Regained, recuperated anger and blasts combined with illogical analytic attacks, resulting in a powerful complex forge of rhythmic structures which are hard to stand and fathom, coupled with the angry synthesis of orchestral and electronic surges of extreme insanity and sadness put at the precision of a scalpel.
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!
Tracklist:
01. harrier
02. suppressor
03. glances
04. recover
05. scattered
06. lockout
07. frame
08. here come the blue skies
09. twist
10. only distance
11. row
12. impact as drive
13. p73m2
14. since
15. radios
16. swamp
17. trade
18. sinkships
19. uphills
20. for those again
21. transform anecdotal
22. diver
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.
Professionally mixed, very listenable and easy to get into, and some diverse themes make this short four track EP a worthy addition to the Collective.
What we have in this debut release, named “Beats and Stabs and Kick in Four,” is the strong intent to basically dive into the fat obscure electronic moods of dub techno, somehow near to the Berlin scene if you like. The release has an ideal split in the middle of its playlist, switching from dub techno to more dub idm-oriented tracks.
Palm_Era (Claudio Cisterna) is a chilean producer from Santiago. A long-standing electronic music producer, he had been publishing under the netlabel Impar and the record label U-Cover from Belgium under the alias Flipper, a project that is closer to IDM. Later under the alias ‘Chiodata’, he immerses himself more into the experimental side of music and releases some of his works under the Irish record label Fort Evil Fruits and Cocodriller. He has also developed other projects such as ‘Jon Claudio’, a fusion between electronic music and Krautrock. Palm_Era released his album called ‘Coincidental’ under the record label Illuminated Paths from Florida, USA in 2015. He has also collaborated in compilations that have been released by the netlabel Modismo and netlabel Epasonidos. These days, he is presenting ‘Gimo’, his first publication under Modismo which travels between diverse rhythms built with complex and yet innovative structures. ‘Gimo’ essentially takes us into a profound and flavorful trip where basslines and synths that are analogically worked combine. In this work, Palm_Era reveals his good taste and skills. The way to approach percussion in this record excels due to its production duty and Latino sense. Samples lead to a trance that is hard to get rid of and melodies gleams at the right time, as well as the details in experimentation. All this results in a very refreshing and futuristic album that will stand out in time without a doubt.
And it’s just that, a mixtape (or sketches) created while on holiday at the various locations in the track names (I’m guessing). Created entirely on one single piece of Swedish Engineered hardware (from the guys that made the Sidstation way back when) called the OP-1 (for those listeners interested).
Rephazer creates some fantastic moody, detailed and atmospheric Boards of Canada inspired tracks. Perhaps from the same sound palette for each track, but all with a chilled out vibe. Summer is drawing to a close but kick back and relax beside the pool listening to Rephazer!
Powerful, well produced vibes, influenced by elements of IDM and ambient, along with popular genres. Check out If you were sound for a rare appearance of vocals in a Kahvi release. Very cool!
Tras su segundo trabajo “Onirismo” publicado en 2013, no había vuelto a salir de la madriguera el Roedor. Al parecer había estado combinando nuevos sonidos todo este tiempo, hoy condensados en un álbum que aunque mantiene ciertas reminiscencias a objetos encontrados y la grabación de campo, viaja en sintes y ritmos que abren nuevos panoramas en su sonido.
“Simbiosis es música hecha con todo lo que aparezca. Es encuentro, diálogo, intercambio, mezcla. De sonidos, de sueños, de vidas, de objetos; de máquinas, paisajes, noches, silencios, recuerdos, sonrisas; datos, formas, colores, amor.”
‘Arquitectura espectral’ is the second work by sound artist MRTN CSTR (Martín Castro) from Córdoba, Argentina for netlabel ‘Modismo’. In this EP made up of three tracks we are able to appreciate and enjoy once again digital atmospheres which are characteristic in his musical duty: gliding melodies, delicate rhythms, fine atmospheres, counterpoints. Martín builds his songs from technology, he experiments with creation of waveworms, sound synthesis, complex structures created with specialized sequencers and instruments for the software Reaktor. However, the results are far from being robotics or dehumanized because the structures (the ‘buildings’ of this architecture) become cozy, puzzling at the same time and profound, inviting us to inhabit them. Moving musical ideas based on algorithm and mathematical formulae from theory to practice tends to be a challenge that is rarely well resolved, as elevating a structure from paper to physical reality, and by ‘well resolved’ I mean experimenting the beauty of a good listening at last, the pleasure of self-abandonment to contemplation beyond the techniques or technologies utilized for its construction, which it is fully accomplished in ‘Arquitectura espectral’. As a good sculptor, Castro reveals the shape of his compositions from the development of sound layers that are added, subtracted, that interact and move around space, generating tensions and distensions, creating sounds-cells and sonic-organisms pieces that evolve in their route. This is the difference between the robot and its perfect and synchronized movements, versus the organic bodies-muscles with their subtle differences and their impossibility of doing exactly the same, the same way, all the time, where one could be more efficient than the other, but never more interesting to contemplate or, in this case, to listen.
Mika Martini, electronic musician. Santiago, July 2017
It is in these terms that I understand Música Inmobiliaria’s work – parallel project of José Gallardo -, titled ‘Dance’, as part of human reality, ‘Who could say that they have never danced?’
Now, the currents of dance music are extensive and for all tastes. What summons us is electronic. A rich sound of featuring classic analog sounds, old-fashioned electro along with vocoder, there is glitch, synthesized strings pads, powerful sinusoidal basses, in sawtooth and squares, TR-808 sound and a robotic voice that says ‘I want to dance’… Why not do it? It even has a rumba to Jean Michel closing the album to enthuse you.
An album with taste and flavor, with textures that, in an imaginative way, present us with a different, experimental and successful dance music. All in good time with Música Inmobiliaria.”
Eduardo Yáñez Torres aka Gozne
(Quilpué, Chile. Julio / July, 2017)
A few tracks revisited from the remastered back catalogue, but plenty of new sound to get your thoughts drifting back to far away places a long time ago.
Bonus track from 4T Thieves as track 28 if you download the entire album. All mastering by Mnemonic and ‘The Dark Crooked Tree’ by Lovekrafty features Tasman on the electric mandolin / violin.
Written/Composed/Performed by Simon Pyke
Mastering by Matt Subjex
