31 New Tracks + All 4 albums
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Music For The Anthropocene
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released December 25, 2019
Eddie Palmer
Brett Zehner
Unrequited love, the frustrations of modern life, Scallies shouting abuse at women from cars – The Tin Foil Hat Brigade talks about these, and more – all within a ten-minute blast of furious Game Boy noise and raw, emotional vocals. Or something like that, anyway.
All Music and Lyrics by The Tin Foil Hat Brigade.
Recorded and Mastered by Lloyd Gabriel.
Additional Vocals (on G.Y.R.O) by Simon Patrick Gabriel and Lloyd Gabriel.
Artwork and Photography by Simon Thelwell – http://www.sixeightthree.com/
The music you are listening to was recorded in the last week of August 2012 in Bralitz/Brandenburg, Germany. That year, there wasn’t a Braaahhlitz Festival yet, just a small concert at the end of the week. So there was plenty of time to play music.
The basic tracks with guitars, drums and bass were mostly recorded live, on a stage in the old railway station’s former waiting hall. After that, the musicians from the aaahh-records family contributed their parts. No boundaries – there is soul infused pop, folky acoustic songs, quirky raps, and beautiful melodies.
Second chapter of the instrumental saga dedicated to the Japanese anime of the 70’s on superobots.
As always the samples are taken from the soundtracks of these cartoons that have inspired a generation
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released June 21, 2019
Special thanks to Enko4, for allowing me to use the photo of one of his works for the graphics of the EP
www.instagram.com/enko4/
This EP is a tribute to the Japanese robots that have kept me company during my childhood.
All samples are taken from the soundtracks of these unique cartoons in their kind.
download @: lucazanoski.bandcamp.com/releases
Questo beat tape è un omaggio ai robot giapponesi che mi hanno tenuto compagnia durante la mia infanzia.
Tutti i sample sono presi dalle colonne sonore di questi cartoni animati unici nel loro genere
Ce disque a été enregistré avec
un ordinateur, une carte son, des synthés
Yamaha PSS et des synthés Casiotone
Nous avons utilisé le Logiciel Audacity
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released September 1, 2019
Trotski Nautique c’est Alda Lamieva et David Snug
Merci à l’organisation
Plus d’infos sur Google
16 instrumental hip-hop tracks produced & mixed by aitänna77 [March / August 2019].
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This beat tape contains Rock, Pop, Funk, Soul And Electronic sounds from the Soviet Union.
from the depths of the dojo, sonofone submerges from his meditative state with a penchant. armed with a 404 & a biro, our sensei finds himself on a auditory warpath. ~ JV005 ~ ‘sonofone – biro’ ~ the catalyst flaunts his muster over 21 intangible joints.
~ available on digital and cassette ~
~ artwork by sonofone ~
~ mixed & mastered by treeo ~
~ joint ventures 005 ~
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released August 2, 2017
z(xW+yV) is a solo project of Kecap Tuyul started spring 2018 while experimenting different ways to generate low volume feedback with small gear. After some tries with one contact microphone and one 1W battery-powered amplifier he developped a modular system on this basis, in order to generate not only feedback, but also feedback of feedback, and feedback of feedback of feedback (…) by chaining amps and microphones in a circular way that blurs more and more the distinction between sound source and sound’s reproduction, between acoustic musical instruments and electronic sound diffusion.
Unlike its first album 3×2(1W+18V) whose 3 pieces where mixes of 2 improvisations, Trois Prises features only raw improvisations played on more complex versions of the set-up (with 3 or 4 amplifiers). Track 1 & 3 contain no edits, track 2 was edited from a longer improvisation.
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.”
