Suche:ambient

Two original tracks performaed by Damaskin. Mental and ambient techno, with soft bassline and dark atmosphere, this is the sound of Damaskin, deep and weakness at the same time. On the other side a perfect techno remix of Cassegrain duo, 7 minutes of a killer-dark-dancefloor-oriented track. Limited to 200 copies distributed world wide by Triple Vision
Keys words: Eternal, mistery, open-ended rhythms.

KRAKE is an annual Berlin based festival for challenging electronic music. Krake means - octo- pus' and the festival is organised in a comparable way: reaching out to selected locations during one week presenting the best in electronic music whatever style it is. The festival is not huge, not expensive, does not have big sponsoring deals or four different colour are passes. It's just a good and so far successful try to bring back the focus on artists who dare to step off the beaten tracks.
KRAKE 002 contains mostly exclusive tracks of artists who played at the Krake festival in 2013. The A-side starts with a dark ambient drone by DÄMMERN, followed by a pop-fueled two-step hit by PHON.O. Next in line is Irishman EOMAC with a warm and deep IDM track already char- ted by none less than Thom Yorke of Radiohead, followed by - Resolution', a little melancholic stepper by BILL YOUNGMAN.
The B-side is being opened with a techno track by grandmaster MONOLAKE in his most typical dubby percussive style. For the next track FRANK BRETSCHNEIDER reduces the sounds to the max again to deliver a percussive track as minimalistic as can be. Legendary techno producer CRISTIAN VOGEL, known for his constant search for new values, closes the compilation with an avantgarde piece of noise and drones.
Outstanding, we'd say!

Visibility Is A Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix of 'He Was Human And Belonged With Humans'. The EP heralds the arrival of the Edinburgh-based project's sophomore album, Will To Be Well, due out on Blackest Ever Black in early Summer 2014. Dalhous first announced its existence in 2012 with the Mitchell Heisman 10', and last year released its debut full-length: An Ambassador For Laing. Both Visibility Is A Trap and the upcoming Will To Be Well LP reflect writer-producer Marc Dall's continued interest in the language and imagery of self-help, R.D. Laing and the anti-psychiatry movement. Though recorded after Will To Be Well, the tracks on Visibility Is A Trap at first appear to have more in common with the blue ethereal drift of Ambassador. While 'Information Is Forever' and 'A Change Of Attitude' are firmly in the ambient mode, 'Active Discovering' fizzes with arpeggiated energy, and a battery of percussion disrupts the calm surface of 'Sight Of Hirta'. Something is up. All is not as it seems. The Regis remix of Ambassador highlight 'He Was A Human And Belonged With Humans' finds Karl O'Connor in unusually pensive mood. In fact this near-beatless, dubwise version is unlike anything he has put his name to before. Discarding the rhythmic skeleton of Dalhous's original, he gives their weeping saxophone more space to roam and resonate, adding off-beat, sleep-deprived keys, murmured vocal fragments and swells of sub-bass pressure. It could be construed as a love letter to his former home in West Berlin; certainly it evokes and effortlessly updates the drugsick grandeur of later Neubauten or Low side 2.

Genesa Records is proud to presend the debut solo EP of the Japanese techno wizard Ducerey Ada Nexino aka Yuji Kondo! Whether as Ducerey Ada Nexino, Yuji Kondo or in the collab-duo Steven Porter (with Katsunori Sawa), this producer and co-founder of the notorious 10 Label imprint, has been making floor shaking tunes for a while now and gaining a lots of attention, proven by appearances on labels like Semantica or Perc Trax. 'Cycles, Children & Islands EP' represents the culmination of his work under the 'Ducerey Ada Nexino' moniker. On board are 3 originals, a remix by the label-head Scalameriya and a digital, 'bonus' ambient / noise track. All of that, beautifully packed on a grey/black marbled vinyl.

