Search:d felic

RICO PUESTEL debuts on his TIME IN THE SPECIAL PRACTICE OF RELATIVITY label with a mind-boggling journey of 41 minutes — split in two parts to fit on vinyl! HEPTAKAIDEKA is what it won't be and will be what it never was: Something from in-between worlds, a place beyond far beyond, where time dissolves into relativity...

Every modern electronic music presenter should be able to find joyful, elevated, convulsing or simply useful moments within the extent of this track that is designed to have its inherent connecting factors and starting points in place for every DJ set — letting it be just a few minutes, well-placed groove looping or bigger amounts of its entirety for diving into a long night, bringing it to an end or making it standing out in-between.

Starting off with a hazy half-grasp hint of what's to come, a mysteriously pervasive bionic loop emerges, slowly coalescing with a bone-dry groove on the rise. Taking up a first quadrant of the track, already gnawing into the long-term memory, it manages to gradually establish itself along the pathway while the "rhythmatics" endure some subtle layer-shifting with occult-like strings come sliding in from somewhere unknown like an admonitory subtext.

Being halfway through (and all the way in), everything smoothly crumbles down to its basic framework, still shaking off its own reminiscences while foregone vestiges almost perilously try to reassemble themselves. All of that leading to a clearly unforeseen yet fortunate drift into a 1980's-like synth peak time section after about 27 minutes being in that track, finally cherishing an evolving emotional felicity and the climax of its own being that tends to feel like an overarching salvation.

As everything being eventually finite, the track starts to bring to mind where it came from by assuredly falling back into a story told before with the well-established bionic loop that once used to run free, sounding somehow different and more tamed now. Ending with dignity, the consistently resurfaced admonitory strings lead the way to its conclusion and possibly new beginnings, solely leaving behind the heartbeat-like booming that carried it all, now fading away...

Coming into existence during a series of multiple productions of exuberant proportions with Rico making the studio his citadel-like stronghold, this is an extensive story of desires, instincts, pride, fall, mirth, solicitude, tension, détente and basically life itself while subtly yet versatilely entertaining on a dodgy yet accessible level throughout the wingspread of Techno, House, Minimal, Dub, Electronica and Ambient influences.

The CD version not only brings you the title track in the guise of its non-split completeness but eminently churns out the extra drumming dub treat DEKAEPTA for a pleasurable groove-delight as well as the trippy bonus beauty VOSEM' that transits as a precious component of infinity.

In recent years, the Turkish drone-pop composer Ekin Fil (born Ekin Üzeltüzenci) has been refining her talents in the realm of the film score. Since her first recordings that were published by Root Strata and Students of Decay, she has always exhibited a preternatural ability to express the saddest of emotions through sound. Once channeled through the lens of a gauzy shoegazing smear of guitars and voice, she has peeling away layers of her ephemeral songs to reveal their emotional core. That compositional process that works so well for her award winning film scores informs the soft-focus tenebrous pieces of her 2020 album Coda.

It’s true that any number of these pieces on this album could announce the finale to an emotionally draining movie, but Ekin sculpts the entire album as a whole, dissolving one perfectly tempered piano motif, an impressionist ambient plume or a sibilant vocal melody into another. Just at the threshold of perception, she occasionally invokes cascades of distant noise that easily can be interpreted as the ominous premonitions for natural disasters - incoming storms, earthquakes, or tidal waves. This subtle disquiet amidst the introspective melancholy furthers the emotional weightiness of Coda.

Her somber, blissful compositions have considerable gravity of their own in the constellation of Grouper, Felicia Atkinson, and Harold Budd. Mastered by James Plotkin.

The late engineer and producer Paul C’s fingerprints are all over this single from Ultramagnetic MC’s, perhaps the defining release of their career. While earlier records gave notice of their strange and unique talents, they were loveably messy affairs. This, however, is the real deal, as polished as their early sound would ever be.

