Questo progetto musicale affonda le sue radici nella musica elettronica, nel post-rock e nella shoegaze con influenze down-tempo. Voce, chitarre, sintetizzatori e suoni sporchi uniti in un suono unico e convincente. Il progetto Pura Neurosi è iniziato a Barcellona, nell’estate del 2010, e rappresenta la naturale evoluzione delle traiettorie musicali dei membri. Entrambi provengono da un passato rock classico ma negli ultimi anni si sono dedicati alla produzione e al djing di musica techno e minimal. Con riferimenti alla post-dubstep di Mount kimbie, Balam Acab e i suoni atmosferici ed inquietanti di Salem, Pura Neurosi ha fuso queste influenze dentro il suo stile alternativo.
Sometimes you listen to the recording and think that it must be a big American band with a numerous team of producers and sound designers. And in many cases you are right because we are all familiar with some specific production peculiarities. But in some cases you are not. Our example today is a single by a Belarusian band «Color King». It’s called «Black Box».
They sound like a true British band and it’s not because of the engineer. Perhaps the key is the unique atmosphere of these songs.
When the openning track «Black Box» sounds like a polished garage rock, «Ghost of Love» seems to be a song written by a band like «Supergrass», which is more interesting. The perception may vary, however these guys create a cool British-like indie rock without that compulsive post-punk stuff.
О Valery & The Greedies можно рассказать многое. Например то, что группа появилась в 2008 году. Начав играть гаражный панк, быстро сменили курс на, тогда еще только набирающий популярность в России пост панк-ревайвл. Долгое время они были очередными Joy Division, но
стоит отметить, что эпигонство было очень качественное. Ситуацию изменил вышедший в 2011 году первый полноформатный альбом «Where’s Satan?», который был насыщен нервной дрожью и фанком, правда, все портило неудачное продюсирование. В 2012 году вышел второй LP — «Sweet Karjala», ставший апогеем всего творчества коллектива и смешавший в себе афробит, фанк, ска и много чего другого. В 2013 году группа прекратила свое существование. Но все это не могло закончиться просто так. «Where’s Satan?» должен был стать вехой не только для Valery & The Greedies, но и для российской инди-сцены
в целом. Тогда неудачное продюсирование не позволило передать всех задумок, поэтому и возникла острая необходимость полностью переработать, пересвести и ремастеринговать материал, что и было сделано.
«Where’s Satan?» зазвучал новыми красками – стал ярче, громче, плотнее, и главное: стал более психоделичным и танцевальным. Ведь не под это ли, сейчас танцуют бесы на вечеринке у Сатаны? Кстати, а где Сатана?
Bass – Сергей Матюк
Drum – Григорий Анушкин
Electric Guitar – Лев Сибиковский
Vocals, Electric Guitar – Анатолий Никулин
Remastered By – Анатолий Никулин
Корректировка оформления – Alex Fry
Оформление по мотивам рисунков Андрея Горохова
01. – Where’s Satan? (Re-edition 2014)
02. – Cynicism (Re-edition 2014)
03. – Use The Moments Of My Adequacy (Re-edition 2014)
04. – Walking To The Depth (Re-edition 2014)
05. – Dances On The Bones (Re-edition 2014)
06. – Bloody Vomit (Re-edition 2014)
07. – Tears Of Master Of Kung-Fu (Re-edition 2014)
08. – Bashkir Horror (Re-edition 2014)
09. – She-Wolf (Re-edition 2014)
The first band’s full-length album was compiled from the original songs captured between 2009 and 2012. It depicts the development of their distinctive sound and the starting point. The title “Spirit Kit” shows the idea behind the recording: each song itself is a key to a particular spiritual mood. The soundscape was designed in a very spontaneous and natural way. Nobody planned to release this record, and yet it became the organic 8 track statement that had been gathered from a vast band’s catalogue of singles, outtakes and demos. Serious changes and re-recordings were excluded on purpose to deliver the purest feel and tension behind the music. Remastered by the wizard from Binomial Records. The beauty of layering and reserved power reveals itself in an unexpected way through repeated listening.
Artwork By — Vadi Tkachev
Lyrics By — Vladimir Berlizev
Music By — Vladimir Berlizev
Remastered By — Andrey Teterlev
Когда человек начинает считать себя самым добрым, самым умным, тут и начинается гниль. Гордыня – худший из грехов, что бы ты ни создал.
