Kalumet is back! The label veteran brings us his long awaited EP, delivering 3 original tracks and one remix. Each track is a refreshing wave of cutting edge music. The First Wave is tribalistic, the Second Wave is pumping, and the Third Wave is hypnotic. For the final track, the First Wave is waxed and polished for a deluxe retreatment by Immortal Sun. Each wave combines into a swelling sound trip into the deep!
Nenormalizm Recs. – New Year Gifts 2018
Various Artist Music CompilationCatalog ID: [NrM083]
Style: IDM, Uptempo, Braindance, GlitchCompiled and mastered by Ilya Bitekhtin
Art cover and layout by Daniel Glaser
Unlike plants, mushrooms cannot synthesize their own food from the sun’s energy. They lack chlorophyll – the substance which permits plants to use sunlight to form sugars from the water and carbon dioxide in the air. Mushrooms therefore had to develop special methods of living: symbiosis, saprophytism and parasitism.
Most of the mushrooms growing on the forest floor are intimately linked to trees by symbiosis. This association, called mycorrhiza, occurs between the root ends of a tree and the vegetative system of a mushroom. Mycorrhiza benefits both organisms: there is an exchange of nutrients, one providing to other what it cannot synthesize or extract from the soil by itself. In general, the mushroom helps the tree extract minerals and water from the soil; in exchange, the tree supplies the mushroom with sugar compounds (carbohydrates).
Saprophytism is another important living method for mushrooms, especially for species which grow on lawns, on rotting wood or on excrement. Here the mushroom’s role is one of decomposition. It feeds itself by digesting the organic matter and at the same time returns nutrients to the soil.
Finally, some mushrooms are parasites. There are several kinds of parasitism, ranging from the species which attacks a healthy host (tree, plant or insect) and lives on it without killing it, to the kind which attacks only unhealthy hosts, thereby hastening their death. The parasitic species are generally microscopic mushrooms.
Your head-cinema will do the rest if you listen to this EP.
First let yourself go into an atmospheric dystopia, made of organic mutant-house grooves, sick bass-lines, acid-leads and effected sequences.
Then this road-trip soundtrack of independent electronic music builds up upon the wall of sound.It can seriously influence your body chemistry by freak-frequencies.
The results may alter as unusual moments of Contemporary Utopic Listening.
The technoburlesque show Image Snatchers is a series of constantly changing and evolving episodes, now already in its sixth season. It is a modern take on burlesque, packed with witty feminist-inspired campy and queer humour and often critically commenting on the current socio-political landscapes and events both locally and beyond. The numbers enact actual political figures, like Angela Merkel, Melania Trump, and the local culture minister on one hand, or more general but psychologically detailed roles on the other, such as a chauvinist macho, a slow-walking grandma, or an android with a drinking problem. The music is sometimes used as a ready-made and an important reference to specific past era, scene or its vibe. Lip-syncing makes an appearance too and so do electronic bootleg edits or remix tracks. Popular songs are sung live, sometimes with lyrics changed to various degrees, whereas at other times completely original music is made by the collective. Different languages have so far been used – besides Slovenian and English obviously, we had lyrics sung in Portuguese, French, Chinese, Italian, German, and Serbo-Croatian in one way or another.
Out of the three tracks on the so called mainside part of this EP, two of them are rapped in Slovenian. “Vrtnice” (Roses) is a poetic but outspoken take on dismissive attitudes towards artists in contemporary politics and public life in general. It says that artists (“we are the culture squad”) are needed in a society to make everyone feel the life in colours, with a present mind and heart, for “roses” are needed as much as bread. “Dnevnik” (Daily news) features a bunch of performers-turned-MCs, sarcastically and critically touching upon various aspects of daily life: abortion, immigration, consumerism, capitalism, and mental health among others. In the refrain, it features a French-Portuguese performer in the role of an immigrant trying to sing widely known Slovene nursery rhymes while threatening with stereotypical threats attributed to immigrants: stealing jobs, kidnapping wives, and corrupting children.
“Indr0 is the artistic moniker of Carlos Píscopo and it is an experimental music project, with influences from dark ambient, industrial, noise, drone and electronics based in sonic deconstruction and with cultural studies serving as a political and theoretical foundation.
His music is extremely cold, dark, at times suffocating, with care taken in its purely desolate, instrumental aesthetic, populated with climates of rusty, scratchy plains, and full of images.“
Curador del sello Sonido Atmosférico
(Córdoba, Argentina. Julio / July 2018).