‘Give the Drummer Some’ grabs a fistful of different elements – from James Brown, Dee Felice Trio and James Brown – but bends them to its own purpose. This is a song with a momentum of its own and endlessly quotable lyrics. One of which, of course, was sampled by The Prodigy – huge hip-hop fans – for ‘Smack My Bitch Up’ in 1997. The now hugely rare 7” of ‘Give the Drummer Some’ edits this out to make it more radio-friendly, but this reissue reverses that cut, giving you the original lyrics. If anyone knows why Kool Keith also changes the word ‘rappers’ to ‘monkeys’ for that edit, answers on a postcard…

The brilliant B-side harks back to the time when every group had a song dedicated to their DJ. ‘Moe Luv’s Theme’ sees Kool Keith at his most straightforward, singing the praises of the turntable skills of Moe Luv. It would be throwaway were it not for the effortless repurposing of Jackie Robinson’s oft-sampled ‘Pussyfooter’. That – and the presence of one of the world’s great MC’s at the height of his powers – elevates it far above a footnote.

Grammy-nominated artist and musician Stuart Hyatt returns with another sonic wonder in the Field Works series, bringing the listener into truly uncharted acoustic territory. Ultrasonic is perhaps the first-ever album to use the echolocations of bats as compositional source material. For this special album, Hyatt has assembled an extraordinary group of contributors: Eluvium, Christina Vantzou, Sarah Davachi, Ben Lukas Boysen, Machinefabriek, Mary Lattimore, Felicia Atkinson, Noveller, Chihei Hatakeyama, John Also Bennett, Kelly Moran, Taylor Deupree, Jefre Cantu-Ledesma, Julien Marchal, and Player Piano. Ultrasonic is part of a broader storytelling project about the federally endangered Indiana bat. Generously funded by the IUPUI Arts & Humanities Institute and the National Geographic Society, each album contains an official printed booklet of The Endangered Species Act of 1973.

DeForrest Brown Jr. is an outspoken theorist, journalist, curator, visual artist and musician. Raised in the deep South, DeForrest moved to New York a few years ago and has been shaking things up IRL and online ever since.

- He asks difficult questions that make us relook at how we think
about race, class, post-racial ideas, historical events and the social
structures in America.
- His work defies narrow bags and he’s truly a unique cultural polygot
comfortable booking an artist like Felicia Atkinson at Issue Project
Room or shaking up people on the street with his “Make Techno
Black Again” hat line.
- His project Speaker Music was inspired by Rhythmanalysis, a book
of essays by urbanist philosopher Henri Lefebvre as well as
considerations of momentum and the “chronopolitical” from British
cultural theorist Kodwo Eshun. Mobilizing freely improvised
electronic percussion and stereophonic audio recordings, Speaker
Music yearns to caress, engineer and sculpt sentiment into a multi-
textural rhythmic body, quivering moments into a collapsed
“nonpulsed time.”
- His debut for Planet Mu centers around weary sonic portraiture of
sonorous and cybernetic energy music – a music encoded with an
encrypted heat but made “with empathy and without excess.” His
“touching of frequencies” unveils a romantic abstraction of sonic
narratives that recalls previous innovations by musicians such as
Les McCann, Urban Tribe and James Stinson.

DeForrest Brown Jr. will be present at Unsound Festival in October at which he’ll be launching a new publication w/ Primary Information.
He will also present a special event at respected New York art gallery Artist Space on Friday December 13th at which he’ll be launching a book related to the album.

Additional dates will happen between October and next Spring - A Video will also be launched when the album is announced in early October (...).

Two Italo and 80´s influenced House-Tracks by Felice and one
Remix by Johannes Albert

The soundtrack for Quentin Tarantino’s heavily anticipated music laden film Once Upon a Time… in Hollywood, personally curated by Tarantino himself, the soundtrack is a love letter to the music of 1960s era Hollywood. The Once Upon a Time… in Hollywood soundtrack features over 20 standout tracks from artists such as Paul Revere & The Raiders, Deep Purple, and Neil Diamond, as well as vintage radio advertisements, creating a true time capsule of a golden era of filmmaking.

Quentin Tarantino’s Once Upon a Time… in Hollywood visits 1969 Los Angeles, where everything is changing, as TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt) make their way around an industry they hardly recognize anymore. The ninth film from the writer/director features a large ensemble cast and multiple storylines in atribute to the final moments of Hollywood’s golden age. Written and directed by Quentin Tarantino. Produced by David Heyman, Shannon McIntosh and Quentin Tarantino. Georgia Kacandes, YU Dong and Jeffrey Chan serve as executive producers. The film also stars Margot Robbie as Sharon Tate plus Al Pacino, Emile Hirsch, Timothy Olyphant, Dakota Fanning, Bruce Dern, Lena Dunham and more.

