In perfect attention the crystallized minescrafter digs through the depths of the heights. In hand luggage the best machines, he travels across noone’s heaven. Three rooms.
With Winterberg’s second album, we go a bit deeper into his work. After his self chosen “lock in with grand” some songs reached new levels. Grasping the moment, comfort of maturity. Between saturated thickness and clear raising there are also occasionally surprises.
Over three hours of music has been found for this album, well portioned in three parts. Five years have passed since the previous album. Now he’s back for more. We wish you a great listening pleasure with these selected works of improvisation, of live play. Spirit, soul and earth invite you to dive into.
This album is about volatile things and moments. Friendships, relationships, life, random situations. It’s about the importance of finding yourself, knowing yourself, not losing track of what’s important. Getting used to navigate through the acid burns that life flings at you, but also learning to understand others, learning to understand yourself. This album is meant to be listened at home alone at 3 AM. Considering other people don’t appreciate loud sounds at 3 AM you might want to use headphones.
Tracks 1 and 2 feature instrument samples by Amir Baghiri and samples from the movie Still Alice.
Track 3 features samples from the series Making a Murderer and the movies Reservoir Dogs, Drunken Master and Zero Theorem.
Tracks 4, 5, 6, 7 and 8 feature spoken word passages read from the book The Vegetarian.
Track 9 features samples from the movie Zero Theorem, Curtis Hoard Videogames, The Straight Road and from a random 80s educational video on Missile Guidance Systems.
Tracks 10 and 11 features samples from the series Fargo.
Track 11 features sample from the movie Deadpool.
All other sounds in this album were conjured by Filipe ‘ps’ Cruz using Jeskola Buzz. Mixed down using Reaper.
“Of a tranquil but sure evolution, and generous in melodies that awaken the ear insistently, and to the precise extent, is this new album by the Valparaiso based electronic musician Baradit, a key figure in the scene constructed with machines and danceable beats in studios and clubs in the Fifth Region, being one of the founders of the excellent netlabel Epa Sonidos in 2001.
In this work, the author passes comfortably through many of the influences that have permeated his creation over time, always with interesting results, from musical movements that have remained in perpetuity due to their importance and teachings, such as the EBM, or the ever present and transformable synth pop, techno and other aspects that coexist within the most welcoming and evocative universe of electronics.
Scenes well built and cemented in electro beats, analog basses of good company, notes suggestive of contemplative feelings, are the basis of several of his compositions, like ‘Pruss Pruss’, ‘Guitar Day’, ‘Ocean’, ‘I Need’, to name a few. A good invitation to explore the electro pop happening outside the limits of our self-absorbed and centralized reality. Certainly, a pleasant experience.”
(Santiago, Chile. Abril / April, 2017)
A warm welcome back to Jim Black, who seems to appear with a large selection of tracks a couple of times a year. If you’re not familiar with Jim, he manages to create the vibe of the classic early 90s techno/IDM roots perfectly, bringing back feelings of nostalgia to those who listened to Kiss FM (London) and DJs like Colin Favor.
This 10 track album takes us through a journey of powerful beats, addictive melodies and definitely warms us after the long cold winter. If you want some serious acid leads and basslines, you’ll find them here!
released March 30, 2017
“To all fans of electronic music – hello! I, Katlyar Dmitry (creative nickname – Dr. Insider), a musician from Molodechno, create mostly non-dance melodious music with diverse and original experiments in sound. It is more suitable for home listening or traveling.
Tracks to the album ‘Journey’ were created each as a small story, without a monotonous oomth-oonth-oomth, so they do not tire and will not put you to sleep on the road. Pleasant listening and all – passing wave :)”
The fifth Thuoom full-length, Fokus, is filled with rhythmic songs soaked in IDM influences, and at places the record is the most playful Thuoom has ever been. With these songs Tuomo used a more layered approach than before and more than half of the songs employ sine waves. Furthermore, there are three songs where the beat has been formed by manipulated beatboxing.