Простите ребята, но эта песня не о той любви, с которой все свыклись. Pride – крик великого возмущения.
Music & Lyrics by Ray Fano
Sound Producer by Ray Fano.
Artwork by Jessica Bartolini.
The Moscow-based artist Fiord has released the third album. As compared to the previous long play “Квадроколесо”, the new record “Третий тайм” seems to sound less complicated musically however
the lyrics turn out to be more direct. Still the album develops the statement which has been claimed by its predecessors: mecanical parts, authentic vocals, unique harmonies and lyrics.
Artwork By – Семён Капралов
Music By – Фиорд (Игорь Фасхеев)
Vocals – Фиорд (Игорь Фасхеев)
After several experiments with psychedelic and jazz rock, collaborative projects with different style musicians and poets, Pk Jazz Collective have returned to old rock traditions of making music. “Red-Headed Woman”, released on Southern City’s Lab has became an expression of Pk Jazz’s musicians experience in perception of “how to make simple but impressive rock album.
Кровожадные хулиганы-упыри Voodoo Puppets вызвали загадочного духа Botinki Ra, чтобы вместе издаться на одной пластинке и ощутить вкус свежей крови.
Voodoo Puppets поведают нам историю о знаменитом герое интернет страшилок – Палочнике или Тощим человеке (Slender Man) и споют настоящий маньячный блюз с говорящим название “Electric Chair Blues”.
А загадочные Botinki Ra исполнят свои потрясающие инструментальные аудио инсталляции звучащие из вне времени и пространства.
«Снопы параной» – совместная работа «три на три». Три человека из трёх городов. Каждый принес с собой своё мироощущение, переживания, взгляды на жизнь и окружающую действительность. Астрахань, Москва и Чита. В обычной жизни, «по эту сторону реки, там, где боятся прыгнуть в прорубь или колодец», вряд ли что-то может так плотно связать эти города. Но в мире творческих экспериментов расстояния и различия в этногеографическом факторе сыграли на руку создателям альбома. Плотно нашпигованная музыкой, песнями и стихами, эта работа стала итогом годичного обдумывания, примерки и избавления от мундиров, снятия и обрастания чешуей.
Once again, we are proud to present one of Sweden´s finest pop acts, the Malmö-based indie outfit EMERALD PARK. This is our fifth release by the band and one of their best recordings so far. Enjoy the music!
Peça concebida propositadamente para radiodifusão n’O Arranca Corações.
Este trabalho pretende agarrar o ouvinte para um desafio simples que poderá realizar a partir dum qualquer ponto sonoro exposto; conseguir o auditor desenvolver uma superconsciência auditiva que o leve a emigrar para fora do tempo/espaço usando como meio para tal fim a multiplicidade das formas auditivas expressas. Quanto mais se deixar absorver por elas mais depressa apreende o fluxo e o refluxo das ondas sonoras em presença, assim como a unidade intrínseca destas no todo consciente (superconsciente), a isto chama-se Boiar. Arte nobre hoje em dia quase esquecida e pouco praticada.
This work intends to grab the listener for a simple challenge that (s)he will be able to carry out from any exposed sound point; getting the listener to develop a superconsciousness hearing (awareness) that will lead her/him to emigrate out of time/space, using as a means to this end the multiplicity of hearing expressed forms. The more we let ourselves be absorbed by them the quicker we’ll apprehend the flow and reflow of the existing sound waves, as well as their intrinsic unity in the conscious whole, this is called Boiar, (Boiar is not “to Float”; Boiar is much more than simply floating). Noble art nearly forgotten today and rarely practiced.
João Ricardo – Synthesizers, guitar, drums, laptop and fx (i.e. small toys difficult to specify);
João Santos – Acoustic bass, electric bass, traps, concertina, hornpipe, synthesised flute, laptop and fx;
José Soares – Keyboards, synthesizers, guitars, drums, cello, anything at hand, laptop and fx;
Paulo Santos – Voice, acoustic and electric guitar, keys, trumpet, percussion, laptop on/off.
