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James Place - Voices Bloom

James Place

Voices Bloom

12inchUR099
Umor-Rex
21.06.2017

A distillation of cultural memory through electronic process, James Place - the creative guise of New York native Phil Tortoroli, returns with his third release for Umor Rex. The sonic realization of love and loss, re-sculpted for the Post-Modern age, pursuing his glacial take on techno into newly intimate depths.

Departing from a line in TS Elliot's Four Quartets the moment in and out of time', its works take form through the haze of a dream. Over the course of several months Tortoroli tracked heaps of live stereo jams at home, jamming on his drum machine, sampler, polysynth, and effects setup. Poring over these hours of hazy jams, Tortoroli heard himself straining for an additional voice to further emote. Rifling through a vast library of old bounces and experiments, Tortoroli rediscovered the music of Sam Sally to complete Voices Bloom, resampled live and again subdued into explorations of an old practice'.

Voices Bloom is the musicality of cultural collage, immensely personal and intimate, arms stretched out, gathering diverse sonic worlds. The artist and his craft as a self-reflexive lens for an electronic age - a sonic patchwork heard from afar - impressions of memory, drawn close to the heart. Within the album's cool displaced tones, rise nostalgic romances, drifting rhythmic works which defy the beat. A world where time enters multiple frames, those possible, literal, implied, forgotten, and remembered anew. The final results on Voices Bloom are the most reflective yet from James Place. The hopeful kosmische beats and hauntological synth music on previous albums, and more delicate melodies, riding crisp minimal rhythms that flow elegantly from vignette to vignette. Rhythms of abstract techno with glistening melodic lights.

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Jemh Circs - (untitled) Kingdom 2x12"

Black To Comm's Marc Richter returns under his Jemh Circs guise for a 2nd album of sonic abstractions. In contrast to Black To Comm's analogue tape and vinyl based sound, in Jemh Circs he works with digital sources by primarily sampling modern Pop Music (and various other oddities) on YouTube (et al.) and sending chunks of it through a variety of arcane transformations and mutations.Using similar esoteric methods as on his 2016 debut album but with very different results the record deconstructs the hypermodern sound of Pop Music with a Post Punk attitude, energy and primitivism. Richter's combining disparate elements that shouldn't really work together but somehow all the chaos is making strange sense creating a collection of oddly diverging sonic vignettes with a surreal and anarchic spirit. This is music deeply rooted in the present but still difficult to pinpoint to a certain year or style."(untitled) Kingdom" converts a seemingly one-dimensional concept into a complex puzzle of ideas, sounds and narratives, completely assimilating the original sources and transforming them into novel entities with an unexpected melodic and rhythmic quality.Some press clips for previous releases:The overall effect is quite remarkable. Each track is like a hologram of pop music itself, a tiny part that reflects the whole. You almost feel that you could open them out and re-create entire popular music cultures. We'll be grateful for that when the next solar storm fries all of our hard drives. (Ian Sherred / The Sound Projector) In that way Jemh Circs is a record about process - not just how Richter loops and distorts and mutates his samples, but how the sounds of pop music create a particular sonic signature, one that gets more interesting the farther they're pulled from their original context. (Marc Masters / The Out Door) Recycling random audio off YouTube, Jemh Circs' process couldn't be less sentimental, but the results turn out to be sneakily emotive. (Philip Sherburne / Pitchfork)

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Last In: 8 years ago
Joane Skyler - Serious Time LP

Joane Skyler

Serious Time LP

12inchCERAMICS01
Ceramics
04.05.2018

An Album More Devoted To A Listener Rather Than A Dj. Or Maybe Then A 2.0 Dj,) This Music Melt All Kind Of Influences Indluding Minimal, Bass Music And Ambient, But In A Very Experimental And Hypnotik Way. A Very Space Album For Music Lovers Principally.

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John Roberts - Can Thought Exist Without The Body

What are the best non-physical landfills for discarded thought? Do waves transition between naturally occurring substrates and audio signals? Does adrenal fatigue and replenishment in the human brain relate to cycles of euphoria and dysphoria in music? What is the mental effect of visual versus aural repetition? Is all music fictional? Can the language of objects and memories impregnate sound? Are bodies out of fashion? What is the music production equivalent to a green screen in film? What is the best non-physical preservation method for sound? Is film editing a way of ordering memories? Is repetition therapeutic? Are all films fictional? Have physical forms slipped into obsolescence? Did Erik Satie have an anxiety disorder? Is background music parasympathetic? Are physical players more virtuosic than virtual instruments? Is thought finite? Is physical music a fetish? Is reality fictional? What is the most elegant way to float between corporeal and ethereal forms? Do memories deteriorate and fade like audio signals exposed to the elements? Can thought exist without the body?

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Last In: 6 years ago
Miwon - Jigsawtooth

Miwon

Jigsawtooth

12inchMD252LP
n5MD
15.05.2017

Jigsawtooth is the third album from Hendrik Kroez's Miwon project.

Limited randomly packed red or white vinyl. Non-Returnable.

On this long-awaited follow up to is critically revered A to B (City Centre Offices) Kroez displays his skill in marrying motorik techno infused rhythms and soaring pop ambient melodies.

This is most evident on 'Charezza' which could very well be the most uplifting track in the n5MD cannon. Other cuts on Jigsawtooth utilize sweeping synth-work that encourage a near kraut/kosmische travel worthy flavor to the proceedings.

