“Project inspired by ever-changing London landscape.
‘E2’ – title of that EP is a first part of East London post-code,
a place I used to live, that was recently demolished for new buildings made of Aluminum, Tempered Glass and Rubber & Wood.”
“Proyecto inspirado en la constante transformación de Londres, concretamente en el “East London post-code”, lugar donde vivía, que fue recientemente demolido para construir nuevos edificios hechos de aluminio, vidrio templado y caucho y madera.”
It was around 2,600 years ago when a Judean teenager was taken captive by the rapidly ascending Babylonian Empire, a force of unstoppable military strength, great wealth and technological advancement. Normally such an event would lead to a life in misery as a slave … but God had something else in mind for this young man named Daniel.
Daniel, The teenager who had been taken captive, came to realize that God was miraculously working with him … but not only to preserve his life. God was revealing through him some major prophecies of future world-ruling empires. As a resident of the world’s premier capital city and AS an honored wise man in King Nebuchadnezzar’s court, Daniel demonstrated God’s superiority over the pagan gods of Babylon and left a legacy of faithful obedience to God in spite of grave trials and tribulations.
Inspired by the Old Testament book, Italian producer Orlando La Montagna adapts the story of Daniel and transforms it into a dub adventure, introducing different variations of the same riddim just like the different chapters of the book. Each track has a deep spiritual ambience; starting with “Induction in Babylon” where Daniel is introduced in the hard Babylonian system through a stepper-techno beat and ending with “Life Giver”, which sends the final message to our permissive society of power-hungry people … to a nation without God. Daniel’s situation in Babylon sounds quite a bit like our own, doesn’t it?
Myth: a sacred story, a set of beliefs, a way to make sense of the world, to connect the dots. A notion that is also the name of one of the first tracks made by BeatMyth (in 2007). It was one of many pieces in that raw and forward-thinking style, characteristic for the next half decade. But, the mythical narrative can be said to have started in Novo mesto, that town just halfway between Ljubljana and Zagreb. Exchanging the guitar and the amp with two turntables was the best deal ever. And there we also have the beginnings of the praised jazz-funk-rock group Moveknowledgment, and PlankTon’s turntables and records were part of it. Dance parties soon ensued at the local pub and the locals were going bat-shit-crazy, driven by the fast jump-up breakbeat science from the UK. It was all LTJ Bukem’s fault. And perhaps Fatboy Slim’s too.
After a few years in the urban setting of Ljubljana, there was more and more electronic music knowledge on the table. Igor and his flatmate Mitja Pritržnik were dabbling in writing and production, laying down some charged breakbeat tracks, inviting N’toko – PlankTon’s partner MC at many drum’n’bass gigs – for an ad-hoc recording session. And Mitja’s sister giveth the project the name. At the backdrop of that time were musical influences such as Adam Freeland and Hyper, gigs with the “Illegal crew”, a drum’n’bass crew on the rise, and production discussions with its chief MarkoMan. Lots of hours of tedious work behind the computer resulted in BeatMyth’s debut: “Your Own Two Heads”, an industrial electro-punk collection of bangers.
In the poetics of this work, one can sense the history of personal musical growth: the beginnings in doom metal and the sense of immediacy of jump-up and harder strains of drum’n’bass. Active as a DJ in the last decade, PlankTon moved exceedingly firmly into the contemporary breakbeat scene, very much in line with what can be found on BeatMyth’s first two albums. However, proper appreciation of this project is not possible without taking into account the live performance of PlankTon and N’toko, who have until now always presented BeatMyth in an outgoing onslaught of beats, basslines, synth-stabs, and fast vocal ranting, animating many a sleepy auditorium into something akin to a small riot. And to furthermore bring the tentacles of this project’s context to light, it must be said that at the core of the project stands a multiskilled producer and audio engineer, whose areas of work go beyond mere clicking around his DAW: robotics workshops for kids, technical support for art installations, analogue synthesizer repairs, audio studio building, mastering and mixing a variety of different projects, and live sound.
And finally, this, the third album maturely brings up musical material created through a different approach, a different attitude, and mixes it up with that signature outgoing electro-punk vibe of the previous two albums. This attitude is purposefully playful. It’s a move away from the dance floor, away from the dictate of the live spectacle into an exploration of sound-based sample-heavy trickery. Still, it by no means represents an abandonment of the basic, ever-present principle, the pillar of this sound: firm musical decisiveness and a never-ending search for dynamics in balance.
Channel Surfing is a quasi-vaporwave project. Meaning that it predates vaporwave, and was initially influenced by the glitch and idm scenes of the 90′s and early 2000′s. With Channel Surfing, the focus is on microhouse and shoegaze. On ‘Paradox In The Bathroom’. . . I took a detour, and focused on lyrics. This time, it was the political solitude of an uncertain future. The in-between moments, of both turmoil and tranquility in America. Sonically, ‘Paradox’ uses Sound Design as a songwriting tool. Drum machines were treated like synthesizers, field recordings were processed like guitars. It is a very environmental spin on the “rock formula”. Channel Surfing is the band from the Mojave Desert. The locus of Channel Surfing is “Ethereal Synthesis” in all it’s various forms. From album to album, the locus changes, falling together or falling apart, but the same ethereal techniques apply in different ways. Sometimes, outspoken and political, other times, quiet and interspective. Enjoy. . .
