released November 30, 2022
Zimní pneu: Jan Vinkler a František Alferi
Nahráno v roce 2021-2022
Mix a master: Zimní pneu
Cover art: Martina Paukertová
Vydalo Polí5 2022
»in einer welt voller alternativem muckefuck zählt es wie nie zuvor, gut angereicherte fürbitten an richtiger stelle zu diffundieren. wissenschaftlich steht eines fest: geist bleibt geil. shalom!« (milli schrapnilli, 2021)
happy new esra studio session 2022
herr penschuck: harmona 27/57, orff-trommel, voice
tanja roolfs & brandstifter (horstundireneschmitt): ruaro nuova 25/8, akkordeon, blockflöte, casio sk-1, toys
recorded at studioSOLVEIGH, oldenburg, january 1st 2022 using a zoom recorder.
no preamps, no sidechaining, no overdubs, no drugs, no mimimi.
text based on: »kleine betriebswirtschafts- und bürokunde« 1957;
lentil soup and neejahrskoken by dÄnny jäger & rose marie brüning
schirmherrschaft: matthias schuster, hamburg MOAH (mother of all harmonists)
Design by [FEINDESIGN]
Type: Citizen, Berthold Akzidenz,
Illustration/Photography dan penschuck
Stripped back techno tooling meets groovy 90s influences , the 88756 project returns with the third edition of TOOLKIT. Rebelling once again, these outputs are torn between what was instructed, and what was explicated.
Innate Interpolation stays true to the name; it is in essence, a human litmus test. Since we tend to project own sense of humanity when faced with ambiguity, we each have different interpretations of the vocal sample at the centre of this piece. On the other hand, In My Mind is a clear dance-floor weapon, laden with wonky percussion and a healthy dosing of raw samples. Both pieces are provided with two versions: a functional, DJ friendly edit and a groovy take on current contemporary trends.
Closing out the release is Live From 95, a symphony of hardware style sampling and a fast paced rolling groove. We note that earlier outputs of this track were sonically anomalous, and have been pulled back to mortal levels.
As always, these mechanical outputs are free to download from Bandcamp. Your support keeps us safe, and additional commentary is always appreciated.
released December 9, 2022
– Production, Mastering, Artwork 88756.
– Mastered in the studios of Mechanical Soul, Fitzroy (mechanicalsoul.com.au).
– Inner artwork pieces by Stable Diffusion AI (stablediffusionweb.com).
– Music videos produced with Quadbike (quadbike.app).
Tim Susa’s sound on his recent album is as personal as its title, which marks the year of Tim Susa’s birth. His debut album 1982 seem to be no less than a monument, dedicated to his very personal journey through techno history. It is unmistakable that Tim’s heart beats especially for the heyday of dark shuffled techno throughout the 90s. Produced on a mix of analog and digital devices, the tracks revel in the sound of dancefloor legends like Dave Clarke, whose Red series seems to reminisce more than once on the album, Luke Slater or Gez Varley. The latter’s minimalist proto-anthem „Quo Vadis“ seems to resonate again and again, too. Like Tim, the tracks seem to feel most at home on dark, foggy and strobe lighted dancefloors. Moments of deepness keep popping up though, as tracks like “A Feather” show, that reach already out into the current millennium. In a similar vein, the wonderfully industrial-tinged electro beats of „Leaf Blower“ spread a lot of industrial dancefloor confusion without having to resort to a straight bass drum. In between retrofuturism, history lessons and techno old school, 1982 always manages to simultaneously look ahead and make you want to go back in time.
Release-Date: 23.Juni 2022
Content Warning for the album – in our songs we talk about sexual assault, misogyny, police abuse, animal exploitation, the prison system, and state repression as consequences of living under capitalism and patriarchy. Its important to discuss and open up space for these topics so that we can fight domination and hieriarchies, but this takes a lot of strength when we are surrounded by the reality of this brutal system and sometimes those reminders are too strong and triggering even in the things that we love. so we hope that by giving some content warnings (some songs have a bigger one than others) that everyone can make their own decisions about what to be confronted by.
After some times of playing music on the street together, and writing songs, this album and band was given life.
We feel that we life in a very absurd time, where alot of things are changing. We want to create more of a politcal presence within the punk and radical scene, and create a space for female associated people, queer and trans folk to play music, join campaigns, do direct actions and feel empowered. Patriarchy is alive and kicking, even within our radical movements and we feel that this has to be confronted.
We feel our music should be free to download for everyone, that is why our bandcamp says, name your price. But ofcourse, touring and making cds costs some money sometimes, so if you feel like supporting us in that way (if you can) then thats cool!
