εκεί was the first album of yosoyunotrotú
Recorded in Poland and Mexico, September 2010 to April 2011
Originally published by circlesandlines recordings on May 23, 2011
All music by
Krzysztof Polaczenko (guitar, flute, trumpet, voice, piano, electronics)
Quetzal Contla (synths, piano, glitchs, electronics)
Review: Emmerichk is a long-standing mexican producer in the electronic music scene who gives now six dub techno tracks in its purest essence. His proposal is more in the intimate side and it is characterized by micro-nosey and glitch. The quest for atmospheres that is proposed here delivers duality between oneiric and the real, lifting us up to a spacial drift trip and great contemplation.
An album to enjoy in its entirety with very interesting textures and deep inwardness.
André Baradit, Valparaíso, 2019.
DR (Dominic Razlaff), born 1982, is a sound artist from Lower Saxony, Germany.
He usually plays synthesizers, acoustic instruments (Ukulele & Cavaquinho) and he uses field recordings, tape loops & granular synthesis for composing slow ambient and drone soundscapes.
Over the years (he has a long discography) he developed his poetics focusing on an open approach and on a precise choice of making beatless music.
This is his second appear on IYE label after Nina Sergejewna. This time is more focues on long patterns of deep ambient vaves.
Nox is a techno producer from Germany, his live act has an individual, innovative sound stuffed with shuffled grooves and freaky synthlines.
for more information about releases and other stuff visit the homebase: nox.schmob.de
Before Black and White is a song exclusively written for drumset, which definitely provoke usual listening habits kindly. His percussion instrument becomes a storyteller. No longer convinient drumbeat, but sounding drums. Dave causes the drumheads to oscillate, so that you inevitably start to pause and pay attention.
The inspiration for single spawns from the thought, that black and white photography was the first real step in the direction of mass documentation of humans to where we have gone to today and reminds one that those things that we hold so dear are not permanent. Like us. Humans focused more on life and living it back then and less on documenting it like we constantly do today.
For its 42nd release, Da ! Heard It Records is casually sending you to the skies. All of the dials are panicking, but it’s already too late; the long journey has already started for the occupant of the small bed with the white sheets featured on Elodie Moreau’s painting.
An imperceptible fluid is evaporating above his body, turning on itself, levitating softly in the sanitized-walled room.
The physical world erases itself little by little to reveal another, simpler one: From a water drop, a river of sounds forms itself, and the cricket’s beeps replace those of the machines. We progressively slide into this thickening current, wrapping the mind until it becomes a buzzing drone.
Here, Hubert Monroy and Nico Gitto imagine two long pieces that alternate between contemplative atmospheres and noisy fly aways. And on his bed, the listener awakens then, slightly more alive…
Simple Appareil, Da ! Heard It Record’s 42th release, is distributed under a Creative Commons BY-NC-ND. The album can be listened to and downloaded freely at the following link: https://www.daheardit-records.net/en/discography/42
For its 41st release, Da ! Heard It Records is receiving a weak signal…
Everything starts with a faraway sound, a buzzing growing more and more present. A light pulse then discretely joins in with a wave that intensifies little by little. The radars turn to find where it’s originating from. The matter gets bigger and announced a compact sonorous mass. A slow, crushed rhythm settles in and supports this mysterious form. In stationary flight for a part of the album, the strange apparatus gives sort of the impression that it is scanning a presence, passing through the listener, frozen in this obscure sci-fi décor. Coded messages, percussive morse code, LFOs of all kinds, and sonic twitches still attempt a first contact, as if it were trying to coldly grasp the substance of our world. From one speaker to the next, the chirpings interact while in the background, a purring wanders now and then in the landscape, fragmented by the flow’s power.
So listen to this tape whose handmade wrapping with technological titles invites us to take it all with a sense of humor. Onboard the engine where rhythm boxes and machines of all sorts sweep through space without ever landing, a facetious parisian duo turns the knobs of a complex dashboard…
Right now, you’re wandering distractly through this album, thinking that perhaps you haven’t understood a word of this text. You’re just passing (through) À Travers.
Poborsk makes his Crazy-Language debut with a very special sensory release for us the listeners and to the producer himself. These seven crisp constantly shifting artefacts are the result of a multitude of live tracks, reworked here for cozy home listening, from when the producer opened a gig in Lyon for the legendary Autechre. The giddy excitement is palpable on the craftsmanship present on each song, not only recollecting the Manchester based duo’s latest atonal journeys but with the rhythmic balance and jiggly synth work, trademark of Poborsk’s varied discography. It’s hard not to get up and start contorting your body onto odd angles with bangers such as Docteur Flanger or Collapse.
As is tradition with Crazy-Language’s latest outputs, this release contains 3 very methodical video pieces that seem to clash perfectly with the pristine nature of the audio journey. These glitched, heavily erratic pieces are the contrast needed to bring everything full circle. Or in Poborsk’s case full Euclidean. (FG)
elAstrum could be called the ‘new Kenny Beltrey’ with his upbeat tracks, full of disco vibes and lighthearted melodies.
This eleven track album brings summer to a high powered and enjoyable close, following elAstrum on his typical summer break.
credits
released September 25, 2019
j/j is a sound work developed by Sydney based artist Jeremy Hegge from a series of materials collected in different natural areas of Queensland, Australia. All tracks – based on field recordings – are site-specific works related with the concept of meditative listening within ecologically complex places, where it’s possible to hear fleeting traces of human activity in a fully nature-dominated soundscape.
The author lead the audience to immerse in a really rich sonic universe through eleven high quality recording pieces, in which the reconstruction of the space and the atmosphere of the sites is totally impressive. All the elements in this caleidoscopic and magnetic sonic milieu are vivid, intense and demanding, challenging the listeners to reflect upon the way we all relate with natural environments through our senses, in an time when the relationship with landscape, soundscape and territory is deeply and dramatically changing.
Notes from the artist after 2 months apart my partner and i met in queensland and travelled into the outback.
april/may, 2019
ps. much gratitude to nancy (the witch) kenway for lending us her precious honda crv
GAAR picks up the skeleton of the Nuer’s previous EP and adds a more vigorous rhythmical structure and textures, creating a sonic hybrid torn between punk and techno.
Noise. Distorsions. Chants.
freaky techno from leipzig! welcome mülli on schmob!
|01|| mülli – der gerät
|02|| mülli – struggle
|03|| mülli – vitalis roasted