J4ck Sh4rk open their wings and display the array of sounds that interests them. Tracks that show weight, such as “Longest Road” and “Blind”, and others have elegance and subtlety, such as “Preta Pretinha” and “Don’t Stop ‘Til You Get Enough”. 2011 was the peak of sonic expansion and exploration.
Finally, Floating Machine (aka 50% of Code Therapy) delivers his debut EP “Convergence” on Digital Diamonds. This trippy release is packed with three original tracks, deep and hypnotic as we love it, plus a rolling and progressive remix of Luis M’s track “Interferenz”.
“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…
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.
If we talk about versatile electronic music, “Violet Taste” EP by Gassman has all those characteristics that makes it stand out; from its elaboration to its rythmic treatment, its bass lines, melodies, and voice and synthesizer samples. It’s such an intriguing trip with diverse nuances and hidden places that we can travel to different times from one moment to another. We swing in a multiple galaxy taken by the hand of a very accomplished producer. He openly challenges us to follow him in his musical path. As a whole, we hope to leave our referente to contribute to a scene already installed, one that the lovers of a good underground sound will know how to appreciate.
Audioexit Records celebrates its 9th birthday this November and this date marks another milestone at our label. The upcoming release – AE100 – will be our latest release as a netlabel and we plan it to hit hard.
Audioexit was established in 2007. After the initial 3-sublabel structure we kept only techno as this is our main profile originally. The label could manage to stay underground and uncompromising during the years. This was our initial goal so we can say we achieved it.
Our releases were widely recognized in the scene, played by many DJ’s and radios. We also had monthy podcasts and mixseries.
We would like to thank you for your support and also ask you to stay tuned, because we will have news coming soon.
Jack Plug inhabits the architecture of the skies. The one that hangs from ‘vertical streets’ of some cities of the world, that slide, like Valparaiso, as if they were about to fall down, or turn into horizons that could swallow it all if the oceans should rise.
Valparaiso and its landmarks are not supposed to be minimal. In this case, the 3 musical paintings that André Baradit S. is showing are in a certain way “maximal”.
A mature producer imbued with electronic work experience, his different projects usually generate a good flow sensation.
‘Techno in progress’ could explain what’s coming with ‘LOVE’ (Radio Edit), the track that opens the door to this EP. Jack Plug plays with some kind of “arrhythmia” that is self-sustainable. The latter creates a balanced harmonic feeling, evoking childhood memories at the end.
There are multiple sounds reverberating along the 3 tracks. Also dub-ambient references are made, but without missing the link with the rhythm development and the strength of the bass sound.
‘Feriado’ makes you wonder wheter you are bumping into a russian sailor or intercepting communications of two world power rivals.
Now ‘Feriado’ (the word in spanish for ‘holiday’) becomes a starry night (and not just any night but the one when stars really shine after the lights of the hill’s houses are turned off) and the music is an explotion of stardust like a micro-flare choreography.
‘Investigación’ points to something darker and less defined. The ‘echoing-dub’ has a structure that gives short metal whiplashes, with segments taken from the break-beat style. When the EP Is about to end, maybe we are going to remember the old funiculars and feel lonely when the sirens stop making their typical sounds.
Felipe Raurich Böttiger
The random moments when its remembered to press record are the junctures captured and reworked into the raw body slowly defining itself as ‘Strunkdts’.
Isolated on the western coast of Australia, ‘Strunkdts’ channels memories of rave, punk and broken hearts as eulogies for a dying and insane world. The trash, the chaos, the lies and the uncertainties that constitute a whole lot of nothing are the vessels thru which the work navigates.
A haggard, paranoid projection of romantic days past into the ever present unknown. “We all star in hell” are one shots and teasers that were abandoned rather than finished.
“Anthology ’10: Learning To House” represents the first movement to encounter in a nearby place. It would take longer to know and be certain of what’s being pursued. But it’s already possible to notice some elements that will be re-thought e refined in the coming years.
Nothing could better define this collection of tracks than “Early Years”. The first experimentations and works from J4ck Sh4rk show their electronic music foundations since the beginning and demonstrate that their sound will always be eclectic.
Erich Schall gehört einfach zu den ganz Guten. Nicht nur, weil dies bereits sein drittes Album auf dem kleinen grünen Würfel ist. Sondern auch, weil er es schafft, sich nicht zu wiederholen. In der Rockmusik spricht man gerne vom schwierigen dritten Album. Erich Schall ficht das nicht an. Er hat schon lange zu seiner Musiksprache gefunden, wobei hier eigentlich die Mehrzahl angebracht ist. Denn, um bei diesem Bild einmal zu bleiben, Erich Schall spricht fließend Dub-Techno, Minimal, Elektro und neuerdings auch IDM und Downtempo. Aber wen interessieren in unserer Postmoderne noch Genre-Grenzen?
