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
NNYz? returns to Kahvi with the last in his trilogy of EPs featuring highly detailed textures with glitchy beats, field recordings and IDM arps combined into simply named but exotic sounding tracks.
credits
released September 9, 2019
Cover image by Lisa Ghosn
Track 4 contains vocal samples from Sarah Hutchinson
This EP is a true child of Dubophonic Records. Both artists released earlier this year their own musical works on the label: SistaSara’s Space Stepper and Dub Cmd’s Moonsteppa. The admiration of each other’s music led to their first collaboration … and they are both working on some more tunes, since SistaSara will be giving a word and a voice on some tracks on Dub Cmd’s upcoming album in 2020.
“Show appreciation, let it glow
Daily introspection, let it flow
Light for every nation you will see
Consciousness expanding
Deeper understanding
Let everyone know life is worth so much more
And the blessings can reveal that for sure
May everyone know life is worth so much more
And the blessings can reveal that for sure
Eventually light will shine on again
Humankind rebirth / Soul-search on earth
Let everyone know life is worth so much more
And the blessings can reveal that for sure”
Dub Cmd: Music, mixing & mastering / SistaSara: Lyrics, vocals & remix / DiP SouLion: Artwork
16 instrumental hip-hop tracks produced & mixed by aitänna77 [March / August 2019].
credits
This beat tape contains Rock, Pop, Funk, Soul And Electronic sounds from the Soviet Union.
Bruno Gussoni/Flutes
Adrian Northover/Soprano saxophone
Marcello Magliocchi/Drums
Recorded at Bogliasco-Genova/IT
2019, June 12th
All music by Gussoni/Magliocchi/Northover
Photo & cover design by Adrian Northover
From Igloo Mag:
“Weldroid (aka Tamás Zsiros) returns with Regenerative for Kahvi Collective, and this new album is a multifaceted foray of chilled electronics that spans through ambient, synthesizer, and abstract IDM fissures.
Somehow a bit more tranquil in its approach (Zsiros noted that he “decided for a more performance-oriented approach, putting micro-editing and automation aside—and letting unpredictability and probability-based sequencing rule“) each piece admits a softer side the artists’ immense sound bank.”
Full review: igloomag.com/reviews/weldroid-regenerative-kahvi-collective
The album “Discrete Objects” was conceived whilst observing geometry in nature and trying to make a connection between it, neuroscience and abstract physics theories. This led to the question; could using a series of ‘discrete objects’ intentionally cause a cognitive change in the listener?
To test this idea, a number of processes (discrete objects) were used to enhance the recordings. This envolved the subtle usage of neural oscillators (alpha, beta, delta, gamma and theta waves), isochronic tones, binaural beats, harmonic counterpoint and stereo placement.
The result was a slowly evolving musical body of work in which the listener is gradually coaxed into an altered state, vaguely equivalent to ‘tripping’.
In order to fully take advantage of this album, playback on decent stereo speakers that are optimally placed, or good headphones are recommended. However, Discrete Objects can still be enjoyed from a purely musical aspect without these recommendations.
Since Ölü Körpe was released their ‘Saudade’ music video (bit.ly/SaudadeOluKorpe) in January, I feels it might be similiar with his first album with full of guitar ambient. But, last week, when I was checking my email, suddenly I found that Lutfi-man behind Ölü Körpe- sent me his new album called, Great Migration. There are 5 songs included it. And something fresh from the album is the sounds that he made; Less guitar ambient and more percussive sound.
In ‘Great Migration’, Luthfi had more explore their way and approarch to make a sounds. He literally make a ‘great migration’ of his works; Moved a little bit to the sides from his usual Del Toro-ish (Guillermo, not Benicio) to be manic, awkward, and more anxious with his new approach.
You might want to use good headphones for this 5-songs journey. Luthfi put some interesting movements here and there, so that’s that.
credits
released August 9, 2019
Lately Kind of Yeah – Sturm und Drang (VULP-0146)
Part of the Lately Kind of Yeah archive series.
Sturm und Drang is a greatly improved and expanded Storm and Urge, originally released on Vulpiano back in 2011. Awash with noise but still so sweet, and perhaps one of the warmest, coziest releases LKOY’s discography.
Words from the artist:
“Marking a start to the singer-songwriter transition, I went away from sequencing synths and into learning how to sing. It was ultimately influenced by relationships and usually from the perspective of ‘me to you’, but its turn-around was that I always sang them to myself. Despite drowning most lyrics in delay and noise, it only mattered if I knew what they were. This was my practice of reminders and rewiring.
There’s always been recordings from each cycle that sang and latched onto other people, giving reason into sharing the music at all, but that did eventually mutate why I liked to record. Once anyone else heard my voice, it wasn’t really mine anymore.”
released July 18, 2019
S27-X (I) available here: section27.bandcamp.com/album/s27-x-i
Marking our 10th year of underground electronics, mangling ears and brains since 2009.
Art Direction by Kounterpart.
(Almost) all tracks mastered by the respective artists.
Compiled by S27.
Cat No. [S27-172-2]
released July 18, 2019
S27-X (II) available here: section27.bandcamp.com/album/s27-x-ii
Marking our 10th year of underground electronics, mangling ears and brains since 2009.
Art Direction by Kounterpart.
danielglaser.de
(Almost) all tracks mastered by the respective artists.
Compiled by S27.
Cat No. [S27-172-1]
Netlabel Day 2019
After the success of our previous co-op release last year, here is the latest work from both 4T Thieves and Pandacetamol. Tracks and credits:
Produced by 4T Thieves: Cricket Pit, Standalone Serenity, The Rusty Key, Waldorf Salad Along Here, Find The Shape
Produced by Pandacetamol: Cob Backwards, Industrial Incident, Nordic Harmony, She danced on the sand, Origins
You can expect masterly sounding melodic electronica, sometimes playful and also sometimes referencing old soviet-russian radio sounds or songs, rising to the uber hymn, the “Epic Rise and Fall”, where all the essentials: love, longing and hope come together for the climax in the Now, heading for the tomorrow, binding you with us and all the other listeners through spacetime.