Instruments used on this record: acoustic guitar, beatbox, cutlery, garlic, garlic press, glitches, human voice, knives, plates, scissors, sine waves, sparkling water, water bottle.
Consists of eight pieces where elements of contemporary music are combined with electroacoustics passages that progressively mix through dark and dense progressions of the most abstract electronic sound,giving rise to a parallel reality invaded by robotic voices,encoded messages transforming the sound landscape by overlapping layers in a corrosive and shadowy order of chaos.
Composed and performed by Pablo Ribot
2016 Buenos Aires-Argentina
В основу альбома легла обыденность “Slow Things”. Меняется мир, добро побеждает зло, а музыка тем временем сотрясает душу.
Проект Ffiper (Файпер) был создан в мае 2015-го. Главной идеей первого альбома послужил внутренний переворот мира, переживания и любовь. Музыка писалась исключительно на iPod touch, а вокал на стандартном микрофоне от наушников. Так вышел в свет “Slow Things”. Через полгода началась работа над “Lit vecher”. Это был порыв поэзии, игра слов и грусть, воссоздаваемая авторами. Заключительной главой стала “VESNA”. Все тот же взрыв, что был в первом альбоме, но только в новом переплете. Атом тепла, внутреннего света и любви.
Все, что дальше – исключительно прекрасное. Все, что старое – частица истории.
In Carinae, M-PeX explores the conceptual symbiosis between the original sound of the portuguese guitar, to which is added the sound of André Coelho’s contrabass, and the ambient electronic sound which is born out of an experimental and digital manipulation of sounds captured on the portuguese guitar for the acoustic themes. Photography by Carina Nunes and graphical artwork by Marco Madruga.
“Kraftwerk 2017 – Trans Human Express (Clone Music)”
Kraftwerk 2017 – Trans Human Express (Clone Music) [0kbps111]
Autobahn mix 2′ 33”
Computer Welt mix 3′ 47”
Die Roboter mix 5′ 31”
Electric Café mix 3′ 09”
Europe Endless mix 1′ 55”
Franz Schubert mix 2′ 48”
Klink Klang mix 5′ 48”
Kometenmelody mix 4′ 05”
Kristallo mix 4′ 40”
Minicalcolatore mix 2′ 32”
Radioactivity mix 2′ 46”
Sex Object mix 5′ 04”
Telephone Line 5′ 58”
The Man Machine mix 1′ 40”
Tour de France mix 3′ 48”*
(remix words Futurguerra)
Trans Europe (Human) Express mix 2′ 42”
*Virtual Vocalist Futurguerra
“La tecno-fantasia «suggerisce un rapporto vivente con l’estetica della realtà», nota Roberto Guerra, che la trasferisce nella visionarietà dei suoi video e testi”
Vitaldo Conte (Pulsional Gender Art, Avanguardia 21, 2011)
Tra poesia sonora e musica elettronica, tra dada, futurismo e situazionismo… Da anni i Kraftwerk fans attendono un nuovo album, solo un paio ex novo in oltre 30 anni (Electric Café – 1986 e Tour de France-2004, oltre a Expo2000, ma straordinari mix e remix dei Kraftwerk stessi: al punto che live, tour non stop e negli ultimi anni in 3D sembrano incredibilmente album e canzoni elettroniche (e Video) ex novo. Futuristi e quindi anche transumanisti, autopotenzianti i brani dei Kraftwerk, (Ralf Hutter e Florian Schneider, il duo originario e fondatore, poi via diversi altri robot musicisti- è rimasto da tempo il solo Hutter), padri della musica elettronica, canzoni tecnhopop (nato con i Kraftwerk) letteralmente “immortali”, mind up loading songs non stop. Ecco quindi, da un fan poeta, spesso ispirato a tarda notte mentre scriviamo poesie o saggi, il nuovo virtuale album dei Kraftwerk. Operazione di arte estrema, mix di sconcertante semplicità, musica per cloni! Un giocattolo “elettronico” sia ben chiaro, ma forse davvero queste soundtrack kraftwerkiane della computer age sembrano una volta di più (ri)composte il giorno prima…
Cialyn first arrived to great acclaim at Kahvi on the Christmas 2016 Various Artists compilation ‘Fields’. And now he’s back with a five track EP continuing the same amazing sounds we heard previously.
