COLOR SQUAD RECORDS 107/COMP016
Winter comp is there !
Warning – Hot tracks contribute to the global warming, use responsibly.
Much love everyone <3
All rights remain with the individual artists.
credits
released January 1, 2023
It’s been over a decade since heads have been able to enjoy a NEW song by New York City’s Regenerated Headpiece… an independent powerhouse that always delivers a unique and DOPE hip-hop experience. Over the past few years there have been collaborations which were essentially RHP joints, however, today with “Brothers” we have the first in a very long time that is RHP… Phon-X (a.k.a. Headsnack), Shred Lexicon, and DJ Exfyl! Let me tell you that it was most definitely worth the wait with its stellar production, cuts and lyrical content. Oh… and on the flip is a fantastic remix of “Enjoy The Veal”, a joint originally found on Headsnack’s 2018 solo album “Secret Handshake”. Alright, enough from us… download and enjoy.
What… RHP have returned?!? Thank you gents for the fire return! Seriously incredible joints. Keep it coming!
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!
Fortune can refer to riches, or taking chances – and Iritjinga offers both. What will a journey there yield?
Featuring orchestral strings, string quartet, brass, woodwinds, harp, taiko drums, female vocalists, synthesizer, and NASA sound sample.
yes guys ogredung has also an xmas present for you, with a small delay yea but always a present.
as soon as we received this track we literally fell in love with it, intelligent, a little bit melancholy, perfectly fitting with xmas.
exactly as we love.
the main, mellow, soft melodies are dressed with bleeps and click surrounding mech bdrums, into an eternal loop we truly hope will never end.
but it ends, it’s broken, and we cannot help but pressing play on tape again. 
Release Date: 2001/12/27
This is a promotional compilation. The purpose of this project is to promote the existence of newcomers by including only their previously released songs, and to stimulate their activities.
Track Listing:
01. DJメンヘラおばけ – いや、お前のせいだから（笑）
02. DJ KareN – Le7s G0! Sm1le pr3cure!
03. toyod ine – ドーナドーナ – ドーナドーナのうた(ine Remix)
04. IYO – fripside – only my railgun(IYO bootleg)
05. Shuz* – DJ Mashiro Never Dies!
06. DAREKA – CR海物語 (SUPER LUCKYCORE)
07. Alice. – 携帯電話をこわしちゃった～音楽ゲームやりすぎ人～
08. DJ卓を壊したミホノブルボン – Aston Machan – 忘却にて (Bourbon HC bootleg)
09. ４ｍ – カラス(Hardcore bootleg)
10. Kankunoy – ビードロ模様 (Kankunoy bootleg)
11. FFF – Beautiful World(Da Capo Version) FFF Edit
12. nacho – anxiety attack
13. 3zo – Encouragement of Gentle Idolatry
14. melruum – zzz
Curated by Haruo Ishihara
Artwork by tayama
Design by Occupied Territories
A continuing step of “Portal” (pn207), a narrative exercise, a story lacking words, looking for dialogues with what happens in each other’s imagery: delays, limitations, intensities and calm realms. “Tránsitos” is a bridge to somewhere that is also nowhere, a timeless space looking to face Time, the dictates of must, hierarchy and imposition to be broken. Why do we listen to what we like listening to?. What gives value to a record?. Questions. Images. Ideas. A listening moment, a conversation with another being, scattered among the resonances of their own landscape.
Sebastián Herrera
(Santiago, Chile. Diciembre / December 2022)
An album about looking back because looking forward is too confusing in such a weird world. Songs about the strange melancholy of mid-30s contentment, a sadness that is only kept from descending into raw despair by having a partner to stare into the darkness with.
Thank you for sticking around for this one. This is the best I can do.
Dark Age:
After the world didn’t end
We came down out of the woods
and couldn’t remember where we parked the car.
When we got home the house was a mess.
We didn’t exactly think we were coming back.
I checked my Instagram
and you put away the Go Bags that we bought off Amazon.
“I guess I better mow the lawn.”
And will we ever find our places in this fucked up world?
Hold on to me and we’ll feel our way through this dark age.