While the first volume of Tigersushi's new compilation series showcased a rather cosmic and synth heavy side of all things ambient, this volume 2 goes in many new directions, with more experiments towards electro = acoustics and musique concrete, another side of ambient that has a long French lineage - the term Musique Concrete, a type of "acousmatic" music was invented by pioneer Pierre Schaeffer in 1948 who influenced numerous other French composers such as Pierre Henry, Laurent Bayle etc.

After a string of succesful singles, “Deixa Musica A Tocar”, “So Vejo Voce”, “E A Felicidade” and the Dj Harvey supported “ Te Faz Bem” and “Serei Seu”, The Danish / Brazilian quartet constellation Copenema (Copenhagen / Ipanema = Copenema) are ready to release their debut album “Deixa Musica a Tocar”.
The album mixes European electronica influences with Brazilian songwriting style. The sound becomes unique and some would say Balearic.The albums leading single “Te Faz Bem” a funky downtempo track with live saxophone, flute and rhythm guitars and a baseline to die for has become somewhat a national Ibiza balearic anthem over the past years and spread worldwide especially due to the massive support from Djs incl from Harvey to Dj Pippi to Pete Tong. “Serei Seu” the second single another Ibiza fave is a funky party track that sounds like a modern Jorge Ben. The single “So Vejo Voce” is Stan Getz meets the beach vibes, “Festa De Relaxamento” an Alfredo fave is jazzy Brazilian funk vibes with heavy live drums and a bass line that wants you to move.
“Lullaby For Impanema” is sunset material. The bands first recording the 12 min beautiful jazzy cosmic downtempo Pat Metheny influenced and Leo Mas supported “Some Di Some Day” is pure bliss and a sunset fave amongst the Balearic community.
The album has three added bonus tracks (Vinyl Only) - Can’t Sleep and Nada Mais both recorded in a Music For Dreams writers camp recently and the 12 minute journey of Serei Seu by Danilo Braca

"Penelope Redeux" enthält 10 Reworks von Tracks des zweiten Albums "Penelope Two" (2018) der New-Yorker Ambient-Gothic-Künstlerin Penelope Trappes. Die fantastischen Reinterpretationen stammen u.a. von den schottischen Post-Rock-Legenden Mogwai, Paul Corley (Sigur Ros), Cosey Fanni Tutti (Throbbing Gristle), Nik Colk Void (Factory Floor), dem schwedischen Duo Aasthma (Peder Mannerfelt & Pär Grundvik), der Isländerin Jófríður Ákadóttir (JFDR), Savages-Produzent Johnny Hostile und Throwing Snow (Houndstooth). Im April 2019 tourte Penelope als Teil des Duos The Golden Filter mit Sharon Van Etten.

Limited Pressing (500 worldwide..) of a special 7 inch of Simone Felice's powerful new Single 'Puppet' (Feat. FOUR TET) plus unreleased b-side 'Prisoner'.
"A lyricist to rival Dylan and Cohen. An album crackling with menace yet infused with tenderness, The Projector conjures magic with fragile rays of light in the darkness." - The Telegraph ****

Deep positive vibes from the soul of Zûg to elevate the spirits.
Part 2 of 2 for 'Algunos Sentimientos' translates to 'Some Feelings'.
Second episode contains: patience, happiness, beauty and love.

Emotional Response is delighted to announce Foreign Affairs - a limited edition special remix 7-inch single featuring reworks from Alexis Georgopoulos & Jefre Cantu-Ledesma's "Fragments of A Season" album by Woo and Felicia Atkinson.

Last year's ""Fragments of A Season"" represented a unique chapter in both artist's canon. Georgopoulos, who released the Arp album "Zebra" in June this year and Cantu-Ledesma, who released "On The Echoing Green" in October 2017 - both on Mexican Summer and to critical acclaim - wanted to stretch out and create a discrete work. A peripheral listen to "Fragments" revealed a resonant album of delicate, ambient vignettes, suggesting a Balearic take on Vini Reilly, Young Marble Giants and other poetically-minded, minimalistic post-punk era bands.

The Brothers Ives aka Woo were a major influence on the album's makers and so AG and JCL are thrilled they've submitted a beautiful reworking of the album's "Marine". Whereas the original sounded like Marine Girls and The Gist getting together for a nice beach day jam, Woo's rework transforms it into pulsating track of glistening proportions. Percolating synths, some guitar and clarinet - the true classic, idiosyncratic Woo-ification - creates a woozy, romantic, impossible to categorize slice of Balearic meets dub atmospherics.