Garage-punk band from Moscow. Founded in 2007. The idea was just to play raw punk and rock-n-roll as we all heard on New York Dolls early demos. Andrey worked in music mag and played bass in friendly heavy metal band. And suddenly understood – he’s got something to say. Each song is a true story about streets, girls, drugs and so on. Mess. played lots of gigs in Moscow, St.-Petersburg, Kyiv, Vladimir, Nizhny Novgorod. Some of gigs they can hardly remember. In 2010 the band recorded 1-st LP ‘Mess’ and went on tour. After long pause they returned to the scene with saxophonist and new songs. LP ‘Lucky One’ was recorded at exellent ‘Music street studio’, which was later – destroyed by city government.
Андрей Шерыханов – вокал
Антон Кириллов – гитара
Александр Давлетбаев – барабаны
Дмитрий Бодров – бас
Петр Чайников – саксофон
Artwork by Дмитрий Соколов
Photo by Марат Никитин
Record in Music street studio
It seems that only art-punk has acquired the national sound among all the rock genres performed in Russia. This sound is peculiar and is not recognized by the masses. So it is highly underestimated.
Here is an evident example of debut work by multiinstrumentalist Konstantin Zeda from St.Petersburg in collaboration with Anatoliy Nikulin as a sound producer. From the very first seconds of the recording it’s pretty understandable that the album doesn’t tend to be modern. The sound stylization roots back to the rock of 70s,to glam rock Roxy Music’s sort as well as music hall. Melody greatness is performed with high stage/theatrical emotionality and punk energy though moderate one. The album at whole has a concept, in spite of the absence of the connecting line between tracks. The imagination brings back the story lines from soviet musical film about the XVI-XVIII centures. The point is that it’s not because of the misic itself, but lyrics as well, as in “Veronika”, “Sladkiy son”, “Luchshiy den'”, “Korol” and especially “Prizrak”. Friendly speaking I don’t know anything about the author’s intention but the soviet film collection could fill up with one more nonexistent film.
A selection of tracks recorded between 2006-2012 onto a 8-track recorder. Partially recorded in a bedroom corner, partially in the new place in the “Nad Garażem” studio. Little tunes, vocals or no vocals, in a diy, lofi spirit which Jan Strach remains faithful to. If you like casio melodies, ecclectic approach, and a jittery, blurry atmosphere, you might enjoy this.
Four months have been spent for the recording session. However we have not managed to depict the full energy of our live performance. But you will find some true love, electrified post-punk and fatigue.
Music by Alex Erenkov, Andrew Strigul, Ray Fano
Text by Ray Fano
Artwork by Ray Fano, Olga Noskova
A year ago , who would have thought that only appeared Pk jazz Collective will be the main driving force of our label .
This is reflected not only in the number of published album received many positive reviews , but also in collaboration with many artists such as: Ховбай Хвекмеев, Павкашавет бантут and Alex Fry from Break The Bans.
Now we are reached for a new album by Pk jazz Collective, and I want to note that Вячеслав continues to vocalizing, just like in 4×4, his previous album . Here we can see departure from the kraut- jazz to psychedelic rock , with a strong impact of “The Doors” sound.
Also there is a collaboration track. Track “Just With You” co-wrote with Moscow band Райт.
All music & text by Pk jazz Collective (Vyacheslav Korotin)
(01) We’ll Never Grow Older text by Boris Grebenshikov
(05) Just with you music by Райт
Artwork by Vyacheslav Korotin
Pk jazz Collective:
“This EP by Klaus Marten is a good showcase of the diversity of sound experiments this artist is swimming in. A good invitation to possibly explore more from where this came from! Be free to tease yourself with this EP…” – Yeah I Know It Sucks blog
This is a mini-LP of mine from a couple years ago called September. As I listen now, what strikes me about this song is the dreamy, woozy quality of the shoegaze-esque songs present on this collection. In my opinion, the ubiquitous nature of these textures (broken up by a couple of harder-edged tracks so not to cross the line into monotony) makes for a consistent and singular listening experience, from which many ideas and themes can be inferred.
This album of mine, Satiety, I think is really good for two reasons: 1, each track to me is really great at capturing and even painting a certain mood. Each track is its own world. And yet, it is also incredibly cohesive considering that, as the whole thing seems to combine to form a singular statement, whatever that may be. The largely abstract and open nature of my instrumentals allows the listener to draw his or her own conclusions.