Other genre signposts are evident on Jigsawtooth but that's something that's always been a constant with Kroez's work as Miwon. In his hands such coalescence sounds cohesive, natural and is some much welcomed diversity to nought-era electronica.

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Last In: 9 years ago
Oliver Coates & Laurie Tompkins - Ample Profanity

Shits are not given by Laurie Tompkins and Oliver Coates on Ample Profanity; a let-it-all-out session of deviant, punkish avant-classical composition hallucinated and expectorated by two prodigious talents. An ideally off-centre and brazenly wigged-out follow-up to aces from Chaines,
Yeah You and Ashley Paul already released in 2018 by Slip - the label Laurie runs with friends between London and Newcastle.
Laurie supposes and composes on keys, tapes and samples, and Oliver does his part on cello and FX. They both sing, if your definition stretches that far. What we can agree on, though, is that Ample
Profanity is a steaming pile of madness quite unlike anything else in circulation right now.Still feral from his cultishly acclaimed Heat, War, Sweat, Law album, Laurie is matched by a usually
more collected Coates, who, while often hardly distinguishable from the maelstrom, certainly doesn't impede the lunacy, and seems to encourage it, grasping the opportunity to freak out
properly adjunct to his solo work and collabs with Mica Levi.
Kicking off with Sniffin' Samgh, a possessed study in primal vocals and lurching, yelpy strings, the session turns variously thru quieter, asymmetric ideas in Peejayargh to cough up its spicy noise guts in RP Beal, before they settle into a call-and-response of quizzical sighs and plucks on Lime Rugis, and set about hacking up a wickedly dissonant tussle between no wave guitars, intercepted phone calls and edge-of-sanity blasts into the void with Charterhouse, Vinci.
It's maybe not what you might expect from a former winner of the Royal Philharmonic Society's Young Artist Award 2011, and a graduate of the RNCM, or maybe it is. Either way, Ample Profanity is beautiful, funny and f*cked up in equally satisfying measures.

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PAULINHO DA VIOLA E ELTON MEDEIROS - SAMBA NA MADRUGADA

Spare and jazzy samba work from the team of Paulinho Da Viola and Elton Medeiros - a beautiful illustration of the genre at its simple best - carried off with no pretension and a wonderful sense of grace! Instrumentation is heavy on acoustic guitar and percussion - and also includes bits of flute or trombone - all used lightly, but to provide some jazzier inflections over the top of the vocals - in a way that keeps the tunes dancing along lightly and beautifully. Elton and Paulinho alternate vocals from track to track - and sometimes do so on the same tracks, but in medley-styled format. Titles include "14 Anos", "Arvoredo", "Sofreguidao", "Perfeito Amor", "Minha Confissao", "Depois De Tanto Amor", and "Samba Original".

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Suzanne Ciani - A Sonic Womb: Live Buchla Performance at Lapsus

Suzanne Ciani is a true electronic music pioneer. The five Grammy nominated Italian-American neoclassical composer is unquestionably one of the greatest minds that contemporary music has ever witnessed. After an incredible career spanning forty years, Ciani’s accomplishments have become a benchmark when discussing the origins of musical synthesis. For more than four decades she developed a body of work that transcends the music industry, composing for film, video games and famous advertising campaigns that have impacted popular culture. On December 14, 2019, after six years of sound experimentation, Lapsus Festival bid farewell to Barcelona’s Centre for Contemporary Culture. Its final event was entitled 'A Sonic Womb' and was dedicated to the musical roots of the synthesizer, with Suzanne Ciani headlining on the night. Ciani performed an exclusive show accompanied by her modular Buchla 200e synthesizer and enveloped in a specially designed multi-channel sound environment by Intorno Labs. It was a sonic voyage to the very heart of her beloved machine and a tribute to improvisation through an instrument that is said to possess its own soul. Suzanne described the night as ”an improvisation that I began using in the ’70s and continue to use now as raw material. Each performance based on this material has its own expression and one could liken it to jazz." Lapsus Records is therefore extremely honoured to present 'A Sonic Womb: Live Buchla Performance at Lapsus', a unique live recording of this extra special concert.

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Last In: 5 years ago
C.O.R.N! - C.O.R.N!

C.o.r.n!

C.O.R.N!

12inchCORN01
Cornhub
11.12.2020

C.O.R.N! is the debut album by Nick Acorne and Patrick Wurzwallner aka. C.O.R.N! Eclectic mixture of genres and styles. C.O.R.N! is unexpected, unbelievable, unpredictable and always groovy. C.O.R.N! is “Rick and Morty” in music.

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Madre Larva - Album Sulfurico

Download Code + Stickers

Second album of Madre Larva edited in Faith Disciplines. Once again he surprises us with sound landscapes where experimentation gives way to sensations. Great album
credits