After a string of releases on Drumcode Records, Pets Recordings and Hypercolour, Tom Demac has joined forces with Will Samson in a somewhat unlikely pairing for their debut release via AUS. Following on from AUS's celebratory 50th release from Deetron, a surprise re-release of Sei A and another solid EP from Dusky, this release takes the label along a more expansive and less dance floor orientated route. In 2012 Tom Demac established himself as one of the UK's most exciting producers after widespread acclaim for 'Critical Distance Part 2'. He followed up this success in New Release Information 2013 with collaborations and remixes with Glimpse such as 'L-Plates'. On the other hand Will had been touring indie venues with Kurt Vile, Marissa Nadler, Shearwater, Ólafur Arnalds off the back of his newly released LP, 'Balance' - an album of hazy, ambient & intimate tape recordings At the end of 2012 Tom stumbled across Will's album, although on opposite sides of the musical spectrum, the two shared a similar ethos towards their work - passionately creating, but never taking themselves too seriously. Having both experienced the recent and sudden loss of close family members just a few short months apart from each other, it was clear that there were both in need of a cathartic outlet. 'It Grows Again' and 'Chasing Shadows' reflects these experiences with a striking blend of wistful vocals and ambient guitar swells from Will Samson and Tom's distinctive grumbling and weighty bass lines. The final track on the EP is Tom's formula remix which seeks a more 4 to the floor approach, led by punchy beats and groove rather than intricate vocals. Tom Demac will be complementing the build up to the release by playing gigs and live shows across the Netherlands, Germany, Ibiza and the UK.

LP pressed on 180gm vinyl; sleeve printed in three Pantone colours; includes free MP3 download. Featuring all-new material and recorded in the band's isolated studio on the edge of the Essex marshes, the album ebbs and flows in mood like the nearby Blackwater estuary. Working with a palette of vintage drum machines, analogue synths, textural samples, acoustic recordings, electric bass & heavily treated guitar, the songs were born out of captured live studio performances. Cooper & Hammond then rewired their initial sketches through a series of hands-on, lo-fi effects chains, blurring the edges between acoustic & electronic elements. The result is an organic, playful feel; leaving the music room to breathe and carrying distinct echoes of the band's previous work. BIOGRAPHY Ultramarine are the London/Essex-based duo of Ian Cooper & Paul Hammond. Formed in 1989, the band's early records were released by the seminal Belgian label Les Disques du Crépuscule. Ultramarine released five albums during the 1990s including the highly-acclaimed ambient techno/house classic Every Man And Woman Is A Star (Rough Trade, 1992); United Kingdoms (Blanco Y Negro, 1993), featuring writing collaborations with Robert Wyatt; and Bel Air (Blanco Y Negro, 1995). After a prolific decade, including full American and European tours with Björk and Orbital, Ultramarine went on a long sabbatical following the release of their fifth album A User's Guide (New Electronica, 1998). After a 13-year absence they resurfaced with two new singles in late 2011 on Real Soon and WNCL Recordings, fully rested and ready for action.

Robert Dietz returns to Running Back with old fashioned Frankfurt sounds techno soul leanings, Rhein-Neckar ambient, bold melody moves and Todd Terry rave house reminiscences. 4 tracks 4 hits 4 you 4 ever.

endlich: mit bittersweet legt marek hemmann sein zweites Soloalbum auf Freude am Tanzen vor. ein großer Schritt nach der letzten duo-Veröffentlichung unter dem namen marian, und in seiner weiter gedachten Pop-klangsprache ganz eindeutig: ein echter hemmann. zehn Tracks, schnörkellos und vorwärtsdrängend, nach hemmann-manier diffe- renziert abgemischt und lakonisch betitelt durch knappe wortmarken. der feine elektronische Sound wird immer wieder aufgebrochen durch den einsatz knarzig-poppiger Synthies, eingespielt mit einem augenscheinlich stark vermehrten maschinenpark. diese warmen, bassigen Sounds sind der stete begleiter durch das album, und führen die analoge Vergangenheit in die digitale zukunft. denn sie sind nicht mittelpunkt, sondern Teil eines erdigen bodens, auf dem alle Songs stehen. es gibt kaum einen Song, der in seinem Stil dem anderen gleicht, das album führt seine hörer von tiefem house über knackige Tanzflächenkracher und ambientsongs bis hin zu frühlingshaften romanzen mit gitarrensamples. Schon auf seinen bisherigen Veröffentlichungen offenbarte sich hemmann immer ganz einfach als großer liebhaber elektronischer musik mit einem feinen händchen für vielschichtige arrangements und den gewissen schwebenden, ins unendliche weisenden Sound. Ja, er ist gewiss der große romantiker unter den elektro-musikern, und er weiß seine musikalischen Talente auch dementsprechend einzusetzen. und so ist auch bittersweet wieder solch ein schönes, geheimnisvolles wesen zwischen Tanzfläche und balkon, zwischen süßem Sonnenaufgang und energiegeladener club-nacht.