Breaking Bad:
Should have rode my bike, instead I roll up in a cloud of smoke,
like some old man, but at least I… more
credits
released December 29, 2017
Recording Notes
Recorded at home in the room above the garage on Music St. in Novelty, OH 2015-2017.
This recording is meant to sound like that room, the natural reverb of the wood floors and sloped ceiling. The sounds of the insects at night, the rain, the generators in the nearby allotment after a wind storm. They are all night sounds since this recording was made entirely at night, between 9PM and midnight, a half an hour at a time over 2 years.
Recorded on a 2010 MacBook Pro using the Reaper DAW. Reaper’s EQ plugin was used extensively as was the Ozone mastering suite. No other software or software instruments were used. The songs “19” and “All that hasn’t burned is drowned” were recorded to click tracks (at 100 and 83 BPM, respectively). The other songs were recorded without tempo reference.
Recorded one track at a time with an Apogee Duet (FW) interface and a Rode NT-1000 large diaphragm condenser microphone. Some sounds were routed first through a Tascam M-208 mixer. No other outboard preamps, compressors, etc. were used.
Songs/music by MT. Sommer T sang harmonies.
Instruments used:
Primarily recorded using a 1966 Gibson ES-125t guitar (modded to be left-handed then modded back and refinished natural). Also a 1966 Fender Musicmaster ii (with a bridge pickup added) and a 1959 Silvertone U1 (shark-fin headstock) electric guitar were used. A recent model Taylor acoustic was also used for “Tired of IPAs” and some incidental guitar. A borrowed no-name 12-string electric guitar was used briefly. Bass parts were recorded with a 1978 Fender Precision Bass.
The guitars were mostly played through a 1972 Fender Pro Reverb (pre-master volume, blackface modded). Some sounds were recorded through a 60s Harmony solid state 5w amp, a Roland JC-55 combo, and a Fender Blackface Vibro-champ clone (built by Joe Golden) with 1×12 cabinet (Weber Ceramic Speaker). Bass was recorded direct but it was first run through the preamp of an Ashdown ABM 300 C110 combo.
A Wurlitzer 200a electric piano was used (though it does not do well with the garage’s dirty power and radio interference can be heard when it is used (Cleveland’s Z 107.9)).
A Casio MT-100 keyboard was used for all organ sounds.
A Korg MS-20 Mini synthesizer was used for sub bass and mono synth sounds.
A Korg MS-2000 was used sparsely for synthesizer pad and string sounds.
A ramshackle drumset was used for the small amount of drum recording, consisting of no-name gold sparkle snare, Pearl green sparkle floor tom (formerly used in 6/7), no-name sizzle cymbal and late-50s Slingerland 20” bass drum.
A variety of effects pedals and processors were used for guitars and keyboards, including:
Electro-Harmonix HOG and 2880
Moog MF-101
Strymon El Capistan
Maestro EP-4 Echoplex
Montreal Assembly Count to Five
Digitech PDS 1002
Roland RE-201
And a number of pedals manufactured by my coworkers and I at EarthQuaker Devices, including the Dispatch Master, Pulse Machine, Zap Machine, Avalanche Run, Transmisser, Speaker Cranker, Data Corrupter, and Disaster Transport Jr.
Sounds were also processed using a Panasonic Slimline cassette recorder and 2 home made cassette-based tape delays.
Many songs on the album include samples from previous Talons’ releases, notably:
“Dark Age” contains a sample from “Rowboat” and “Old Kayak” from the “Songs for Boats” 12” vinyl LP (Positive Beat 2012) and “September” from the “First Songs” 5” lathe-cut single (2016).
“Sounds” contains samples from “F the World”, “Rustic Bullshit”, “Conversation with my grandpa…” and “Plants & Animals” from the “Rustic Bullshit” 12” vinyl LP (Bark and Hiss, 2012; Broken Circles, 2016).
“The Plane” contains samples from the “MIDI Pillow (edit)” 8” lathe-cut single (2016).
“Driving home from Shows” contains a sample from the song of the same name, released on a 6” lathe-cut single in 2014.