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Pylon - Gyrate

Pylon

Gyrate

12inchNW5362
New West Records
06.11.2020

In the late-1970s Athens, Georgia was buzzing with a raw but sophisticated music scene. Traditional Southern rock had been the Georgia musical export for years before but the turn of the decade began producing new sounds from bands like the B-52’s, REM and Alt Rock luminaires Pylon.
 Before they were a band, Pylon were art-school students at the University of Georgia: four kids invigorated by big ideas about art and creativity and society. However, Pylon were less of a band and more of an art project, which meant they had very specific goals in mind, as well as an expiration date.
 While their time together as a band was short lived (1979-1983), Pylon had a lasting influence on the history of rock and roll. Throughout their brief history, they were able to create influential work that would help foster the post-punk and art-rock scene of the early 80s. Artists like R.E.M., Gang of Four, Sonic Youth, Sleater-Kinney, Interpol, Deerhunter and many more claim inspiration from the band.
 Their 1979 single ‘Cool’ / ‘Dub’ reached legendary status, with Rolling Stone titling it one of the 100 Greatest Debut Singles Of All Time.
 In 1980 the band released their first record, ‘Gyrate’, and began touring across the country in support of the release. The band would soon develop a following across the country and specifically in the bustling music scene in New York City. One of their earliest gigs was opening for the Gang of Four in the Big Apple.
 Following the critical acclaim of their debut release, Pylon went back into the studio. They gleefully pulled their songs apart and put them back together in new shapes, revealing a band of self proclaimed nonmusicians who had transformed gradually but noticeably into real musicians. The resulting album, ‘Chomp’, was barely off the press when Pylon were booked to open a run of dates for a hot new Irish band called U2 (after previously playing two arena shows with them in the month leading to the album release). Most bands would have jumped at the opportunity but Pylon were sceptical. At a critical point in the life of Pylon, they opted to become a cult band rather than stretch their defining philosophy too far.
 “We fully intended Pylon to be an almost seasonal thing that we were gonna do for a minute and then get on with our lives,” says Curtis Crowe, drummer for the band. “But it just never went away. It still doesn’t go away. There’s a new subterranean class of kids that are coming into this kind of music, and they’re just now discovering Pylon. That blows my mind. We didn’t see that coming.”
 New West Records are proud to partner with Pylon to reissue ‘Chomp’ and ‘Gyrate’ back into the masses. Beautifully remastered from the original audio sources and pressed on vinyl (140g) for the first time in over 30 years.
 New West Records also present ‘Pylon Box’, a comprehensive look at the band that features the remastered studio LPs ‘Gyrate’ and ‘Chomp’, the 11-song collection ‘Extra’ - which includes rarities and previously unreleased studio and live recordings - and ‘Razz Tape’, Pylon’s first ever recording: a 13-song unreleased session that pre-dates the band’s seminal ‘Cool’ / ‘Dub’ debut.
 ‘Pylon Box’ also includes a hardbound 200-page full colour book featuring pieces written by the members of R.E.M., Gang of Four, Steve Albini, Corin Tucker and Carrie Brownstein of Sleater-Kinney, Sonic Youth, Interpol, B-52’s, Bradford Cox of Deerhunter, Mission of Burma, Calvin Johnson of Beat Happening and K Records, Anthony DeCurtis, Chris Stamey of the dB’s, Steve Wynn of the Dream Syndicate and many more. Features an extensive essay chronicling the band’s history, with interviews with the surviving members of the band as well as members of R.E.M., B-52’s, Gang of Four, Method Actors and more. It also features never before seen images and artifacts from both the band’s personal archives as well as items now housed at the Special Collections Library at the University of Georgia and the Georgia Museum of Art, UGA.

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Last In: 5 years ago
Christoph de Babalon - Recurring Horrors

Christoph de Babalon has relished the two years since his last full-length outing for A Colourful Storm, crossing paths with a new guard of prodigies while maintaining ties with a legion of disciples. Aphex Twin, his old foe, even played "Realistic Riot Ritual Routine" at the now-infamous Warehouse Project set, smashing it to bits and pieces over "Polynomial-C". Recurring Horrors dives deep into de Babalon's DAT archive, dragging out ghosts while pressing the jaw-dropping, nine-minute breakcore epic, "No Man's Land" to vinyl for the first time. Unmissable smut.

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Last In: 5 years ago
Kassel Jaeger - Meith

Kassel Jaeger

Meith

12inchBT069
Black Truffle
25.11.2020

Meith is a new composition in two parts from prolific composer/theorist François Bonnet, a major figure in contemporary electronics and electro-acoustic music.

Meith immediately welcomes us into its densely layered sound world of electronic tones, positive organ, and unidentifiable field-recorded textures. Almost static yet constantly in flux, it deliberately opens itself up to repeated and varied listening: from a distance, its many voices cohere into a monolithic plane of sound, while closer inspection reveals myriad details and momentary events. Like a drop of ink spreading through water, harmonic material present in one voice gradually fans out into the whole arrangement, creating fleeting moments of unity amid the constantly shifting waves of tone and texture.

Far from the austerity of some contemporary electro-acoustic music, Meith affects the listener as overwhelming organic; its individual layers are unstable and at times near-chaotic, imbued with life. Though it can appear almost formless, the piece undergoes major shifts throughout its duration, from the austere dissonance of the opening moments to the surging harmonies that appear midway through the second side before the piece gradually dissolves into a spectral glimmer.
Francis Plagne.

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Mauro Lanza - Fully Automated Luxury Communism

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout the year batches of 5 new vinyls will be released.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

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Meatraffle - Meatraffle On The Moon (Remixes)

Remix-EP von Meatraffle, der heutigen Antwort auf "The Clash" und "The Specials". Mit einem kosmischen Dub-Remake von "Wen wundert's" - Andrew Weatherall und einem 80er-Electro-inspirierten Remix von Mixhell, - der Gründer und Betreiber von Delayed Records.