That defined Boards of Canada sound, popular among electronic music fans who prefer subtle, mind expanding, nostalgia, taking you to past days and moods. Featuring heavily, with gentle analog warm leads, detailed and precise beats and sentimental melodies.
Tracks like the title track ‘Off Season’ (and accompanying video which is featured on our Facebook page) make for a fantastic EP. Enjoy!
The Swiss duo consists of Andreas Glauser, an experimental artist and musician, who is running the Zürich based art production label brainhall, and music producer and synthesizer wizzard Roman Schürch who aside from his own music has produced numerous remixes for various projects such as Saalschutz, Egotronic, Sedlmeir or Karpartenhund.
The two musicians exclusively use analogue gear such as the Korg Monotribe and manipulated mixing boards to create their amazing and unique electronic sound textures and beat patterns.
“‘Organic’ is a word used in many situations; in this case it covers perfectly the bird’s eye description of this work. We can intuit in the first listening that improvisation and wisdom have met to create a record that lets you travel through the wide variety of sounds. We can let it flow and enjoy a fine work, which leads you to say, ‘uff, it’s over already’, and then give it another ‘play’. No doubt it is solid, but in a way that lets you breathe, it is not a block, it is solid as a cloud that has an important presence, but it is light and smooth.
Jorge Castro (aka Fisternni) is the host, recorded in La Cúpula, his bunker in Córdoba, accompanied here by two excellent artists, Bruno De Vincenti and Ramiro Cruz Larrain (aka Vlisa), essential components of the Argentine electronic scene and with an impressive history.
Without a doubt, this record is recommended; you have to sit in your armchairs and enjoy it again and again, because we never tire of seeing the clouds…”
Luis Lezama aka Luis Marte
(Buenos Aires, Argentina. Febrero / February, 2017)
For its 32nd release, Da ! Heard It Records introduces Voilé by Vicnet, a music to explore like an unknown space and inviting to seek out the hidden behind the visible, the unheard-of behind the audible.
What can freedom possibly look like in 2017, when everything and its opposite has already been tried, contradicted, canceled, and retried? Vincent Tordjman has asked himself this question many times, especially over the last few years. Since his last album (Mr. Hadopi, released in 2010 on Da ! Heard It Records), despite being busy with adult life, he has kept his passionate heart, and surrounded with three towers filled with machines, keyboards, and rare contraptions, he has not stopped recording, recording, again, always recording. Over seven years, he has evidently accumulated the equivalent of five albums. But too indecisive, too disappointed by the ever fluctuating state of the scene around him, he hasn’t finished anything, or almost nothing. He abandoned two or three skweee disks, an electronic jazz-rock disc, more acid house, as well as compilations of hand-tweaked music composed for the nocturnal electronica scene.
Yet finally, he finished Voilé, an album of a genre that doesn’t exist, without spite and without any other ambition than that to render the unique music that hides within it—and he might have been right to wait.
For the aptly named Voilé, which title matches the impossible-to-source visuals that adorn its sleeve, is so much more than just a new album by an all-too-rare artist that too few in this unjust world would still await. It is the personal diary of a musician too talented for his own good, who, in twelve very generous pieces, poured out all that is most personal, thus best and undoubtedly most beautiful, that his musician heart could produce.
The windfall for the listener is that it doesn’t look like anything. Yet while listening to Aladin, Princess, or Bamako, the listener’s head will not be lacking in images. From the theme of the imaginary film Idée de Question to the psychedelic explosion that is the title piece, historical references are not scarce either. But locking oneself into any which song with eyes closed is all that is needed in order to understand that one is dealing with a rare case of a record played, conceived, and operated with old synths, without resembling a museum visit. A windfall, we said. Or a senseless freedom concentrate.
