El Hombre Libre contains parts of the last radio transmission of President Salvador Allende 11/11/73.
Having being familiar with Waiting For Quarters, there was immediate interest in listening to the works that Ambelion had previously released. He sent us two releases: Quasi-Stationary and Past Future. It didn’t take much for us to agree that these works needed to be heard, and Ambelion needs to be appreciated by a more receptive audience.
So, Past Future is the second of these releases. In the future we are working on several more releases from his back catalog, including the potential release of some previously un-released tracks.
Preset loops are used as set parameters with the addition of vocals as a further instrument. These limits and boundaries allow for See Pereria to really experiment with the software to create new sounds. Each track in the song is manipulated and sculpted by being layered, cut up and/or looped. Songs are made with heavy emphasis on synths, beats, repetition and harmonies.
Track listing:
Futura – 4.39
Electron – 3.47
Mountains – 4.41
“An electronic blend of sounds, with bubbled up basslines, funky acid looniness and a sensual voice that sings as if she is one human synthesizer”. (‘Yeah I Know it Sucks’, Oct 2015)
See Pereria has a process led approach to making experimental electronica. Preset loops are used as set parameters with the addition of vocals as a further instrument. These limits and boundaries allow for See Pereria to really experiment with the software to create new sounds. Each track in the song is manipulated and sculpted by being layered, cut up and/or looped. Songs are made with heavy emphasis on synths, beats, harmonies and repetition.
Canciones:
1. Succesfull Failer
2. Falling Up Stairs
3. The Kult
4. Atlas
5. Fake
6. WorKK
7. Drone People
8. Forevers Aloners
9. Loop Trip
Nacido en Madrid (España), Alberto Vázquez, conocido artísticamente bajo el alias de Chuzausen, vive y crece en Vigo desde los 3 años de edad. Lleva realizando desde hace más de 12 años música en trackers (Impulse Tracker, Scream Tracker…). Ha sido integrante del Netlabel Alemán “Rump Funk Records” y del Portugués “Enough Records”. También ha colaborado en directo con el sello Vigues “Parafuso”. También como músico y técnico de sonido en distintos proyectos audiovisuales.
Released on Underpolen Netlabel, home for the raw, weird, homemade lofi treasures.
In a little more than 20 minutes and three tracks they take us on a danceable tour with a clear timbral influence in the rhythmic base of a more “classic” cut, this in the still young universe of electronic music, but to advance the disc leaves everything gradually entering a kind of sound tunnel, with some solid bass lines that seem carried from the underworld, to these they add, in a very subtle way, perplexing “pads” and arpeggios that enrich the harmonic palette, carrying us to risky sound moments, which arrive (commonly) to be distant to the style. And I think that’s what I like about Torque EP: that impression that seems at first like everything will go as it should be, but very subtly, without abusing typical resources such as excessive “reverbs” or “delays”, they go placing you in this sound maze and they leave you without an exit, unless you realize and unless you stop dancing.
Very good disc of Guerra & Rammsy, to go losing yourself dancing, without fear.
Jose Jünemann
(Santiago, Chile. Mayo / May 2016)
A flashback to the 80’s with sounds full of synths, highly sticky melodies like in “Los sueños (the dreams)”, with the collaboration of singer Fakuta, or “Mil Noches” (Thousad Nights), with the participation of Elisita Punto (MKRNI), Javier Barría, Diego Ridolfi and La Entrópica.
Faithfully following the national electro pop scene that characterizes us so much, Francisco Pinto manages to find his space with a sound more envelopving , taking us on this journey that we are looking for so often when playing a disc, tracks like “Time to Time”, “Spring Boy” are examples of this.
As a versatile disc, pop, retro, spaciality, and elegance are all elements that make up the formula which after long years Francisco Pinto utilized in his new work, which will surprise more than a few.”
Fernanda Arrau
DJ, Productora / DJ, Producer.
(Santiago, Chile, Abril / April 2016)
“Nearly eight years have passed since the launch of “Boo Boo“, the previous disc of Francisco Pinto. And though that may not mean much in more purist genres, in electronica and on the dance floor it’s an eternity. In 2008, Pinto fit perfectly with the trend of the time, which was looking with admiration to the time that disco music turned from the orchestras to the synthesizers, without losing the sense of melody, the chorus, and the hooks. On this path singer / composers as diverse as Fakuta and Javier Barría accompanied him.
Jump to 2016 and many of his local colleagues, and those around the world, have drifted away from melodies to emphasize the rhythmic or the atmospheric, through concise and reduced releases, born of the times. Because of this, Retarded, Pinto’s new album, seems a strong declaration of principles. It not only has 14 songs – longer than even many LPs of today, but it also does not move the focus a single millimeter from his need for melodic expression, no matter what happens with the rest.
Still more people accompany him here: in addition to the same Fakuta and Barría, other names appear from the local pop scene like Elisita Punto (the voice of MKRNI), Deplasticoverde and La Entrópica. He accompanies himself, either with his own voice or through a vocoder as well. In sound, the references remain in the period between 1975 and 1985: space disco and synth pop. Music that can function as much on the dance floor as at home, a task that much electronic music not only fails to seek, but which it could hardly achieve.
Retarded is a timeless and effective album.”
Nicolás Castro
Periodista, DJ y Productor / Journalist, DJ & Producer.