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Nurse With Wound - Rock 'n Roll Station

Reissue of this mesmerizing record including an unreleased alternate mix of "Subterranean Zappa Blues". Hypnotic rhythms made of slow minimal beats, industrial textures, intoxicating drones and repetitive voices that seem to merge from dreams. Everything built by two of the most brilliant industrial music minds: Steven Stapleton and Colin Potter.

"This album arrived somewhere after a dream meeting of several individuals, Graham Bond, Joe Meek, Jacques Berrocal and myself. After a few beers and a heated disscussion of puncture repair we all lay down in a circle and point our penises at Venus, telepathic messages are sent out to Colin saying he can use the two golden microphones. He did, and here we are." Steven Stapleton, 17.1.94.

Rock 'n Roll Station began life with Steven Stapleton asking engineer Colin Potter to remix some of the more rhythmic elements of 'Colder Still' from 1992's Thunder Perfect Mind. As Potter gradually warped these sections into weirder and weirder pieces, a new album began to emerge. Potter himself explained it to David Keenan in England’s Hidden Reverse: “What I sometimes did in the studio was to ‘over-use’ effects and processors to totally mutate a piece into something completely different” while Stapleton observed how “it was almost as though telepathic messages were sent over to Colin. We’d started an album together at IC Studio that was never finished. He then sent me some vague mixes, which were just what I had in mind. So, from that basis, I started putting the album together.”

Potter would quickly become a key player in Nurse With Wound’s productions, a position he continues to fulfil to this day. He was first credited as a member on 1992’s Thunder Perfect Mind, a tour-de-force of cold, at times hostile, machined atmospheres, but considers Rock ‘N Roll Station from the following year to still be his favourite.

Building on percussion and drone elements, Stapleton and Potter throw in a huge range of bizarre and atmospheric elements: didgeridoos, chanting voices, and their usual selection of unidentifiable sounds.

Its strong focus on rhythm was erroneously surmised by some as an attempt to join the then rising electronic dance music scene. But it was Stapleton’s recent obsession with the music of ‘King of the Mambo’ Pérez Prado that was beating at the heart of Rock N’ Roll Station’s heady rhythms.

The album’s title alluded to two specifically rock-related stations of influence: the song of the same name by Jac Berrocal, of which a surprisingly straight cover opens the album in homage; and the tragic life of the Sixties British R&B organist Graham Bond who influenced bands such as Deep Purple and Cream. Beset by mental health problems (at one point believing he was the son of Aleister Crowley), Bond died under a train at a Tube station in 1989 and it is this tragic scene that Rock ‘n Roll Station’s closing track, ‘Finsbury Park, May 8th, 1:35 PM (I'll See You In Another World)’, sets in sound.

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Last In: 5 years ago
Stephen O'Malley - Öst Väst Sommaren

Matière Mémoire presents the MMXX Series: In anticipation of the year 2020, Matière Mémoire asked 20 experimental/electronic artists to create an original 20 minutes piece and an artwork. Throughout the year batches of 5 new vinyls will be released.

Each record is limited to 500 copies and comes as a crystal clear vinyl featuring an original track of 20 minutes on one side, and a laser engraved artwork on the other. Each 12" is housed in a transparent sleeve printed with the MMXX logo, coming with a print of the artist artwork.

Participate in this series: Franck Vigroux, John Duncan, Phill Niblock, Jim O’Rourke, Reinier Van Houdt, Stephen O’Malley, CM Von Hausswolff, Hampus Lindwall, Oren Ambarchi, Kevin Drumm, Bérangère Maximin, Kassel Jaeger, Daniel Menche, Charlemagne Palestine, Giueseppe Ielasi, Carlos Casas, Susanna Santos Silva, Joachim Nordwall, Karbé Dinel, Mauro Lanza

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Echaskech - Andromeda

Echaskech

Andromeda

CassetteBD20
Balkan Vinyl
29.10.2020

Electronica duo Echaskech have been part of the Balkan Vinyl family since the very first releases back in 2010, but this is their debut solo outing. A mini-album of deep space electronica and cosmic ambience. A soundtrack across our solar system and interstellar travel onwards for 27 million light years.

Available on a limited edition of 30 hand-numbered cassettes.


A1: Dawn Over The Red Planet
A2: Kuiper Belt Life Support
A3: Andromeda
A4: Oort Cloud
A5: Machine Code
B1: Into Eta Carinae
B2: Disorder
B3: Pluto At Night
B4: Onset Of Panic
B5: Escape From Tau Ceti
B6: Messier 63

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Last In: 5 years ago
Flora Yin-Wong - Holy Palm