Released December 14, 2015
enregistré sur ordinateur avec les logiciels open source LMMS et AUDACITY, masterisé avec un preset par Denis Robert, les photo pour la pochette ont été prises par Julien Courbe, les dessins et le montage sont de David Snug
released November 10, 2022
Trotski Nautique c’est Alda lamieva aux claviers, à la programmation et au chant et David Snug aux claviers, à la programmation et au chant
un disque kif kif bourecords
plus d’infos sur google, merci à l’organisation
Wenn man ständig betonen muss, wie sehr „punk’s not dead“ ist, muss Punk ja zumindest im Sterben liegen. Kein Wunder, ist ja auch echt alt mittlerweile. Und wie lange kann man einfach genau so weitermachen, bis man selbst zur Spießer*in wird?
Dafür dass dieses Release nicht mal 30 Minuten geht, ist es erstaunlich vielseitig. Wir haben lange Gespräche geführt und viel herumprobiert, um uns endlich wieder ein bisschen neu erfinden zu können. Wir haben tatsächlich einige Dinge gefunden, die wir noch nie ausprobiert haben. Immerhin, Stillstand ist Tod, und die Rebellion frisst ihre Kinder.
Ob wir es schaffen, nicht wie WIZO zu werden – wir werden sehen. Für jetzt leben wir im Moment. Resignation ist ja auch nicht die Antwort.
released October 17, 2022
Wenn es euch nicht gefällt, verändert es einfach, bis es euch gefällt: weil Kunst frei, für alle verfügbar, und veränderbar sein sollte, gibt es dieses Album inklusive der Lyrics unter einer Creative-Commons-Lizenz (CC BY 4.0). Inklusive der grandiosen Cover Art von Adena Sead und Dall-E.
“Black E.T.” is a sonic homage to the 1984 American sci-fi film “The Brother From Another Planet”, directed by John Sayles and now a cult classic.
Maquinistas have condensed and contemporised the original score and incorporated dialogue from key scenes. The album, comprised of 12 short tracks, some less than a minute long, retains the feeling of a sound track and is best listened to in its entirety. The music reflects the solidarity and empathy shown towards the film’s subject, the Alien Brother who has found himself dislocated in Harlem. At the same time, there is a focussed militancy. Prolific producers Cinturón Negro and Polar are the masters of sampling and editing with an uncanny ability to loop ambient and atmospheric sound to expose its musicality. They fearlessly push the outer limits of instrumental Hip Hop towards a fresh interpretation of “music concrète”. This is best demonstrated when the space-warped abstraction of “Language Code” gives way to the rhythmic weight of “Sex Between Interspecies”. The steel pan motif heard here, lifted from the film’s original theme, is shared with the monster dub groove of the opening track “The Arrival”. The twisted, off-grid syncopation of “Everybody Needs Tools” reiterates Maquinistas Hip Hop credentials. This is a compact and compelling release for lovers of leftfield rhythm and sound and its ability to illustrate narratives.
Aniruddha Das aka Dr. Das
Asian Dub Foundation bassist.
(London, UK. September 2022)
Slapstick, spectacle, riot, downhill, electro-bruzze, party, always firmly on. That’s how we imagine the Johnnyverse, to which For Example John invites us here. A classic second album, more of everything we love, one step further, everything a bit bigger and wilder, the next level. That’s the way we want it. All our expectations are satisfied. Hell Yeah.
And yet, and yet, and yet…
Every now and then, lines of lyrics stick in our ears for days. “Everything that bothers us now, has to be destroyed long ago”. Our speech, already for years, funny that still nothing has changed. It’s because of “the capital”, of course. And maybe also because of the “bread and games” for which we are always too happy to drive our dreams against the wall. Anyway. “Look at my super flat screen”. None of this bothers us, because we are, after all, the “generation with the retro shoes”. And we hope that this can help us further.” It’s all not so dramatic, we know where the ball is in our court. Even if we have long since lost the laughter of our childhood. And at some point, saving the world will somehow work out. Until then: Party on, party hard.
In this sense: Welcome to the Johnnyverse.
P.S.
I love you.
P.P.S.
But sometimes you stink.
The Feminalz present the third part of the Technoburlesque: the subversive electrocabaret with elements of ex-Yugoslav pop culture and playful queer feminist humor. The door to the disco club, to the new eighties and the old noughties, to modern trap and contemporary schlagers is wide open again. The songs are based on individual acts from the performance Image Snatchers, produced by Institute Emanat, which has been running since April 2013 and has been performed over 60 times. Image Snatchers are a proof that a performative variety show that is responsive to the trends, resistant to social norms and cynical towards normality is a form of social commentary that is very much alive. And so for the third time we have decided that the show deserves a repeatable consumer product.