Klaus Marten was born in Cleveland, Ohio, and lives in Bushwick, Brooklyn, New York, where he spends his days working, hanging out with friends, buying records, and making music on his laptop. The varied influences of My Bloody Valentine, Smashing Pumpkins, Brian Wilson, Animal Collective, The Ventures, The Beatles, Sonic Youth, Deerhunter, and Japancakes (among others) provide a basis for his guitar-based music, which combines shoegaze, rock, surf, country, general experimentation, and other muddled-together genres into broad-ranging tracks as simple as solo guitar works and as complex as lush dream-pop soundscapes…and everything in between.
Hi, my name is Klaus Marten, I am based in Bushwick, Brooklyn, NY, and I would love it if you could check out my latest release, Master Tape, which is available here: https://klausmarten.bandcamp.com/album/master-tape. My music I guess could be described as generally experimental, shoegaze-leaning, but mostly guitar-based and often laden in reverb. I think my music is something different: it is oftentimes abstract, in a way that gets your attention, but also in a way that allows you to apply your own meaning to it. I have heard some really interesting interpretations of my stuff in other reviews, and would be fascinated to have your take on it as well. I would hugely appreciate it if you could take the time to listen, and I hope to hear from you soon!
“Sāqiya gazes at history. Beautiful sounds, coming from the sea. Music scores written by amanuenses. Tarantellas intertwined in baroque embroideries, in a game of disguise, on allusive grooves. Bright and colorful wonders. Virtuous words drawn from an endless dictionary at the crossroads of cultures: Arab, French, and above all Spanish. Stories of encounters, exchanges, smiles, yet stories of oppression.”
“Haven’t We Met Before? The Songs of Simon Waldram”
We warmly welcome our new artist Simon Waldram from Nottinghamshire, UK.
Simon’s music is a nice blend of indie pop, psych-folk, rock, lo-fi and various experimental stuff. He released his first songs back in 2009 and this album should be seen as an introduction to his work. It contains 15 handpicked songs from 2009-2014. Hope you will enjoy it, as much as we do.
jim lace and alex nova used to be in onyx system. but then onyx system stopped. so they used an electric guitar, a roland rs-09, an arturia minibrute, a korg wavedrum, a vocoder, a nord lead, an alesis sr-16, and hooves to make a few more songs under their own names.
prog sense. paranormal science fiction vein. story telling. lovely creature afraid to die. stargate. a lover in her hair. afterlife. a man, a broom, the devils. the sound is: late night roxy sleaze, satellite machine cuisine robot synth croon and traces of meditative frippinalia.
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.
Fryvolic Art is one-man-band from Poznan/Poland. Now sharing you not only music, but a deep thought also: music is dead without the listeners. So let it live… What can you expect? Some interesting combination of rock, guitar-chillout with a little classical mood and even metal. Visiting ornaments.fryvolic.pl you will find online-player, download zip file and some place to leave a comment or post a question.
“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.”
Mastermind is a twenty-minute ep by Claudio Quartarone, a renowned Sicilian guitarist whose works spans from jazz to classical to experimental music. It is possible to listen to some of his musical directions in the six tracks which make up this eclectic release, of which all at Sucu Music are proud.
Zamalek is an island in Cairo in the middle of the Nile.
But also a neighbourhood, something in between.
This album is about the sky you can’t see from this island and the things that swim in it.
Zamalek is a warm cuddle from your trusted friend, a fist in the nape from your best enemy.
Artist: I Killed Techno!
Title: Whataburger Deathburger
Genre: Cyberpunk; Nintendocore
Format: MP3 [320 kbps; stereo; 44,1 kHz]
I Killed Techno! started in ‘07 and is still running strong today.
McAllen born but im currently living in Corpus Christi. Constantly pushing my limits and mixing my genres all while keeping my own style.
poj.wlkp, one of 9 musical projects of polish amateur musician Jan Strach, has always been his outlet for the most depressing, intimate feelings and it is not different this time. Sadness prevails in the lyrics and the melodies alike, which as always follow the diy ethics stated in poj.wlkp’s “hortifolk” manifesto, but here the instrumental tracks are much more polished and include synths, keyboards and effects, no longer leaving the acoustic guitar as the main instrument.