Flora Yin-Wong

Holy Palm

12inchLOVE117
Modern Love
16.11.2020

Aqua Vinyl

‘Holy Palm’ is the debut album by Flora Yin-Wong, an artist, writer, DJ and journalist, summoning the ghosts of her life in a masterful meditation on metaphysics, superstition and memory. It’s part collage, part audio diary part reflection; a sort of private ritual purification.
Following her mesmerising turn on PAN’s ‘Mono No Aware’ comp and a string of acclaimed, wildly varying productions and mixes in recent years, ‘Holy Palm’ appears like a woven tapestry of interconnecting
recollections, rendered with and around an extensive repository of field recordings made over the past 6 years.
Deploying production strategies ranging from Max processing to sharp/stitched collage work, Flora filters and tiles aural snapshots of far-flung places - from an abandoned Arctic settlement in Svalbard, to an accidental recording of a monk chanting prayers on a radio in rural Chania, Crete, and drug-fuelled Tokyo club scenes - into an uncanny investigation of how ritual punctuates and gives meaning to life.
With an abundance of references, each piece toys with the imagination’s sense of place; memory is permeable, plasmic and recalled here through abstract, textured sound design. The 10 original compositions flicker to hallucinatory effect, brooding with a dark soul as traces of gamelan intersect ghost radio signals from the Arctic and a windswept Dungeness; real, unreal, surreal.
The final pair of extended ‘Loci’ parts present the source material at its rawest and most suggestive, with fleeting grime & jungle car stereo blasts seeping into Indonesian street scenes, insects in rice paddy
fields, the Chicago subway, thunderstorms, yangqin recordings; gongs, Mariah Carey, a Greek wedding in Thessaloniki, crickets at night, running water, fire safety training, a street festival in Buenos Aires, bubbles, whale calls on a boat in Tromso, wind chimes on a mountain on Teshima Island - snagged in imperceptible transitions that mirror delirious, unfathomable impermanance.
In effect ‘Holy Palm’ perceptively outlines the uncanny magick in the rift between the real world and faithbased beliefs, hyperstizing a personalised, syncretic book of sonic spells.

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John Roberts - Spill

John Roberts

Spill

12inchBED008
Brunette Editions
13.04.2018

RECORD COMES IN TRANSLUCENT RED VINYL, FULL COLOUR SLEEVE AND PRINTED INNERSLEEVE. LIMITED EDITION

A SERIES OF SONGS WRITTEN AND DESTROYED . . . SELF-CANNIBALIZED PRODUCTIONS SPIT BACK OUT IN ABNORMAL SILHOUETTES . . . THE ORIGINALS SHREDDED APART INTO DISCREET MOTIFS— MINIATURE RHYTHMIC PATTERNS, COLLECTIONS OF MELODIC RUNS . . . SELECTED MOMENTS OF RECORDINGS FROM MAXWELL STERLING (DOUBLE BASS) AND PETER EVANS (TRUMPET) INTRODUCED AS 'PROBIOTICS' . . . FREEFORM IDEAS SET TO FEED OFF OF THE ORIGINAL PRODUCTIONS LIKE BACTERIAL ORGANISMS . . . CREATING NEW 'GROWTHS' . . . MUTATING AND CONGEALING INTO FOREIGN FORMS.

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Loto Retina - 2022

Loto Retina

2022

12inchPRMSSS009
Promesses
01.10.2020

Promesses returns with first vinyl release from producer Loto Retina. Soundscape’s master focused on a more club-oriented EP, bringing 6 hybrid tracks between footwork, jungle and ambient. Handmade silkscreened cover with an artwork made by Vica Pacheco.

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N Chambers - Facets (2xLP in die-cut sleeve limited to 150 copies)

Love All Day is pleased to present Facets, our third collaboration with renowned contemporary electronic composer, Norm Chambers (Panabrite, Jurgen Muller). As the title implies, it's a many-dimensional work, and one born from a time of crisis in Chambers' life. Created in the spring of 2019 while experiencing health issues that were ultimately diagnosed as being a rare form of sinus cancer, Facets reveals Chambers efforts to push himself to places he hadn't gone before ----to try to rid himself of old habits & embrace potentially unsuccessful creative attempts, whatever the result. Faced with a sense of urgency & riding a creative wave, the tracks came together quickly as he explored new creative vistas ---his familiar, bucolic landscapes now occasionally interrupted by craggy rhythms and aural horizons that fluctuate like air on desert sand. Concerned that these works would be his final statement, he quickly released them digitally as he awaited surgery & chemotherapy to treat his illness. After his near brush with death & subsequent recovery, we're extremely grateful to have the opportunity to re-present this singular work by one of our favorite artists with deliberate intention and care as a long playing album.

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Last In: 5 years ago
Yahshu - Somebody Else's Dream

Yahshu

Somebody Else's Dream

12inchRYS001
RYSUNKU
13.04.2015

Yahshu is seeking something he has never heard before, bringing influences into his work from a huge spectrum. Created using a combination of live strings, samples and synths, the three tracks on 'Somebody Else's Dream' invite the listener to witness a conversation of sound, as if one sound was asking a question and another answering it. What that conversation is, we'll let the listener decide. The EP was originally written 10 years ago but has since been developed and refined, finally coming to life through RYSUNKU.

Yahshu is also the founder of RYSUNKU. 'Somebody Else's Dream' is the first release on the label. RYSUNKU releases innovative sound work in very limited numbered vinyl editions.

'Somebody Else's Dream' artwork by artist Connie Prantera and design by renowned art collec- tive Tomato.

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Akio Suzuki - Zeitstudie

Akio Suzuki

Zeitstudie

12inchRM4119
Room 40
16.11.2020

First time reissue of a super-rare private press tape by peerless sound artist and instrument builder Akio Suzuki, recorded behind-the-wall in 1984 at Berlin’s Technical University.
An absolute master of haptic abstraction, Suzuki’s delicate touch on self-built glass harmonica and the Analapos echo unit - metal cans joined by coil spring, like a kid’s tin-can telephone - generates the most ear-teasing spectrum of tones in ‘Zeitstudie’, which was only available in scant quantities via Galerie Giannozo, who organised his 1984 visit and performance which produced these recordings.
If you’ve had the pleasure of immersing in Akio’s work before, you will know the sort of tingling pleasures to be had from his music, and, as the artist states, this is one of the most “joyful” examples of his early work. The four pieces use one of his earliest, transportable set-ups, with a refined version of his glass harmonica - glass tubes suspended horizontally and played with wet fingers or wooden stick - and its sweetly avian harmonics displayed in the two mesmerising ‘De Koolmees’ pieces, while the others generate utterly intoxicating worlds of echo from his Analapos unit, reverberating in two 17 minutes parts like lingering traces of ecstatic melody from Michael
O’Shea’s Mo Cara, or some ancient ceremonial cave music.