“5 years ago” contains a sample from “Angela” from “Songs for Babes” 12” vinyl LP (Bark and Hiss, 2008)
“April” contains a sample from “Juice” from the “Songs for Babes” LP
“19” contains a sample from “Natalie” from the “Songs for Babes” LP
“All that hasn’t burned is drowned” contains samples from “The Cleveland Rocks” and “Sailboat” from “Songs for Boats” and a sample from the song of the same name on the “Chicago EPs” CD (Luau, 2016)
“New York Hardcore” contains a sample from “Fools’ Gold” from “Rustic Bullshit.
released December 15, 2022
Anežka Matoušková – zpěv, kytara
Klára Pudláková – kontrabas, zpěv, no-input v písni 8
Natočeno ve studiu ExAvik, natáčel a mixoval Pavel Brom (asistoval Václav Čermák)
Master Přemysl Haas
Cover – Anežka Matoušková, Klára Pudláková (počítačové centrum HAMU)
Poděkování:
Děkujeme za všechny zvraty, smíření a posilující bolesti, k jejichž přijetí nám pomohly tyto písničky.
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
A emissão 103 d’O Colecionador de Sons apresenta pela primeira vez, depois do evento “Dar a Ouvir. Paisagens Sonoras da Cidade”, que entre julho e agosto marcou a programação cultural do Convento São Francisco, em Coimbra, em torno do universo da arte sonora, a 2ª parte da instalação sonora “A Voz do Mundo II”, com curadoria deste Colecionador de Sons, composta por 3 horas de duração com contributos da netlabel portuguesa Green Field Recordings (www.greenfieldrecordings.yolasite.com), da plataforma Audiotalaia, do artista sonoro espanhol Edu Comelles (http://www.audiotalaia.net) e também do mapa sonoro à escala mundial Cities & Memory, da responsabilidade do artista sonoro inglês Stuart Fowkes (https://citiesandmemory.com).
Para esta 3ª parte, apresentamos a composição sonora da responsabilidade de Edu Comelles e a sua Audiotalaia.
Bem-vindos!
Is a release at Christmas a Christmas release?
released December 23, 2022
Composition, production, artwork, label admin – everything: Dental Drill
when i have fears that i may cease to be
released December 21, 2022
As its 10th year draws to a close, Atomnation takes stock of another fine 12 months with the annual various artists’ collection. Alongside existing standout singles, the 13-track compilation includes exclusives from Sky Civilian, Blomelt & Narby, boys be kko and label founder Applescal.
Atomnation continued to offer up its artful mix of synth-heavy house and techno in 2022. While never losing sight of the dance floor, much of its output looks way beyond and into painterly soundscapes, heartfelt emotions and captivating grooves that work as well in more personal and thoughtful settings. Along the way, there were remixes of Coloray’s album, EP’s from Lex Ludlow and NOCUI and an album from Awe Kid as well as fresh new sounds from Applescal.
Plenty of those are included here as well as some exclusive new tracks. One comes from American musician Sky Civilian whose gorgeous lullaby ‘More Than Lonely’ is a single in which many people will find real solace. The label marked its 100th release with an album from new act Blomelt & Narby that fused field recordings, acoustic and electronic sounds into something utterly captivating. Here, the Swiss-Finnish duo offers up ‘Wrong Order At The Breakfast Parlour’ which layers dreamy pads over propulsive and organic breaks.
After his HENSA album on this label in 2021, boys be kko returns with ‘KeQue’, a track taken from the Japan-only OBI STRIP version. It’s a vibrant mix of airy outdoor melodies and shimming chords over deep house grooves. Pascal Terstappen aka Applescal also got back in the studio this year and emerged with a new sound that took his signature melodic style into techno territory. That is showcased here on ‘Lift!’, a deep and heavy roller that slowly but surely comes alive with waves of subtly euphoric chords.
Add in the indie-electronica of David Douglas, cosmic synth patterns from Milio and the beautiful longing of Gidge’s ‘Bleak’, amongst many other captivating tracks, and you have an essential overview of one of electronic music’s most beloved labels.
releases December 30, 2022
[EN]
Aniket feels a deep connection with sounds outside of a clock (an important aspect of his exploration is working with sounds “outside the realm of time”) – both sounds that are already existent in the atmosphere as well as sounds from machines that generate electromagnetic wave forms. He uses these sounds to generate dreams and dream-like memories, to make sense of today’s world shrouded in hyperreality where the lines between the real and illusory are blurred, often through the audio-visual medium itself.