Voilé, the 32nd release of Da ! Heard It Records, is distributed under a Creative Commons
BY-NC-ND license, and the album is available for free listening and downloading
at the following address: http://www.daheardit-records.net/en/discography/dhr-32
Siberian cohesive post-industrial creative association POSEV presents the second compilation of tracks from its members and their sympathizers. All tracks are exclusive to this release and have never been presented before.
Our music is always the part of us, our personalities, and our lives. It describes the perception and exploration of the world. We make music because we have something to say and we must talk. We make music because we can’t but do it. Thus, our legacy is given to the world.
Our creation is a self-decrypting manifesto for ones who want to feel the other side of synthesizer music and look beyond the rhythm and sounds. We are too far from any scenes to imitate them. We’re too original to meet someone’s standards. We don’t do what others want to hear from us. We do what we want to hear ourselves.
Incidentally, this song fits both minimalist and “New Industrial” standards– I used only sounds I collected in my South Side apartment years ago, which I then processed and composed. The main sounds are from an old set of windchimes I had– also there are sounds of bedposts and other apartment accouterments. I wanted it to use sounds from the city, to sound like the city.
As per yearly tradition, Jan presents an ep with material that did not fit the full-length album from previous year, in this case “Jan Pierwszy Starszy”. As with every JS e.p. there are no rules and the diversity of genres is breathtaking. Here we have casio-retro-wave, guitar post rock, noisy guitars overlaying, joyful turkish zurna-pop with broken time signature and an anthem of the priviledged man with a sturdy beat. As always on Underpolen netlabel, the lo-fi and DIY atmosphere is everpresent in spirit and on surface.
after a 3-year hiatus, the cover version duo SMAV is back to release their 3rd and last song on their 1st and last EP. 13min of homemade music, with personal favourites and a bonus mashup. but there’s nothing to fear: Rodrigo Socialmedia and Cairo Audiovisual keep on making new music, together and individually, as Mildmilk and Cairo Braga. a toast from here to the future! RIP SMAV.
“The album ‘Neko‘ [pn115] from ‘Cafeina Kid‘, the psuedonym of the musician from Concepción Pablo Cornejo, consists of 12 instrumental songs spun into an assemblage that above all resumes coherence in continuity with the treatment of sound, composition, and style with which he has managed to effectively express the legacy of electronic music from the beginning of 2000 to date.
His compositions imbibe of various styles, mainly ‘Electronic Dub’ and ‘Downtempo’, with touches of ‘glitch’ that have been amalgamated with the use of the sampler, a resource with which he takes clips of audio from diverse sources, though mainly of himself. ‘Cafeina Kid‘ presents us with a record in which he looks and listens to himself, collecting sounds and stretches of previous compositions, placing them in an exercise that allows him to re-signify them. It is an exercise in memory, an act that Pablo tranfers in a fluid way and that he has realized since I’ve known him, a very long ago time when we exchanged with Mika Martini – since Ud. No! -, extensive chains of emails, reflexive writings on style, aesthetics, history and anecdotes that did nothing more than connect our work with the true sense of pondering music.
Today we hear the echo of these dialogues in a concrete result, a new album of ‘Cafeina Kid‘ that acts as a happy reminder at the same time as a focus towards what may come with his next creations. This, because ‘Neko‘ [pn115] presents itself as a solid disk with sufficient potential for expecting a possible future discography with the quality of what is left here, a disc in which he references styles that he supports with an undeniable personal imprint, through which he demonstrates timid warmth, a well-developed melodic instinct and a grand tact for presenting, every time you listen to his music, several possible and impossible worlds simultaneously.”