The melodies have been created as combination of fits of inspiration, structured improvisation and laborous calculation in order to achieve something original yet not overbearing or pretentious. Somewhere between sadcore, gothic, folk and rock, the songs penetrate an area of eternal melancholy, while taking interesting turns in chord choices, rhythm and structure.
The album took 3 years of creation in a process equally excruciating, purifying and satisfying. This is the end result, a labour of love of one person, perhaps lacking in professionalism, but never in genuine passion and spirit. Dark, sad and avoiding obvious solutions, and thus adhering the philosophy of every poj.wlkp album so far.
This is the first release in Linear Obsessional’s “RetroLinear” series- bringing attention missed opportunities andlost leads from the past.
This EP by the Teesside post punk band Tick Tick was recorded at Guardian Studios in County Durham in June 1980, “My Swelling Heart” was intended to be released as a follow up to the band’s 12″ EP “The Immortalisation of Tick Tick” by the expanded, more dynamic version of the band, but never got out of the can. Remastered from the original recordings “My Swelling Heart” reveals a band confidently pushing into new areas – including elements of funk, dub and world music, with startling philosophical lyrics and all underpinned by a beautifully recorded new rhythm section.
Vocals – Geoff Spence
Guitar/Clarinet â Gary Widdowfield
Guitar â Richard Sanderson
Bass – Ste Weatherall
Drums – Paul Fowler
Backing Vocals â Tick Tick and Pete Farrell
All songs composed by Tick Tick
Words-1 & 2- Widdowfield
Recorded at Guardian Studios, Pity Me, County Durham, June 1980
Produced by Tick Tick and Pete Farrell
Engineered by Terry Gavaghan
Remastered from original studio cassette by Richard Sanderson November 2013
This is an important album for Projekt Luty for two reasons. It is the first album recorded in nine years; plus, it is the first one recorded in “studio” conditions so to speak, or at least was not recorded to casette tape like all the previous ones. Musically as always with Projekt Luty it is unpredictable, but at the same time surprisingly coherent. Songs are locked within a tornado of swirling effects, simple tranceful repetitions of guitars and keyboards and occasional freakouts. All music as always is improvised but thanks to studio magic, was reinforced after recording with additional synth and drum tracks. It is dense, all the time balancing between order and disorder, alternately fun and dark, noisy and dreamy, always exciting and full of diy charm and jangle.
Title: Antenna Theory
02. Gulliver: Side Effects Of Modern Psychotropic Substances
05. It: Another Touch
07. PS: Hallelujah
08. Spear Of Mars And Belt Of Venus
The project Pulitzer is a non-profit music project, creative commons for free download.
Born in 2012, between Rome and Florence, the brainchild of Massimiliano Governali and Fabio Chiantini, with the aim of interpreting through music, facts, events and news of our times.
In this issue we talk about the negotiation state-mafia, environmental disasters, corruption and doping in football, the massacre of the Diaz school in Genova in 2001, the Greek crisis, the mysterious death of 23 of the 25 marines who captured Bin Laden, the world’s fastest man and the Higgs boson.
Jan Strach returns with a collection of songs gathered from his short lived “Out of Strach” project which presented each month a new short film, photos, a short story and two pieces of music. The songs were recorded between January and May and due to the time constraints JS had to go with the first inspiring thought that he got at the moment – whichgave some great and varied results. The opening track is based on the reversed melody of “Frere Jacques” but ends in a stoner feakout. There are atmospheric pieces about being followed by a woman driver and the death of dr Greene from the hit tv series “E.R.”; a tribute to Opel Astra over 5 different melodies in 3 different genres. Apparent are irregular rhythms and non-obvious melodies which JS has much love for, and equally much amateur passion and diy spirit, as always on the Underpolen netlabel.
“Eddie Huragan” is dedicated to mr Eddie Palmer of the tremendous The Fucked Up Beat, who fought the hurricane.
“Suddenly a bird” was written to graduate the online songwriting course at Berkeley music school.
Artist: Burning House
Title: Burning House
Format: MP3 [320 kbps; stereo; 44,1 kHz]
Burning House have created a sepia-tinted sound that is both pastoral and psychedelic. The glacial arpeggios, the guttural feedback that owe’s much to the cinema of Andrei Tarkovsky, as it does to the likes of Red House Painters and My Bloody Valentine.
The music truly takes you on a rollercoaster of emotions which evolves a certain sadness, elation, but also black humor.
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