of 2016 in a session entirely improvised and characterized by friendly musical
dialogue between its founders Mika Martini and Pablo Flores, before the latter moved to Rome, Italy. Later, that recording
was complemented by the sonic input of the person writing this review (Francisco Pinto), with contributions to this new
exploration that follow emotional and playful pathways.
The mission in this project is simple and without much pretense. This adventure combines different sounds and small details
built with almost 100% analog technology, featuring sound miniatures and dancing timbres that together reveal nostalgic
landscapes through a contemporary interpretive perspective. The auditory encounter nourishes the ears with these
micro-sounds, synthetic textures, while, at the same time, permeating the contemplative state of its creators in those
sessions produced previously.
Distinct authors from the national electronic scene construct / deconstruct this new work, with their distinct perspectives
and remix contributions: “Unknown Dancer” with a random re-mixing of the same ingredients that reveals surprising results;
René Roco adding mystery, surrealism and complexity to his version; “co-dec” moving towards the most rhythmic approach,
providing new synthetic sounds but without losing the details; and ending with “android” with a very successful, danceable and
elegant transformation of this miniature. Finally, we cannot fail to mention the contribution of Iñaki Muñoz for the cover of the
EP, who always surprises us with the expressive power of his visuals in the concerts of C/VVV.
We continue to prepare ourselves for a new adventure in a random universe, which inspires us from time to time, bringing us
together and surprising us, even in spite of the distances.
Wish us good luck and good harvest.”
(Santiago, Chile. Mayo / May, 2018)
TERR104: The drums-and-bass duo Giant Gutter From Outer Space are back here to tell what’s what with a 6-track ball of fire inspired by suppressed traumas of those affected by the authoritarianism and brutalities committed by the Brazilian State – particularly in the 60’s-80’s.
Recorded in late 2017, the duo broaden their pioneering sound with bits from modular synthesizer territory, courtesy of Curitiba black metal artist Nahtaivel. “Charred Memories” is presented on Terranean Recordings with an exclusive battered mix and graphic design by Luke Lund.
This is a co-release between Sinewave, HNM and MuteAnt Sounds. The original mix is available from them.
Celebrating our 20th release, we are proud to present this small masterpiece, the dirty and experimental “BAIXA QUALIDADE V. 2” (translating to Low Quality v. 2) from eletronic and hip-hop producer _isca_ ;
The project plays as a sonic fusion, throwing in vaporwave, chiptune, boom-bap – all with their respective distortions and deconstructions with amazing rhythmic quality.
An alien album, with features heche, fox, mestre chapeleiro and willy black — “Baixa Qualidade v. 2” defies the idea of a beat tape, playing with its clichés and resignifying them, with an unique personality and identity that brings us to the most different moments in the producer’s life, from his childhood to his adultship..
Turning Torso is an experimental producer from Mexico City who introduces a new rhythmic embodiment for the dancefloor of the future in his upcoming EP for xenonyms entitled “Never-ending Prototype”.
The 5-track release explores different hybrid atmospheric poles ruled by a palette of sequenced electrified textures and colliding pads that swarm with panned distortion. While some imaginary soundscapes might resemble freeform jazz with machines, the polyrhythmic structure of this techno-induced hypnotism provoke a corporal response suitable for club explorations.
A consistent feeling of ascension remains in the digital feedback and resonating shocks of subsonic frequencies without losing the oneiric and introspective qualities of Turning Torso’s singular approach to slow change & iterative music.
>From headphones to powerful sound systems, the active listening of this creative output reveal unexpected and transformative sound experiences of hedonism and liberation.
This EP marks a departure from the “usual” bolus sound of cavernous soundscapes and atmospheres to a more rhythmic structure, incorporating elements of the former. This style harks back to the previously released “beacon” EP – electronic percussion and granular synthesis – this direction was in the artist’s mind for a while. Playing with virtual modular synthesis of late (Solorack by Solostuff, VCV rack) and these patches have formed the backbone upon which the tracks of “confirm humanity” were created.
The music of oculoss is mainly of an atmospheric nature. Sometimes less is more, making his music ideal for listening while working, sleeping or doing other things.
In “Parallel Path” oculoss explores texture, consistency, and a type of variety that could be called subtle. This is not the utopian ambient of the typical soundscape artist. This EP is serious music for serious people.
Dmitry Smaznov: “In general, positive music – acoustic sound with the addition of electrical sound and some use of Gothic and folk motives. Musical instruments can be different. Only the music and the mood that it creates are important”.
La voix est le premier instrument avec lequel Töfie a composé. Sa curiosité la pousse sur la voie de l’instrumentation pour y transposer l’expérience vocale. C’est la naissance du projet Töfie, en 2012. Le logiciel Garage Band est le premier témoin de ses expérimentations pop et électroniques qui donnent lieu à la sortie d’un LP sur le label Linge Records.
Töfie prends un virage en épingle. Son electronica mute en une synth-wave sombre, lourde et blessée par des sons industriels, mais empruntant paradoxalement des formats très pop. Tout un éco-système de sons organiques et telluriques qui se confrontent à des sons digitaux, crus et agressifs, qui rappelleront sans doute ceux de Gary Numan ou Fever Ray.
Des textes en anglais, islandais, allemand et en français accompagnent l’exploration des synthétiseurs et d’enregistrements acoustiques transposés sur les rythmes tranchants, doux et totalement versatiles.
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