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.
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