Niemanden, genau. Ach so, war eine rhetorische Frage. Egal.
Die freie Wahl der Mittel stellt Erich Schall vor das Problem, nicht in die Beliebgkeit abzudriften. Er löst dies ganz meisterhaft durch Selbstbeschränkung. Jedes Stück verfolgt exakt eine Idee und das ganz konsequent. Seien es nun Sounds von elektronischen Klanghölzern in „Sticks“, von einem Saxophon in „Saxblock“ oder von einem Klavier in „Quantifier“ – stets lotet er alle Möglichkeiten und Variationen bis ins letzte aus. Auch scheint es, als habe er zudem noch verschieden Tempi erforschen wollen. Denn vom extrem treibenden Peaktime Kracher „Tropical Dodge“ über hypnotische Midtempo Stücke für die Aufwärmphase wie „Outside the Tent“ oder „Seep“ bis hin zum abschließenden, chillig langsamen Rausschmeißer „Dew“ werden alle Zeiten bedient.
Ein Album für einen ganzen Abend also, mit einer wunderbaren Spannungskurve. Kann man gut durchhören. Aber natürlich darf sich auch jeder gerne seine Perle herauspicken. Und das Schöne dabei: Perlen gibt es für alle genug bei diesem Album.
“When the diverse tendencies of electronic sound are combined, they create style. The form in which the style is crafted provides variety to the listener. As such, it is natural for the inspired musician to suddenly perceive the different forms of noise and interpret it in relation to a work. Luis Marte establishes the union of rhythm and sonic experimentation in a persistent manner, wide and fleeting, with passages (and/or landscapes) “from other worlds” injected from minimal percussion, clear and at the same time deep beats, synthesizers strange for the neophyte and beloved for the initiated.
I have no doubt that Routier (pn109) was composed for the most part with hardware; its sound betrays it. Each beat has its own personality, every glitch, strike, synthesizer and noise in general is carefully aleatoric (Is it possible for the casual to be meticulously cultivated also?) and fits perfectly.
The experience of the autor is also important when it comes time to produce. The broad musical baggage of Luis Marte, the production of numerous festivals, collaborations, and his constant research with new media allows him to interpret through his own prism tendencies that are raw, that do not tend to sail together in the ocean of electronic sound.
What do we have then?
Seven sessions riddled with singular concepts , rhythmic and minimalist, analog and digital, interlaced into a whole and conforming parity, exquisite and of good taste when it comes to relating each noise, beat, glitch, synthesizer, machine, module and who knows what other gadget worthy of praise between the jumble of cables and connections in the studio of Luis Marte.”
Eduardo Yáñez (aka Gozne)
(Quilpué, Chile. Agosto / August 2016)
italy’s matteo gomez returns to unfoundsound, yet again. and again. and again. this time around, he delivers a beautiful 13-track album entitled ecce — ranging from dubby minimal techno to leftfield ambient to deep tech to acid to….whatever. you work it out. but work it out with an open heart, and an open mind.
Four-to-floor with Fire, Earth, Air and Water, the characterizing elements of “Snowing on Lava”, the artistic maturity for Martino Nencioni. His classy electronic compositions transfuse with naturalistic components characterized by typical rave-culture aesthetics. The “4 elements” fully shine in “Snowing on Lava”, a 60 minutes space-less and silent suite. A dense album, which transports the listener to meditate about the origin of cosmos through a whirling and hypnotic crescendo. Fast transformation and ecstatic contemplation, natural elements like stones and aquatic sounds are melted with technoid rhythms, creating a mutable and harmonic world. Echoes of krautrock a là Neu mixed with trancy IDM components from Anglo-Saxon school (see James Holden or Clark). “Snowing on Lava” is the kingdom of Martino Nencioni, in which all the things exist and consist.
Music by Martino Nencioni
Mama Jericho visus claimed by G•D•M•
THIS IS THE 51beats RELEASE FOR THE 2016 NETLABEL DAY
1) South Road_Intro
2) North Road
3) West Road
4) East Road
5) Let’s go Mars_Outro
6) South Road Intro (Osinski Late Night Rmx)
7) South Road Intro (Osinski Shoreditch Rmx)
8) East Road (D_Smoker Rmx)
9) North Road (TYM Rmx)
10) West Road (Bakra dub Rmx)
“[im]mor[t]ality” contains 10 tracks and represents a new search and a new definition of his sound. It’s a work built on bass frequencies and obsessive melodies sometimes dark, sometimes gray, sometimes just simply blue as the sky can be.
After two years of silence, Gridline came back. “This is a collection of tracks I created in the last two years. They are all in some way connected to dreams, sleep, night time, and other similar themes. Music For Sleepers is the sequel to the previous album Videogame, but it is about another virtual reality. This is the music for all the people, because we all sleep and dream, but it is not the music to fall asleep to.”
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