01 – un gioco sul male
02 – per diluire la paura domestica
03 – anal beehtoven
04 – tu fai il guinness
05 – furniture music #04
06 – v4portronic4 – feat. Tommaso Busatto
07 – hipsteron dub
08 – ceste is a pink rocker
09 – nella città di nessuno
10 – trapianto d’organi
“tu fai il guinness”‘s intro was taken from a video-message by Giovanni Nembrini (Beira)
“furniture music #04” was released for the first time in “furniture music”(SPTOtfSP, 2012) in a 8 kbps mp3 format
“v4portronic4” was recorded with Tommaso Busatto
The last Christmas Deep Lake Records along with MAV Records celebrated Christmas with all of you with a small compilation.
And even this year Deep Lake Records has already put to work to prepare your gifts under the tree but not without your help!
This compilation is the perfect soundtrack for your boozy winter!
Merry Christmas and Happy Holidays from Deep Lake Records!
What if Megaman soundtracks were written by Zan-Zan-Zawa-Veia? Seemingly hell-bent on finding out the answer to this, AutoReMi-PK’s TWG debut, ‘BRKN’, goes to great lengths to be a blinding mixture of experimental esotericism and melody-driven pop-esque hookery, and the evidence to his success is here in abundance.
From the epic space swoons of ‘Subroutine Traffic Stop…’ to the manic energy and dissonant beauty of ‘Dys4-1A’, every inch of ‘BRKN’ is stylistically eclectic and robust, melodically affecting and compositionally complex. Where ‘BRKN’ excels best is its ability to mix those heart-rending melodies into vigorous and rewarding compositions. The melodies of ‘Rules and Regalia…’ call into mind the heydays of Bit Shifter, ‘Requiem (Our Stolen Future)’ ends with soft but emotively poignant sweeps of motifs, and ‘We Never Sleep/Artemidorus’ moves from crunchy experimentalism into a melody that defines the term ‘tearjerker’.
‘BRKN’ is an album as well as a journey. Every track slips into the next as a continuous piece and the effect is infectious. A consistent aural and emotive assault, every turn and shift as unforgettable as the preceding, every arp brimming with emotion and every passage a piece of compositional masterpiece that ticks the boxes of both rational talent and emotive creativity. Those who have already decided their albums of the year may have been slightly pre-emptive; on his debut, AutoReMi-PK has already solidified his place as an incredibly talented composers, and ‘BRKN’ as one of the scene’s best offerings in some time.
“Na realidade Shoegaze não quer dizer nada, sendo apenas mais um facilitismo ao abrigo do qual se podem incluir várias espécies de grupos diferentes, que em comum tenham uma parede de distorção convidativa a momentos de introspecção.
Durante um período dos anos 80 e 90, assistiu-se a uma proliferação de bandas de Indie-Rock onde também poderiam caber milhares de coisas diferentes, mas que sem dúvida tiveram em comum não só o momento específico mas também a especificidade associada ao seu som. Essa marca é transportada por vários grupos até aos dias de hoje, e ainda bem porque há legados que devem prevalecer. Várias dessas bandas tinham sem dúvida afinidades quer com o Shoegaze, quer com o seu parente próximo, a Dream Pop. Mas o lugar dos rótulos é nas embalagens e o que interessa realmente é o que a música transmite, independentemente do que se escreve ou diz sobre ela.
Uma banda chamada Fire To The Stars merece pelo menos uma audição atenta, quanto mais não seja para confirmar se a música cumpre aquilo que o nome parece prometer. As estrelas quando ardem tendem a fazê-lo de forma lenta, ainda que poderosa, numa espécie de momento de agressividade melancólica.
Este single é composto por dois temas, e se por um lado “Keep You Safe” ergue uma barreira uterina de noise entre o ouvinte e o mundo, já “Wholesale Slaughter” proporciona uma contemplação nostálgica desse mesmo mundo, do qual nos encontramos alheados via experiência musical. Simultaneamente belo e fantasmagórico, como a pop deveria ser, esta edição não destoaria ao lado duns Swervedriver ou duns Ride.
Façam favor de olhar para os sapatos e sonhar um pouco.”
I came out of my house one morning to find this monstrosity on my doorstep without any note or explanation. A single set of footprints in the mud ran from my stairs for a few meters only to abruptly end in the middle of nowhere. “Personal Space!” I screamed to no one in particular, shaking my fist. Then I proceded to listen.
I guess this is supposed to be mainly electronic dance music but to actually call it that would be an insult to dance music. Although rightfully bouncy and even catchy from time to time, this seems more like a twelve year old with severe ADHD heard three dance tunes from the nineties and proceded to replicate it using sampling techniques from the eighties. Sometimes it goes very well, sometimes it’s hard to figure out what the author intended. It is sloppy, amateurish, crude and possibly illegal. It is right up our alley. Enjoy.
Retro 8-BIT game sounds touched with 70’s Dub FX are having my special attention and you can hear that throughout my latest creations. For the tunes 8 Bits of dub and Anything Dub, I was inspired by the audiotool.com community because of the wonderful in browser music app and the friendly people!