Amazing.

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John Beltran - Beautiful Robots Ep

John Beltran

Beautiful Robots Ep

12inchSTRX-JBELTRAN
Styrax Records
16.05.2014

ohn Beltran was responsible for some of the greatest ambient techno records of the 1990s, and despite falling into near-obscurity for much of the 00s, his place in the canon has recently been secured thanks to reissues on Styrax and Millions of Moments.

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Laurel Halo - Raw Silk Uncut Wood

What works reliably is to know the raw silk, hold the uncut wood. Need little. Want less. For- get the rules. Be untroubled.Laurel Halo presents six instrumental pieces that form a meditative, cinematic listening ex- perience. Inspired by recent film score work for Metahaven and Ursula Le Guin's translation of the Tao Te Ching. Featuring cello work by Oliver Coates and percussion by Eli Keszler.Working in abstraction leads to a deeper lon- ging for touch and closeness.The tactile sen- sation of struck organ keys and bowed strings, wood and felt on drum heads. Smoke and dirt and stone. Febrile and tactile, hairy and hissy. A clover of highway onramps, a continuous flow, like old leaves melting on their way down a stream at the back of a house. Constant contradiction, the truth's nowhere.

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Last In: 3 years ago
Lol K - The Breeze

Lol K

The Breeze

12inchHALC030
Halcyon Veil
16.11.2020

Killer debut LP by Lol K starring vocals by Coby Sey and LA Timpa, following the Londoners’ EP for Mica Levi and co’s Curl Recordings with a crafty set of queer, sensuous pop, configured in brilliant, surprising ways for Rabit’s Halcyon Veil.
The six songs and corresponding instrumentals of ‘The Breeze’ explore ideas of escapism, belonging and inner city isolation in an up-to-date vernacular firmly blunted by sparing, crisply defined but shapeshifting production. The album clearly marks a concerted development of Lol K’s sound - especially compared to their oblique appearances on the ‘Born Under a Bad One’ (Curl, 2018) EP - with the duo’s CJ Calderwood and Junior XL more confidently venturing their vocals into the mix this time, switching between melodic hooks and blunted hush, to a rave-punkish prang out and puckered chamber composition with lowkey rude and innovative production to match.
This newfound confidence subtly oozes from the squashed drill rap mutation of ‘Air Held Softly Alight’, and their ohrwurming opener ‘Proud’, and is smartly tempered into the seething Reese stabs and aggy holler of ‘Oilseed Stone’ featuring an upfront Coby Sey vocal. The album finds its centre in the serpentine, understated strings and dembow bump of ‘Twice’, and the deep 2-step chamber music of ‘Completely Out Of Business’ featuring the vital input of LA Timpa, following his outstanding 2019 debut, and ahead of an achingly strong solo album for Halcyon Veil. For the DJs and anyone who wants to lend their own bars, the instrumentals reveal the subtly whirring mechanics under Lol K’s hood, and how they elide and ride styles while allowing for burred edges and a complex, gauzy soul.

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Lugh - Re Munus

Lugh

Re Munus

12inchCANVAS007
C.A.N.V.A.S.
16.11.2020

C.A.N.V.A.S. follow aces by Olan Monk and Elvin Brandhi with Lugh O’Neill’s zinging new suite of fractiously reflective, emotive sound-scaping.
Returning from a smart debut in 2018’s ‘Hélico’, Berlin-based Irish artist Lugh sharpens and expands his vernacular with strikingly amorphous and absorbing results comparable in the modern field to everyone from Zoë McPherson and J. Colleran to Arca. He draws on the chaos and rush of emotions that have fractured the world with a fine articulation of synthetic voices that speak to his “rediscovery of lived sensibility on a relational scale”, and with results approaching
something like a simulacra of brain fog - multiple emotions, observations, and speculations all vying for attention at once.
The gnawing, queasy tones, aggy chants and lush dread of ‘Americans’ articulates how we feel watching news on YouTube, and the scything metallic swarms of ‘Braises’ sounds like The Sprawl
and TCF conducting a swarm of drones, but there’s a more surreal levity to the grief-stricken gravity of the album in the devilishly detailed aqua-acoustic chicanery of ‘El Rocio’ making use of underwater recordings by Zuzana Pabisova, and the knackered machine blooz of ‘Music For Programmed Obsolecence’ that’s almost Arca-esque in ‘Irony Chastity Obedience’, and alchemized into nerve-biting black metal mutation on ‘Free Fall’.