These last few years Rome based producer Egisto Sopor has been turning heads with a steady stream of most excellent releases. A cdr on Legowelt's Strange Life Records, a tape on 100 % Silk, a double LP on Planet Mu and an evergrowing series of jams that are put on soundcloud or on his youtube channel. All of which offer atmospheric acid tinged techno laced with idiosyncratic touches. He has thus developed quite a cult following among lovers of lo fi electronic music who eagerly await his next grainy video, that feel like lost transmissions from an early nineties MTV broadcast. Polysick doesn't get out much and keeps a low profile which adds to his rather enigmatic standing.
With his new LP 'Daydream', Egisto has created the perfect soundtrack to a midnight trip through darkened cityscapes. Starting out like a confused jam session it slowly takes off and twists into uncanny shapes conjuring up images of a futuristic nightlife that plays out under neon lights, with a feeling of dread constantly lurking in the shadows. This is techno that tells a tale; a storyboard that comes pushing through in muffled flashes. A chase scene through deserted back alleys, executed while hunter and prey are both in a half-awake state, stuck in an infinite loop. And when the ambient synth twirls unravel and a 4/4 pulse kicks in and tears through the dreamy state of conciousness, it never signals a reassuring release of tension. You might dance to it, but not without anxiously looking over your shoulder.

If geography has an impact on music, then Vienna has coloured Tosca's music at every turn. Over the course of a career spanning two decades, the Austrian capital has inspired Richard Dorfmeister (of Kruder & Dorfmeister fame) and Rupert Huber to make electronic mood pieces coloured with Mitteleuropean melancholy.It's a bittersweet juxtaposition that is much in evidence on the pair's new album, 'Odeon'. It opens with the hazy strings of 'Zur Guten', which ebbs into the oozing keys and pizzicato steel string guitars of 'What If', which features a smokey vocal from Sarah Carlier. Lead single 'Jayjay' is a haunted combination of sombre piano chords, rolling drums and weird, otherworldly vocals from JJ Jones. It's the pivotal track on a record that sees Tosca tapping into gothic atmospheres. It's darker than their previous five albums, more downbeat, at times ambient. It's unlike anything else out there at the moment.Is there a reason for this sombre tone Nothing specific. "Obviously our music is influenced by our experiences of life - it couldn't be any other way - so in some senses it's a kind of diary, but there weren't any single incidents that caused the record to be that little bit darker," says Dorfmeister. If anything, the exact opposite is true: life has been good. "Over the last year I think we've both learnt to be more generous and to understand our own limitations and other people's" says Huber. A case of musical yin and personal yang, then.The album's name, meanwhile, comes from the venue in Vienna where Tosca debuted the new material in October. The performance went so well they decided it would make a fortuitous name - the music/place interface in action once again. The performance features as a bonus disc on the deluxe version of the album, which will be available exclusively via !K7's webstore. More than anything, 'Odeon' is the sound of a band at the top of their game. A good time for them to release a career retrospective then. Dorfmeister reflects on the band's history. "It sounds like a cliche, but we've never really thought about other people's music when we're writing our own," he says. "We try and create our own sound. We really have always been like that. And I think we've developed a trademark sound because of that." They certainly have. It's been called the "Vienna sound". And, in updated form, it still sounds like nothing else.
Double Gatefold LP with bonus CD of the entire album

the second part of the in-demand " Cero" by Galarude ( DJ Kent and homies from Sly Moongose and Tokyo No. 1 Soulset ) that had been a secret weapon of a selected few DJ glitterati since it's original Japan-only release in 2004 delievers another set of knockout mixes: Prins Thomas flatens the originals tribal elements with hard whiping beats and a forceful steamroller of a bassline yet keeps the headmessing ingredients intact with all those swirling, spinning soundparts that one can also enjoy in higher dosage with the "ambient miks" for daytripping on your homecouch. Tuff City Kids aka Lauer and Gerd Janson corrborate how they persistently tweaked themselves to the a-list of remixing teams with two expertly constructed, infectiously swinging house mixes that keep the acid purity level high and carry the promise of a neverending summer of love.