Trance-inducing and as thick as sludge, Vegas Diamond’s sophomore is a concise record of his great talent. These four tracks meld together aggressive groove with hypnotic melodies, tessellating around a defiant rhythm and pulsating with confident and a unique voice. From the emotive opener ‘Ion’, to the off-kilter and crunchy churn of ‘Visor’, to the vicious beats of ‘Real’ and the final, melancholic laments of ‘Cube’, every inch of ‘Hyper’ feels, simultaneously, eclectically self-contained and continuously conceptual; a constantly evolving stream of ideas.
Stylistically, ‘Hyper’ sees Vegas Diamond traversing the musical ideas of Monodeer and Nullsleep, and setting up shop somewhere in the middle. The melodies are genuinely otherworldly; atmospheric and seeping emotion, cascading over the dense textures that make the release sound so huge, and the beats hit like sledgehammers on concrete, loose but still incredibly strong.
Continuing our crusade against explainable styles and the comprehensible, we here at TWG are incredibly proud to throw this chunk of jaunty and experimental swing-laden gold at you.
Mixing inexplicably catchy phrases with hugely emotive tonal tapestries and a healthy spooning of the esoteric, Gab Pearson exudes subtle and eclectic mastery. Sounding like a jazz-fuelled romp through polka, Russia, and hip-hop, ‘Free Sprite’ is by no means a simple listen. From the touchingly ballad-esque bridges of ‘universalizable’, through to the left-turn rap of ‘movezherb’ and Indian percussion spread throughout ‘action caption’, this EP never starts to make sense, or lose an inch of its huge groove In fact, it manages the insane feat of being both completely bonkers and touchingly emotive in one fell swoop, and all with some giant beats driving it throughout.
«Zakaj Se To Vrti» is an album of tape recordings and noises composed in 2012 and 2013. It Was created in Pred Osle in Slovenia. VeDaKR is a tape recorder and noise producer from the fictional place of Pred Osle, somewhere in Europe.
GERGAZ netlabel is celebrating its 4th year of existence (January 2013) and bringing you another exclusive compilation, the follow up of the BEAT GARDEN released last year. Once again the compilation is putting together talented producers and beat makers from all around the world. Side by side you will find here names like Anthony Drawn, Julien Mier, Mute Speaker, Foolk, oddlogic, Vlooper, Melodiesinfonie, Je$u$, Zack Christ, Stratasoul, Karaoke Tundra along with many others and remixes from Jimmy Pé and GLGN.
Chiptune’s greatest and most prolific horrorpunkster ‘+Let’s Disinfect!+’ is gracing TWG with a self-titled album, three years in the making, and his usual bouts of anthemic chippunk.
Continuing our tradition of showcasing chiptune with experimental or ‘out of the ordinary’ applications, Sean Monistat, aka +Let’s Disinfect!+, produces his most diverse album yet. Whilst tracks like ‘My Life Hurts’ and the title track delve into that familiar upbeat +LD!+ sound, this debut full-length sees an expansion of Let’s Disinfect’s repertoire, drawing on post-punk sounds on ‘Melted Ice Cream’, prog metal meanderings in ‘A Garden of Mutants’ and nods to chipthrash in ‘Buy My Lawnmower!’. This all adds up to the most diverse Let’s Disinfect release to date.
As with most releases here on TWG, ‘+Let’s Disinfect!+’ is a grower, and repeat listens will let those punk pop-lined hooks dig only deeper into the brain, until every single lyric is engraved into natural impulse. And if the adhesive motifs weren’t enough, the vibrancy of textures and styles coated with that trademark ‘less-is-more’ chip (in this case DS) programming and crowd-chanting shouts of frontman Sean leave this release in the stratosphere when comparing it to vocal/chip albums of the past. From the plodding determination of ‘Contact!’ to the ferocious outburst of the title track, Let’s Disinfect! continues to cement himself as an essential forward thinker within an often saturated scene, and an extremely talented one at that.
03. Melted Ice Cream
04. My Life Hurts
05. The Case of Matsuo Fujimoto
06. Bleachbrain Zombie
07. Buy My Lawnmower!
08. A Garden of Mutants
09. Let’s Disinfect!
10. The Me I Must Protect
“questa è il secondo di una trilogia di disgustosi concept ep su quanto mi faccia cagare la vita sociale nella mia città, non ha nessuna pretesa se non quella di definire attraverso i suoni e i rumori ciò che penso, o più semplicemente le mie provocazioni”
“this one is the second part of a disgusting concept ep trilogy about how much shitty social life in my town makes me sick, it hasn’t any purpose apart than define with sounds and noises what is my tought, or better saying how i like to mock”
“questa è il primo di una trilogia di disgustosi concept ep su quanto mi faccia cagare la vita sociale nella mia città, non ha nessuna pretesa se non quella di definire attraverso i suoni e i rumori ciò che penso, o più semplicemente le mie provocazioni”
“this one is the first part of a disgusting concept ep trilogy about how much shitty social life in my town makes me sick, it hasn’t any purpose apart than define with sounds and noises what is my tought, or better saying how i like to mock”
tracks in ordine sparso:
. alec, dal’93
. andiamo al sottofondo
. daje cazzo! sono iooo
. funny games a casa di eleonora b
. il fiorente cantautorato pontino (singolo di lancio)
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