The adaptations, remixes and the original club music for Image Snatchers show are developed by Luka Prinčič (ex-Nova deViator, Deviant Funk …) together with new and regular members of The Image Snatchers: DeeDeeVoid, Musée-Cunt, GlitterAid and, as songwriter, Gospod Magdalenca. The reshuffled team of The Feminalz present themselves with five new tracks and deliver what they are best at, a mix of instrumental club hits and verbose, text-based songs, which function both as performance acts and as repeatable recordings. The subversive note of the album becomes obvious through a juxtaposition: the remakes of the disco hits “I’m Every Woman” by Chaka Khan and “So Many Men So Little Time” by Miquel Brown become farsical if set beside GlitterAid’s trap song “Gucci gučí” and parodical when set beside the electro theme of “Neodvisne ženske Pt.1” (Independent Women Part I). The third musical portrait of Image Snatchers is rounded off by the remake of the Yugoslav schlager song “Nogometna utakmica” (Football match) by Beti Jurković.
mirror.dotplex.de/tonatom/media/142/mp3/tonAtom.142_Sternenspringer_Antipode_09_Spurlos%20Leicht.mp3
Today, we’re thrilled to finally bring you “>…checking system… disruption detected…”, the fantastic new album by Louis Lingg and the Bombs! An album packed with catchy hooks and massive punk tunes. LLATB have always found a way to bridge the punk spirit and sound with a pop appeal and this album is no different. Anarcho-Pop has never been better! The stress of the past year and a half with its shutdowns and political divisiveness brought out a fire in the band that resulted in them firing on all cylinders. Tune after tune grabs you and refuses to let go! After teasing you with the 3 singles we’ve released so far, we’re psyched that you finally get to hear the whole album! Oh… and be sure to check out the album on streaming/digital outlets like Spotify and Apple Music for a great cover of Charli XCX’s “Break The Rules”. Anyway… we hope you enjoy the album as much as we have been. If you do, spread the word!
Yo… Louis Lingg and the Bombs… WOW! What an incredible piece of work! Thanks for making your first album for blocSonic such a masterpiece! Many, many thanks also goes out to Stranger Wolf for the album and single art! It’s fun to be able to present all the releases in such a cohesive visual identity.
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!
“I’ve let this sink in for several weeks, and I’m glad I did. One road-trip up the Central Coast, several commutes to and from work, a recent 5-hr flight from the West and East coasts, and sporadic listenings when the time was just right—and one thing is certain: 4T Thieves’ (aka Kahvi head hauntologist) gives a nod to the Sandison and Eoin brothers in a very complimentary way. Taking cues from genuine feel-good and sun-soaked downbeat electronica strains (ie. “Orange Sunshine) to heavy bass acrobatics like the fantastic “Aquaverde”—Hauntology is an intense sonic smorgasbord.
From synthesizer squiggles featured on “Tessellations (The Synth)” to the magnetic ambient drifts and nostalgic flute sounds of “Daytime Astronomy,” each track is carefully woven to reveal its hidden melodic moments. Bells and slight whistles, eroded drums, and Cub Scout lessons about what to do in case of the Atom Bomb (ie. “Past Inside The Present”) are downbeat perfection. Tracks like “Still Life” crumple, decompose, and utterly engage the listener with memories recovered from yesteryear—meant to be played in a continuous loop, it doesn’t lose its emotional spark and fragile texture. Sculptures of sound like “Echo Lake” present stripped down (Deru-styled) hip-hop in the most tranquilized vein, ultimately tapering away as the sun begins to set on the horizon. The aptly titled “Painting With Light” sets out to explore atmospheric pressure as it connects minimal soundscapes and effervescent drones along the way. The aura surrounding “Lost Futures” is simply mind expanding—its minuscule melodies ebb and flow while a hypnotic 4/4 beat pushes forward. There are many crevasses to fall into, especially on the kaleidoscopic rhythm of “Summer Breeze and Autumn Leaves” (see video premiere)—4T Thieves once again masterfully ages this track with a subliminally vintage groove.
Hauntology raises the bar for BoC-inspired tunes, exploring atomic Weaponeering, and takes us out of the realm of kilotons into the fantastic world of megatons with ease and control. Ranked high in our Best Of 2019 list, Hauntology is aged to sonic perfection.” –Igloo Magazine
Der Titel des Albums dient als Hinweis auf die stilistische Entwicklung der Johns. Wilderten sie früher noch allzu gerne in Punkrock-Gefilden, so wetzen sie sich heute lieber die Hörner am weit gefassten Pop-Entwurf ab. (Ach ja die Hörner. Die sind nicht umsonst in Kombination mit der Discokugel in das Bandlogo eingeflossen. Und klingen sie nicht einfach wunderbar im Opener, dem „For Example John Song Song“?)
Wie dem auch sei. Über die Jahre haben sich allerlei Perlen angesammelt und nebeneinander aufgereiht. Hier findet das Agitative, das Sonderbare, aber auch das Alltägliche nebeneinander seinen Platz. Mal englisch, mal deutsch im besten DAF-Jargon, mal skurril, mal nachdenklich, mal romantisch und mal ernüchtert. Da ist Schlager, da ist Country, da ist Eurodance und da ist vor Allem charmanter Trash auf poliertem Parkett.
Ist das nun schon überspitzter Eklektizismus?