Feels like 43° is a post mortem into this contemporary hyperreal space as well as an instrument of detachment from it in order to galvanize a meditative state of ultimate contemplation.
Aniket’s obsession with going “beyond time” has also invariably drawn him to the impermanent; the ephemeral, and Feels like 43° attempts to delve into a realmless realm of soundscapes with the help of some tapes, synths and field recordings – technological talismans, according to Aniket, which can bring about this meditative state.
[ES]
Aniket siente una profunda conexión con los sonidos fuera de un reloj (un importante aspecto de su exploración es trabajar con sonidos “fuera del reino del tiempo”) – incluyendo tanto sonidos que ya existen en la atmósfera como sonidos de máquinas que generan formas de onda electromagnéticas. Él usa estos sonidos para generar sueños y memorias que parecen sueños, para reflexionar sobre el mundo de hoy en día, rodeado en una hiperrealidad donde los límites entre lo real y lo ilusorio son difusos, habitualmente por los medios audiovisuales.
“Feels like 43°” es un “post-mortem” en este espacio hiperreal contemporáneo, además de ser un instrumento de desapego de eso mismo, con el objetivo de galvanizar un estado meditativo de contemplación última.
La obsesión de Aniket de ir “más allá del tiempo” lo ha llevado directamente hacia lo impermanente; lo efímero, y “Feels Like 43°” intenta ahondar en ese reino sin-reino de paisajes sonoros con la ayuda de cintas, sintetizadores y registros de campo – talismanes tecnológicos, según Aniket, que nos pueden llevar a estados meditativos
TRACKLIST
1 | Exploding the Middle Way
2 | Who Sings the Body Electric
3 | Dew Notes
4 | Nouvelle Throatverb
5 | The Translators Are Gone
6 | No Sleep in Maryville
7 | Have You Seen My Skywalk?
8 | Colombian Psychotic Dog from Northern Pakistan
9 | Byebike
10 | And so Art Is Dead
11 | Nobody Knew What Went Past
12 | Paid Vacation
[EN]
Aniket Dutta is a filmmaker, visual artist and ambient & experimental producer from Kolkata, India. His debut feature film Ghost of the Golden Groves recieved critical acclaim from notable press including Sight&Sound, Senses of Cinema and played at various festivals including Festival du Nouveau Cinema, Montreal where it was nominated for the FIPRESCI award, and won the jury award at CUFF in 2020. He is currently working on his second feature which is an India- UK-Singapore-Thailand production and a video installation project which is a reification of folklore, social amnesia and the current military gaze of the new media.
Aniket’s work is cross-disciplinary – not only does sound form an integral part of his filmmaking and visual art and vice versa, but he cannot really separate one from the other. His umbrella of work embodies the postmodern condition, through an exploration of hyperreality and the new media, albeit through a transcendental approach.
NimChimpsky_ is Aniket’s ambient/experimental sound project
[ES]
Aniket Dutta es cineasta, artista visual y productor experimental y ambient de Kolkata, India. Su película debut “Ghost of the Golden Groves” fue aclamado por la crítica especializada como Sight&Sound, Senses of Cinema; y fue presentada en varios festivales, incluyendo el Festival du Nouveau Conema, Montreal, donde fue nominado al premio FIPRESCI, y ganó un premio del jurado en la CUFF 2020. Actualmente, está trabajando en su segunda película, la cual es una coproducción entre India, UK, Singapur y Tailandia, y un proyecto de video instalación que explora la cosificación del folklore, la amnesia social y el enfoque militar actual de los nuevos medios.
El trabajo de Aniket cruza las disciplinas. No solo el sonido es fundamental para su trabajo como cineasta y artista visual (y viceversa), sino que las considera inseparables entre ellas. Su campo de trabajo encarna la condición posmoderna, a través de una exploración de la hiperrealidad y los nuevos medios, aunque a través de un enfoque trascendental.
Nim Chimpsky_ es el proyecto sonoro ambient/experimental de Aniket.
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Produced by Aniket Dutta aka Nim Chimpsky
Producido por Aniket Dutta aka Nim Chimpsky_
https://www.instagram.com/nim_chimpsky__/
Lanzado el 22 de agosto de 2021