(Santiago, Chile. Diciembre / December 2016)
This debut full-length release of original experimental electro acoustic music is perhaps best described by the very broad range of musical influences from which it draws. These vary from from old-school industrial to musique concrète and contemporary classical, from kosmische musik to minimalism and dada, from power electronics to any form of genuinely experimental music. This ultimately uplifting album explores a range of themes pertaining to human freedom in a postmodern world. Such themes include alienation, psychological repression, the existential vacuum, obsession, rage, absurdity, mourning, regret and the concept of self.
First of all, no time should be more important than another. Fireproof Poetics is forged precisely in each and every one of those moments.
Our only aim was to sit and play in front of our instruments and let ourselves be surprised by our own sounds, using a gallant dialogue and attentive listening.
This work is the testimony of that time, which after the process of naming, is painted with that fireproof film, which from now on will protect you from the intense heat that the time lays on the past.
Zebenzui González, prepared guitar
Jose Guillén, synthesizer
The music for Safe Place was initially written for accompanying a video project by Iztok Klančar. It evolved over time through cooperation with sharing different ideas, visions and video material. It was written and made to mimic the same lurking darkness that both artists, Lifecutter (Domen Učakar) and Iztok Klančar are familiar with through different relations to their own existence. It was written to intensify the murky atmosphere somewhere beneath and to give extra weight to images that convey the inner anxious conflict states. The images are clean, realistic, yet shot so that one would think that someone has staged the entire nature. It seems as if Klančar filmed imaginary moving paintings set to push the spectator into his inner hidden places.
Iztok Klančar’s words about Safe Place project:
»I retreat. I do that whenever external forces act on me. I create a mental space. There, I can play.
It is when you have a bad dream, a violent one. It is not the one when you are being chased into an abyss by all sorts of beasts. It is the one when you have to defend yourself, when you strike back and crush somebody’s scull. Or just shout back until there is no voice left in you, when your throat gets soar, when your tears are gone because you’re dry on the inside. Or just destroy things around you. And there is blood. Until you see only blood, only red.
At the moment, my core is so intense that I feel I might have a breakdown. I feel my nervous system is over capacity, burning, heating up. Again, I observe the world from within, from a hidden place, unaffected, not wanting to be affected. Darkness has always been lurking deep in my mind. This darkness inside me is merging with that of our current world.
I am at a threshold. The world seems to be ripping apart and shredding itself. And I simply try to be a neutral observer of it all.«
Here at Kahvi we’re exceptionally proud of our yearly compilation release – and here, finally, is the VA release for 2016! It’s been a mammoth undertaking, collecting tracks, compiling the release, mastering, creating the cover artwork but finally we can announce that “Fields’ is here!
This year, we have 40 of the best tracks from some familiar faces, along with many guest artists that submitted their tracks for inclusion. We’re especially proud to include a track from the legendary Richard Devine!
Some really amazing talent is out there with very little exposure, and the VA is our chance to redress the balance.
Fantastic cover artwork is created by our resident VA artist ‘Anto’ and mastering is by Mnemonic. Enjoy this years VA and Merry Christmas!
This collection of songs is a mosaic of different musical styles. There is everything from the blues of the 60’s to pop music of 80s. Connection link between this palette appears theme which has been noted on the album cover – love and its mysteries.
Ilia Belorukov & Sergey Kostyrko / Alexei Borisov & Jelena Glazova
Split record by Russian and Latvian electronic musicians, focusing on improvisational practices and techniques.
1. ILIA BELORUKOV & SERGEY KOSTYRKO
01 – Security by obscurity
02 – New edge
03 – Criss cross
Ilia Belorukov: ivcs3, monotron, effect pedals
Sergey Kostyrko: modular synthesizer.
Recorded, mixed and mastered by Ilia Belorukov at Spina!Studio, 2015
2. ALEXEI BORISOV & JELENA GLAZOVA
04 – Live at ESG-21, 28.09.14
Alexei Borisov: electronics, voice
Jelena Glazova: laptop, controllers, voice
This part is a live and unedited recording of improvised session played in duo between Alexei Borisov and Jelena Glazova at the Experimental Sound Gallery, St. Petersburg on September 28, 2014.
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