Besinnliche Ballade oder turbulente Tanznummer Organische Klangfarben oder synthetische Brillanz Experimentelles Beat-Gefrickel oder gradliniger Rumms Die Canow EP ist alles. Und in ihrer Gesamtheit noch viel mehr. Der Titel Rope widmet sich voll und ganz dem melancholischen Lied der Sängerin, hintergründige Streicher und verträumte Ambient-Zitate scha en ein Gefühl von Filmmusik. Genau das greift auch der Mollono.Bass Remix auf, jedoch ist die Handlung seines Drehbuchs von den Trommeln ferner Länder und dem nächtlichen Reiz einer exotischen Metropole geprägt. Der Titel Dive atmet ebenfalls durch die ergreifende Ausdruckskraft jener Stimme, hier kommen gebrochene Beats dazu, die sich mehr und mehr gerade ausrichten und eine unterschwellig stimulierende Note erzeugen. Inspiriert von diesem subtilen Aufbau präsentiert Mollono.Bass eine Hauptzeit-taugliche Überarbeitung, treibender Groove und schnittige Percussions holen den Zuhörer vom einleitenden Gesangspart ab und tragen ihn dann hinaus in die hypnotischen Weiten des Klangraums.

Boris Werner is known for producing quality music and filling venues with crowds who can't get enough of his energetic and inspiring sound. These are a couple of the reasons why Boris Werner stands with us here today and proudly presents the Slow Dancin' EP, and we think you are really gonna love it. Strings and a relaxed rhythm user in the title track, complete with ambient vocal samples. Then, all at once the bass hits and the kick fills the void; instant groove. A jumpy synth dances over the track and invites friends to the show. Before you know it you've got a full track on your hands. Don't be fooled by the title, as it is indeed misleading. There will be no slow dancing to this gem. 'Missing Out (Dedicated to Ed & Emma) is a bit deeper, but with a warm feel (e-piano on reverb). Then, like 'Slow Dancin'', it catches you off guard with the beat. This is a feel good track, perfect for evenings, deep nights, and early mornings. Not to mention some of the years last open-air festivals. 'Did It In Miami' opens with caution, an indecisive kick with other percussive elements slowly build into an invigorating tech house beat. Grimy vocal samples creep in and the bass line slips under the beat, holding up the track well on a packed dancefloor.

Fantastic new release by Rydell, bringing melodic & dreamy but at the same time strong forward techno tracks, accompagnied with some ambient/drone interludes. Tip!

Fresh new talent Widowmaker makes his debut release on Wheel and Deal with 3 dark twisted half step stompers. Tunnelling Wurm:
The atmospheric sinister skanker, featured heavily as one of N-Types intro tunes as of late. Industrial twisted bass, bobs and weaves
around half step shuffling beats. Thunderous sub gives any dub system a work out.
Forgotten Ruin: This shows Widowmakers diversity. here he demonstrates a more tribal sound, , reminiscent of Hatcha's sets in the
early FWD days, but with a 2012 re-lick. One for the steppers.
Exile: This takes us into a deeper ambient groove, spaced out dungeon beats, deep dark and dangerous!
a Widowmaker - Tunneling Wurm

s one of the most successful artists in contemporary Techno Music Hendrik Weber aka Pantha Du Prince presents his new studio project together with Workshop's Stephan Abry: URSPRUNG.

After several studio sessions in the cold and charming winter of the Swiss Alps, Abry and Weber were driven deeper and deeper into some microcosm of sound to almost cut the edge to the myth. Influenced by Krautrock, the Ambient Music of Harold Budd and early Brian Eno, Avantgarde, and the minimalistic guitar sound of Durutti Collumn the URSPRUNG project can't resist to make the guitar a main source. coming together with highly futuristic sounds as we know from the researches of Pantha Du Prince. A truly unconventional structure of slowly growing beats hold this universe which came from the cold mountains together.

Laurel Halo's first full album following well-received EPs on Hippos in Tanks and Liberation Technologies (the latter under her King Felix alias), plus a cassette-only ambient record on NNA Tapes, it's also her most vocal-led affair since her debut EP - eschewing the techno flyovers of Hour Logic for a slower, squishier brand of synth-pop that features often untreated, raw vocals.
Quarantine's striking artwork is taken from a piece by Tokyo artist Makoto Aida called Harakiri Schoolgirls 2002.

It's no secret that Kompakt pioneers Wolfgang Voigt and Jörg Burger have
maintained a long and steady friendship outside the studio. It's even
detectable if you give a critical listen to their collaborative sound, where
almost like magic, the distinct musical swagger of each artist synchronises
completely with the other. There's Wolfgang Voigt, a confirmed radical, a
stalwart, analytical, mindbombing sensualist who famously transformed
Techno into a state of matter and lifted the Art Brut club canvas. His
material spans from Mike Ink and Gas to Protest or Kafkatrax, and within
this contrast-rich portfolio, each new oeuvre transports the serial anarchy
which is the artist's trademark.