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Marina Rosenfeld - Death Star 2x12"

A monumental debut work for Shelter Press, ‘Death Star’ is something of a definitive statement or magnum opus in the explorative oeuvre of NYC artist/composer Marina Rosenfeld - a big RIYL Stephan Mathieu, The Caretaker, Félicia Atkinson Marina first grabbed our attention with the uncannily echoic industro-dub environs of ‘P.A./ Hard Love’ in 2016 (a real precursor to Jay Glass Dubs we reco), before showing a quieter, more sensitive side in her collaboration with Ben Vida ‘Feel Anything’. Now on ‘Death Star’ she places deeply uncanny proprioceptive sensibilities to stunning use across an album focussed on the microphone as listening device and instrument - a sort of mechanical ear/eye - with impressively elusive/illusive results.
The original recordings come from an installation - a plexiglas orb housing seven microphones - that picked up and fed back samples of visitors to an exhibition at Portikus gallery, Frankfurt.
Marina’s album reworks those recordings with fragments of piano played into the same system or orb of mics, generating utterly enchanted ethereal spaces that speak to the listener’s atavistic
responses to echoic space and acoustic phenomena.
In four movements Marina grows the source material from liminal, plasmic and dreamlike as she begins to feel out the work’s scope in ‘Death Star’, all quite polite but edged with a menace that gets more complex, with a chamber ensemble playing back notation of the original location recordings in more atonal and aggressive iterations re-amped thru banks of speakers to edge on KTL’s electro-acoustic doom or Iancu and Ana-Maria Avram’s spectralist music.

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Npvr - 33 33

Npvr

33 33

12inchEMEGO251
Editions Mego
28.12.2017

NPVR is moniker taken on board by PITA AKA Peter Rehberg and Factory Floor's Nick Void. 33 33 is their debut recording made in July, 2017 at The Premises, London.

Peter and Nik both share formidable reputations in the post industrial shape-shifting world of sound and form with a vast range of releases and collaborative endeavours over a number of years. Together they tie together their collective experience into a vast array of sonic devices unleashing an album of pragmatic imbalance and psychedelic orientation. Blurring the lines of techno, ambient, avant garde, noise etc

33 33 positions itself in the nebulous realm of contemporary (dis)comfort presenting itself on the border of music and sound, the social and the private.

All tracks by Nik Void & Peter Rehberg
Recorded and edited at The Premises, London, July 2017
Mastered by Russell Haswell at Haswell Studio, London, August 2017
Cut by CGB at Dubplates & Mastering, Berlin, September 2017
Artwork by Nik Void

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Last In: 8 years ago
Roméo Poirier - Plage Arrière

Roméo Poirier

Plage Arrière

12inchKR22V/SWIM01
Kit Records
16.11.2020

French lifeguard and sonic artist Roméo Poirier’s long sold out debut tape finally gets a vinyl reissue. “Plage Arrière” is a deep sea meditation on a constellation of Greek beaches across three islands. Trumpets, echo-clicks and Harold Budd-esque shimmer piano whirl together on these seductive scapes, which recall the sub-aqeaous ambitions of Jürgen Müller or Jan Jelinek inspecting a coral reef.
Like sand-caked postcards, or pieces of seaglass tumbled and re-engineered by their surroundings, each piece exists a keepsake from the song’s namesake beach.
These missives glide in and out of earshot, bustling like miniature engines, finely tuned and rhythmically confounding. They echo the factory sampling work of YMO on Technodelic: industrial but somehow good-natured, a symbiosis of machinery and wildlife - like an artificial reef or propeller blades smothered in algae.
Plage Arrière is Roméo’s second album this year following "Kystwerk”, where he joined forces with the Norwegian poet Lars Haga Raavand. “Plage” also marks the inaugural release for SWIMS, a new experimental-focused imprint of Cold Blow, who are releasing the LP alongside London label and NTS residents Kit Records

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Sockethead - Harj-o-Marj

Sockethead

Harj-o-Marj

12inchY11TH
Youth
16.11.2020

Killer debut album of screwy soul blatz and psyched synth-pop - created in a caravan on the Scottish West coast - by Manc bod Sockethead; the musical handle for visual artist Richard Harris on Andy Lyster’s Youth Aside from knocking out scuzzy wee bombs like this album, Sockethead is a member of Manchester’s Return to Zero production/DJ crew with Turinn and FUMU, and also lectures in art
at the city’s institutions. This should give both casual and keener observers of the city’s mutant, sounds strong context for the colourfully visual styles on ‘Harj-o-Marj’, which factors in heavy
influences ranging from Detroit techno to post-punk, freak beats and screwed rap, to create a rudely shapeshifting amalgamate disciplined with the hands-on craft and tormented soul of John Bender, Graham Lambkin or Jeff Keen, and fraught with the nostalgia and lurking madness of life spent in isolation.
While Richard’s isolation was self-imposed as part of an artist residency in 2018 on the ruggedly beautiful West Coast of Scotland, its sentiment arguably, resonates with mindsets imposed by our
current lockdown. By turns the 14 tracks move from a “pissed and lonely” Graham Lambkin-like collage of synths and cranky vocals in ‘Genesis Redux’ to psyche-celtic geometric synth visions in ’When I Close My Eyes I See Paint’, via the fractal junglist brainjig of ‘Chaos Portait’, to bittersweet synth-funk meditations on ‘Love Loss Missing Yearning’ and ‘Devotion’, and exceptional segue into screwed psychoactive crud on ‘Jahiliyyah’, plus thee crankiest cyberfolk song you’ll hear in 2020 on ‘Hyena Clan’.
It’s naught but essential listening for fans of Manchester’s best, embodying the misery and psychic bruising of isolation, but naturally blessed with an artist’s creative resilience and knack for transmuting heavy feels into rough gold.