For its 36 release, Da Heard It Records floats into the parallel worlds of Bill Vortex.
This album is indeed all about parallels, as it multiplies references to more than thirty years of synthetic and dancing music. In this Vortex Des Réformés (“vortex of the reformed”) are fit together with precision pieces of various geometric shapes, reminiscent of the cassette’s illustration as imagined by Vomplie.
Unlike many albums, the tracks here are not thought of as part of a uniform whole, but rather as a well-constructed journey across eras and styles. Acid house, original electro, African influences, northern skweee, tortured breakbeats, and ambient interludes alternate back and forth between respite and high BPM.
As surprising as it may seem, these contrasted aural territories never give off the impression to have been put together as a compilation. On the contrary, they form together a work that takes the shape of an homage to the musicians who accompanied the sonorous everyday life of Patrice Curtillat throughout all these years.
The result is a musical portrait of which each line resonates like a thoroughly studied influence, and that condenses all of the know-how of its author onto a single magnetic tape. Curious music lovers will certainly take pleasure in unwinding it to retrace in their own way this precious history…
Stylistically, the music on Botox – a debut full length for Warrego Valles – seems to draw influences from a deep underground electronic dance music, but it is based on its contemporary deconstruction, which results in a dark minimalist abstract post-genre electro and glitchy sonic landscapes. The album’s thematic undercurrents tell a story about the present times: ephemerality of all action and destruction of the planet due to climate change and slavery. A grim vision of a world ruled by psychopaths driven by the will to control, greed and domination.
“How else can the drive for immortality be manifest than as an unstoppable exploitation, an endless extraction of resources, a seemingly limitless growth on a finite planet? In a dystopian post-apocalyptic vision called forth into the present in these abstract sounds with words buried in sombre electronic beats and glitches, there’s no sign of mankind after we’ve lost the red sun, our land and sky. We are loosing and destroying our environment. We are fostering more slavery than ever by refusing immigrants, stuffing them in camps and treating them like animals. In these relationships, humanity is lost while feelings of abandonment, defeat and solitude grow within the personal realm.
Underpinning these tracks is a grim vision of the world ruled by psychopaths, driven by a will to overpower and dominate. Only through submission of one’s own body (and mind) will it be possible to find »success«. The greed, the insensitivity, the lust for profit and power, the ability to kneel and to kill.” — extract from liner notes
Only two personel of this band, Jose a.k.a Pepenk dan his wife. the materials ideas are based on his life journey, start from dating until married. even now, they have kids!. Enjoy three disco track from them
The Spacebirds project was born in 2008 in Moscow. The composition of the group is an ironic understanding of synth dance music 1980-1990-ies and, in the first place, from genres such as New Wave, Synthpop, Spacesynth, Disco, Synthdance. Most of the songs Spacebirds recorded using children’s musical instruments (synthesizers Casio SA-21, SA-46, etc.), mobile analog gadgets (Volca Series from Korg) and even software based on Android (Caustic-3, SunVox, etc.). Spacebirds music is upbeat, ironic “toy synthwave / post new-wave” with a strong sci-Fi and space themes and, of course, with nostalgia for 80 years. The project exists as in the format of One-Man-Band and a full lineup of three or four musicians.
Rephazer appeared on Kahvi with a similar styled release previously last year, created on a single instrument but with all the hallmarks of what makes nostalgic idm so great. And he’s back, with what could be a sequel with some new tracks making up a seven track EP.
Shortwave will be familiar to some, after appearing on our Boards of Canada inspired VA last year, but check out Between for one of the most catchy subtle analogue sounds I’ve heard for quite some time.
Born in Sgo del Estero, Argentina, Daniel Abdala is an electronic musician, composer, producer, guitar/bass player, and singer.
Turvia is his main project. It began in 2005, as an industrial-rock oriented band but it evolved forward to become an electronic solo project, with influences of noise, ambient music, synth-pop, experimental and a touch of gothic/esoteric art. His music is trippy, with elements such as mid-tempos, raw landscapes, and twisted voices, but all warped in ethereal melodies.
Some lyrics are in English and other in Spanish. Some tracks have no lyrics and contain only “intentions” or “crucial” words, looking forward to a cryptic although to a concept easy that it is easy to understand.
For its 35th release, Da ! Heard It Records plunges your head into a broth of funk ideas.