It's with the arrival of Looping State Of Mind that you finally realise that, for The Field's ambient techno explorer Axel Willner, the loop never stops. While fans and critics alike point to 2007's phenomenal debut From Here We Go Sublime - included in Pitchfork's Top 100 albums of the 2000s - and 2009's equally stirring follow up Yesterday & Today as standalone points of the Swede's music; it becomes clear that they appear as mere snapshots of what, for the producer, is a continual cycle of revolutions.

Following the soothing 'Landscapes Of The Future' compilation, featuring selected ambient works by Argentina's nest (Jonas Kopp, Gustavo Lamas, Leonel Castillo...)
GREENER RECORDS is proud to present its rst split EP, with label boss ANDRES ZACCO and brother in soul FRANCO CINELLI.

Returning with another debut release, Second Circle's eighth record to date comes this time from young Viennese musician Giuseppe Leonardi. Performed on an array of synthesizers and experimenting with spoken word and vocals from various local singers, Giuseppe's 'TBC' EP take us on a dance through the catacombs and out through the jungle floor with ritualistic rhythm and haunting song... Whilst at other moments Giuseppe's horizontal ambient pieces leave us gazing out on the shores of a distant half-remembered planet.

Returning with another debut release, Second Circle's eighth record to date comes this time from young Viennese musician Giuseppe Leonardi. Performed on an array of synthesizers and experimenting with spoken word and vocals from various local singers; Giuseppe's 'TBC' EP take us on a dance through the catacombs and out through the jungle floor with ritualistic rhythm and haunting song... Whilst at other moments Giuseppe's horizontal ambient pieces leave us gazing out on the shores of a distant half-remembered planet.

Hui Terra. The dreamlike shape of the half-heard word, abstracts with faint impressions of bucolic landscape, or handfuls of translucent and brightly-colored gemstones that hold odd, elusive, asymmetrical form. This enchanting, gently surreal debut album from Alex Cobb's Etelin project explores the power and playfulness of impulsive action diffused through electro-acoustic and ambient sound.

This music was created with digital synthesizers and a sampler in the four months immediately following the birth of his first child, a hazy period marked by a lack of regular sleep and a diet of INA-GRM, Nuno Canavarro's "Plux Quba", and Microstoria's "Init Ding" - records that appeared to produce both stimulating and soothing effects on a newborn's nascent consciousness. Recorded and arranged at all hours, this is an album that reflects on moments of tumult and fragility. Cobb sews small sharpnesses and surprises into its movements to uncover different aspects of each sound source, doubling as hypnic starts cast to advance and variate the narrative in subtle and unexpected ways. Sound and atmosphere manifest in eccentric, alchemical fashion, as though forming in processes of sublimation - solids dissipating into vapor - and deposition - clouds resolving and dropping to the ground in piles - to an obscure and domestic rhythm. There's the purveying sense of moving within the boundaries of small, hermetic ecosystem. This is underscored and doused by a slow, blooming sense of warmth; growing joy without bombast. Even the more startling textures conceal this same truth and emphasis, such as the alien, sour salt-butter electronic babble in "Little Rig", largely sampled from Cobb's son's voice at just a week old. It is emotional music - devoted, affectionate, and playful.

Soda Gong presents a razor sharp collection of rigorous and imaginative new music from Moscow-by-way-of-St.Petersburg-based musician and producer Flaty. "Generic TARGZ" places Flaty's precipitously complex drum programming and keen ear for atmosphere and space at the forefront, offering up a dynamic array of techno, ambient, generative footwork, and other tougher to pigeonhole rhythmic experiments. It is a dizzying and cohesive document in which ethereal productions, such as "Praaai" wherein a bewitching vocal pad hovers over delicate, pin-prick percussion, sit comfortably alongside tightly controlled chaos, as with the synapse-knotting "Thread" and heavy-hitting "Horn of Plenty".

Over the past few years, Flaty has released a wealth of diverse and uniformly excellent music under monikers such as AEM Rhythm Cascade, Dada Ques, and Wrong Water. He is most closely associated with the influential GOST ZVUK label, but his work has also appeared on imprints such as 12th Isle, Muscut, and his own ANWO Records. Although Flaty serves as his primary alias, "Generic TARGZ" is only the artist's second full-length under the moniker, following 2016's "New Suggestions", a high-water mark in the impeccable GOST ZVUK catalog. Mastered by Rashad Becker at D&M. Artwork and design by Alex McCullough and Niall Wynne Lewis.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.