If "Marine" is all midday sun, intoxicating and potently optimistic, Atkinson's remake represents the literal and figurative flip, bringing out the overcast dreaminess to "Cleo". Sounding like an outtake from a Rohmer film, or perhaps Cocteau Twins and Broadcast having a picnic in Biarritz, the version veers between abstraction, celluloid ambiguity and suggested narrative. Atkinson's reworking adds poetry of the tune (quite literally!) with her soft vocal under-gliding to perfection. Representing a temporary idyll, a meeting point where cobblestone streets lead to the sea. At nightfall, a discotheque heard in the distance. The morning mist burns off. Only such memories remain.

avorite Recordings proudly presents Natureza, first album of Joao Selva. The story of Natureza is made of the meeting between two passionate artists who are Jonathan "Matuto" Da Silva and Bruno "Patchworks" Hovart.Born and raised in Ipanema and son of a pastor, Jonathan Da Silva grew up in a community of ex-prisoners and converted artists. He made his first guitar notes before his 10th birthday, under the watchful eye of Wanda Sa (muse of the bossa nova), and influenced by a father who in addition to his work, was also a true music lover with a collection, where black music, rock and classical meet. From the age of 18, Jonathan began a life of entertainer, traveling the world to offer shows for disadvantaged children and intensively practicing the Brazilian traditional music arts (Capoeira Angola, Maracatu, Samba de Roda, Coco de Roda...). It was later in France and in Lyon that he put down his instruments. There he formed the trio Forro de Rebeca in 2008, touring the all country and winning many praise in media. The trio recently joined forces with American producer Maga Bo on the project Sociedade Recreativa, whose album was released in 2016 on The Jarring Effects label.Bruno Hovart is a recognized producer, multi-instrumentalist, and remixer. After passing through Angers, Birmingham and London, he's based in Lyon since 2001. Bassist and guitarist for various bands, he switched to production in the mid-90s. Passionate about music and tireless creator, Bruno has practiced in almost every imaginable style, when it comes to groove music, collecting many aliases and projects for more than 10 years: Patchworks, Voilaaa, Uptown Funk Empire, Mr President, Taggy Matcher, Mr. Day, Hawa, John Milk, Lightnin 3, The Dynamics or Metropolitan Jazz Affair ... Nothing resists and escapes his talent and production skills. Thus, when he discovered and met Jonathan and his music, Bruno saw an immediate opportunity to broaden the spectrum of his discography a little more, by looking at Brazil. Beyond its traditional heritage, Brazil has always been a land of extremely varied music, influenced by the international scene. Soul, Jazz and American Pop did inspire many local stars such as Chico Buarque, Carlos Jobim, Gilberto Gil, Tom Zé, or Erasmo Carlos. Both fervent lovers of this movement and these names, it's with the idea to pay them a faithful tribute, that Jonathan and Bruno began the Joao Selva adventure. Together they gave birth to Natureza and embark us for a trip into the heart of the Tropicalist Pop influences of Jorge Ben and Caetano Veloso, the intoxicating Funk of Tim Maia, and the social poetry of Vinicius de Moraes.

Remixes of the recent Croatian Amor album "Love Means Taking Action" as a one-off limited pressing - please preorder.

Singer, Producer and DJ Seven Davis Jr returns to his underground Soulful and House roots while fusing flavors from various eras in this uptempo sophomore album. "Live From The Other Side", plays like the soundtrack to a lovely weekend with visual designs inspired by underground festival culture and contemporary art. Dedicated to his fans, Sev hopes this album will conjure up good vibes and enhance sessions, from living room to club, for generations.

The first chapter of Piero Scattini's acclaimed movie trilogy, whose soundtracks were all entrusted into Piero Umiliani's expert hands.
The sumptuous orchestrations, the guests and the prestigious friends who took part in the recordings: Alessandro Alessandroni, Edda Dell'Orso, Franco D'Andrea, Gianni Basso, Oscar Valdambrini and Angelo Baroncini, thus explaining the excellence of the final result, lingering between orchestral and pop music. 'Easy listening', as they used to say, but of extraordinary quality.

The latest incarnation for BLIQ comes in the form of Brazilian future primitive Thingamajicks and his lysergic quest through sound on 'Patrick's Last Trip', with Vernon Felicity channeling a different kind of synesthesia.
Drop out - turn on - tune in.