(Santiago, Chile, Abril / April 2016)
“Tergiversure”, “Déglutogène”, “Exoplaste”: each track seems to be an attempt at a graft to sustain the life of a microprocessor on its last legs for a just a few moments more. Klaten, a professional 3D infographist, has indeed retained from his practice an extreme attention to detail and a taste for peculiar universes, as evidenced by the disc’s sleeve, signed Elise Kobisch-Miana, a panorama of crystals with shattered perspectives reminiscent of the album’s numerous landforms.
Leading the way with Stipulite, Klaten takes the listener into the winding tunnels of a labyrinthian cave where bouncing rhythms sometimes trigger the tinting of dim mineral glows. Digging deeper into the matter, he pursues his course head hung low, through the sparkling reflections of Exoplaste and the sharp breakbeats of Tergiversure. Once at the heart of an aural boiling magma from which he draws new metallic materials (Phoryaphile, Gramafion), he completes his journey through the breath of Stratiformis in order to cool down the overheating vents of his machine positively controlled at all the VST. Alas, it is already too late…
Ultimate souvenir from this voyage, the Parisian C_C concludes with his own vision of the trip: a remix with massive rhythms and the sound of his analog machines humming in the background. A tribute to the complex landscapes of Autechre and the experiments of the label Schematic, this disc, with its rich and startling imaginary, remains nameless. Like a challenge, the sonorities it deploys give all the hints necessary for the listener to find it a name.
This is not the first time that Dubophonic released a remix album, but this is the first time that it was done in such an interactive way. This release is a result of a competition, which has been running for the last two months. Every artist had the opportunity to submit their own version of the song (remix, dub, rework). We received around 40 submissions and we would like to thank everybody for their contribution. Unfortunately we could not put all mixes on the release … but you know that dub music has nothing to do with competition. It has to do with the message we spread and with the vibes, and that big feedback proved that dub music has no borders. It is an international movement, growing stronger day by day. Big up to each and every one for the great vibes and also for the hard times you gave us, till we came to the final decision. Every version we received was unique!
The final selection was done by the Dubophonic crew, Mr Zebre, Rebel-I and a team of djs and selectors from various radio stations, who all casted their votes and compiled the list of the 13 tracks who made the final cut: Heavyweight names like Professor Skank (GR) and Al Breadwinner (UK), Dubophonic residents Mexican Stepper (MEX), Med Dred (CY) and Negritage (ARG), but also fresh rising artists like Zentash Gigawatt (BIH), Djiman (FR), Atlas Dub (FR), Sub Majesty (SUI), Injectah (RO), Dub Riots (GR), SKG’s Dub Alliance (GR), R3di the Dub Hermit (UK/CY), Colonial FX (IRL) and Dj Rastacore (ARG). Let the dub games begin!
Before and not far away, another central figure, also in the city of Quilpué, the Doctor Gozne, had published ‘Non Human’ (pn090) at the end of 2014, a work perhaps more human than what its title indicated and on the other side more rhythmic (in the classic and resounding sense) in relation to that which the new work of the ‘alter-ego’ Zacarías Malden instead insinuates. Probably his musical laboratory never required studies of the laws of Physics (‘probably…’) nor too much already more enclosed from Electricity, even so, you will find the ‘current’ vibrating in each track.
‘Rítmica’ (pn104), would seem to open a journey or a deep view to the stars and galaxies visible from his study or perhaps already from the controls his spaceship.
The listener may be invited by the Professor and in fact transferred to ‘the electric circuits’ of a Mission, ‘initial essential miniaturization’ of the passengers disposed to such risks; they then situate themselves in the marrow of analog and digital circuits and to periods of bitter struggle between mutant insects, contaminants, and interferences of electronic commands and their flow and that of an army of ‘Pacman’s’ pursuers acting as antibodies that sometimes manage to resolve and free from interference necessary sequences of the processes of transmission. So they sound to digital errors and they are obviously more than reminiscent of the ‘Click & Cuts’ present around the year 2000 and the electric ‘delicacies’ of the work.
The buzz of the insectoids in the most analog circuits sometimes disappears and opens a ambient layer of relaxed drones, but always accompanied by rough fabrics and textures, stratified sheets of vibrating scrap almost of a palpable materiality.
In ‘Rítmica’ (pn104) there is of course ‘rhythm’ but still, it must be understood in a different way and this forms part of the mysteries of this work, even in those occasions where it may seem almost absent. The melodies have to be on this occasion almost imagined.
The journey of ‘Rítmica’ (pn104) takes place very briefly, it opens and closes, and in a flash perhaps you wake up to reality neither more nor less than in the studio of the Dear Professor Zacarías Malden!
Don’t worry, the ‘system’ guarantees the return to natural size upon your return. You will not return as “miniatures,” nor will you have been devoured by the insectoids or by the ‘Pac-mans’
Luckily the electricity will not have disappeared out there! What is more we know that we can count on Professor Zacarías to deliver new and future entries of adventure in the form of installments and albums.
Felipe Raurich Böttiger
Capitán del Nautilus en el programa musical on-line:
20.000 Leguas de Viaje Submarino (Un Mundo de Aventuras Musicales)
(Valparaíso, Chile. Marzo / March 2016)
“Poil de Cœur”, the 29th release of Da ! Heard It Records is distributed under a Creative Commons BY-NC-ND license. The album is available for free listening and downloading at the following address:
air chrysalis [0kbps098]
01 – rpp01
02 – rpp02
03 – we needs your comments (1995 version)