A shark fin floats in Wankers United’s polygon soup. Out from the depths, the creature imagined by Elise Kobisch-Miana that illustrates this new album seems to be attracted by the surface after a very long sleep. Truth be told, in this new production, both references and fresh ideas abound.
Great master of skweee in France through his label Mazout, Thomas Lanza has always had a taste for electronic kludges and syncopated rhythms, which were inherited from his hip hop background. After trying his hand at this style on a number of compilations, he released his first album on American label Ausland in 2017 and serves it again with Da ! Heard It Records with a series of pieces as the pièce de résistance.
In the kitchen, one finds with pleasure everything that gives his usual productions their charm, but prepared here with the desire to respect traditions. Immersed in a bath of acid and electro old school, the ingredients of this elaborate recipe will remind sensitive music lovers of the original flavors, somewhere between Cybotron and the beautiful hours of the Warp label. The result, beyond the skweee that he regularly cooks up, rather leans towards a playful IDM that was rid of the superfluous.
Developing the evolution of the sound arrangements with precision throughout the pieces, Thomas leaves no room for chance in his joyous blend, and he demonstrates that, over the course of more than fifteen years, he has acquired solid experience in the field. No stranger to Luke Vibert, whose influence is obvious here, he nevertheless spices up his melodies with a lovely oriental touch and yet shows, if more showing was needed, that life is good in Saint-Ouen.
Ekar is pleased to share this brand new release by Air Protection Office;
A reflection about the concept of limit driven by this electronic sound inspired by the early 2000.
The CD version is also available,following of course the 2000’s style, have a look on the bandcamp!
Nuova apparizione e nuovo artista alle manopole
nelle pagine di EPHEDRINANETLABEL,
da un bellissimo posto che nessuno mai saprà, del pianeta terra,
arriva Mr CRPTC ed il suo mondo
fatto di suoni Techno filtrati tra maglie sonore IDM e richiami oscuri
che sicuramente vi piacerà ascoltare in cuffia mentre nella notte
vi affacciate dalle vostre finestre di casa,
per vedere se qualcuno vi ha seguito!!!!
M.Clike aka CRPTC – Italy.
The first approach to the music is when he starts around 1998 as hip hop dj/producer playing and sampling his personal collection of old and rare records.
Changed radically in 2002 pointing toward the electronic music, starting to mix breakbeat, house and techno.
Today he produces sperimental, ambient and electronic music in general.
CRPTC – Peaks
01_CRPTC – Jumping haze
02_CRPTC – Landscapes textures
03_CRPTC – Don’t Hate Me
04_CRIPTURE (crptc + structure) – Lullaby
M.Clike aka CRPTC – Italia.
Il primo approccio alla musica è quando inizia nel 1998 come dj / producer hip hop, suonando e remixando la sua collezione personale di record vecchi e rari.
È cambiato radicalmente nel 2002, puntando verso la musica elettronica, cominciando a mescolare breakbeat, house e techno.
Oggi produce tracce che spaziano dall’IDM, all’ambient sino ad arrivare nelle galassie più lontane.
Special guest da MILANO Mr STRUCTURE che appare nella quarta traccia con un Lullaby per le vostre notte insonni….
An interesting and slightly different release this time from guest artist Kinza.
Some elements of oldskool 90s techno appear in this quirky but refreshingly interesting 6 track EP, even some kind of avante garde (reminiscent of some John Cage-type) nuances, but they all ‘add up’ into a nice, cohesive track… challenging to begin with, yet drawing you in as they progress.
Track of choice is Here we go again, which starts off in a very oldskool melody kind of way, then moves into small breaks and then ends with a mix of c64 sounding arpeggios and a 4/4. Great stuff!
It’s been a long while since Kahvi went back to it’s roots, and this guest artist defines the sound that made Kahvi originally.
Oldskool tracks brought up to the 21st Century (yes, Kahvi started in the 20th Century!) with the latest synths and sounds, but in a similar style to the old tracker scene that kicked off back in the late 80s.
Yomgaille with his EP Repetition and motion shows there are plenty of diverse textures and themes from those days, but the oldskool vibe is there throughout, giving you a taste of nostalgia if you’re familiar of those bygone days, or a fresh example if you’re a newbie. For this oldskooler, tracks A, B, C bring back that reminder of the good old days in the late 80s when trackers ruled the scene.
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