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Verge - Impermanence

Verge

Impermanence

CassetteVEYL019
VEYL
12.11.2020

Tape / Cassette

This record was primarily informed by grief & loss. It’s overarching theme relates to the cyclic, transient nature of existence and the fact that everything is impacted by the law of change with nothing ever attaining a state of permanence. Dedicated to Adam & Alix.
Following up his 2017 album on Avian and another EP on Rengaine in 2018, we’re glad to welcome Verge on Veyl with 12 tracks of doom & drones to soundtrack the rest of this awful year

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Last In: 8 months ago
CONRAD SCHNITZLER - CON

Conrad Schnitzler

CON

12inchBB3501
Bureau B
05.08.2020

Als Re-Release lässt Conrad Schnitzlers legendäres "Con" eine Ära wiederauferstehen. Conrad Schnitzler steht heute nicht nur für seine bahnbrechende Musik, sondern eigentlich für eine ganze Ära - er verkörpert einen gewissen Künstlertypus, wie ihn so nur die legendären 1970er Jahre hervorbringen konnten. Als in einer nie dagewesenen Abriss- und Aufbruchsstimmung eine junge Kunstszene allem Alten und Überkommenen - und in ihren Augen politisch korrumpierten - eine kategorische Absage erteilte, den Kunstbegriff generell in Frage stellte und die Forderung einlöste, dass Kunst und Politik immer zusammengehören. In diesem Klima entstand die Idee der Konzeptkunst, die Auffassung, dass das eigentliche Kunstwerk der immaterielle Gedanke ist, der ihm zugrunde liegt und nicht seine Ausführung. Eine Idee, die antikommerziell weitergedacht wurde, denn nun durfte, ja sollte, Kunst beliebig oft vervielfältigt werden, billig sein und war für alle. Zugleich darf Kunst fast alles und fast alles kann Kunst sein. Conrad Schnitzler ist Konzeptkünstler und verkörpert seine Zeit, wie kaum ein anderer - sein Lebenslauf liest sich wie ein Manifest der Unabhängigkeit, seine Musik ist radikal neu, mutig und zuweilen regelrecht antikommerziell. Der legendäre von ihm gegründete Zodiac Club war der vielleicht wichtigste Schmelztiegel und Motor der subversiven Kunst- und Musikszene Westberlins. Als einer ihrer Helden und Gallionsfiguren, nahm Conrad Schnitzler im Paragon Studio das 1978 veröffentlichte "Con" auf, eines der raren Kleinode, dieser Epoche und seiner Karriere. Stärker als in anderen Arbeiten ist der Einfluss von Tangerine Dream zu hören (deren Mitglied Schnitzler von 1969 bis 1971 war) und als professionelle Studio-Arbeit ist "Con" nicht zu sperrig und artifiziell, sondern setzt stattdessen auf klarere Songstrukturen und musikalische Eingängigkeit. Zu Recht gilt "Con" manch einem als Schnitzlers beste Arbeit. Fast 40 Jahre später erscheint das Werk nun als Re-Release auf CD, LP und digital.

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Last In: 5 years ago
DJ Lycox - Kizas do Ly

Dj Lycox

Kizas do Ly

12inchP034
Príncipe
15.12.2020

Romantic Kizomba lilt from DJ Lycox (Tia Maria Produções), stepping out on his first Príncipe session since 2017 with a strong set for the lovers...
Tending to the slower, more melodic and atmospheric side of the Angolan-Lisbon club equation, ‘Kizas do Ly’ arrives earlier than expected with a payload of sultry rhythms and wavey, dusky vibes
that offer a warm glow of hope in testing times.
In four instrumental strokes DJ Lycox lets his fingers sing on the keys with with almost baroquetight counterpoint between his strolling bass and quizzical top lines in ‘Jam’, while ‘Red Lights’ pulls steel drums, glassy percussion and elegant strings into a swaying style calling to mind a slow smudge of reggaeton and Kwaito tropes done by James Ferraro. ‘Babygirl’ follows on a soft focus, dry-iced flex like Palmistry meets Jan Hammer on a deserted Caribbean beach, and ‘Hábitos’
follows with a more lusting tussle of congas, strings and see-sawing bass bound for lights-up moments on the ‘floor.

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Sabaturin - Kenemglev

Sabaturin

Kenemglev

12inchZAM008
Holuzam
20.11.2020

Bourbonese Qualk legend Simon Crab meets Charles Beullac (Galerie Statique) in a volley of brooding, dubbed-out industrial/illbient misfits for Lisbon’s Holuzam, the young affiliate label of the renowned Príncipe Simon Crab is nothing less than a true pioneer of British post-industrial music, with a catalogue of prototypical dark ambient, groove-driven industrial, and hardcore techno practically unparalleled
in his field. In collaboration with Canadian artist Charles Beullac, ‘Kenemglev’ speaks to the range and nuance of Crab’s output while introducing Beullac’s likeminded industrial audness to new ears;
yielding nine tracks of sleepwalking industro-dub rhythms and tormented electronica blessed with a nocturnal allure that places their work in fine company amid Holuzam’s roster of off-road esoteric groovers.
The title ‘Kenemglev’ means “consensus’ in Breton, and smartly describes their mutual efforts to explore a sort of neutral no-person’s-land or virtual middle ground between their respective musical languages. In suit, all the tracks are titled in Breton - itself a mix of French and English - and their un/familiar nature is reflected in the music’s angularities and secretive feel, roving from Mille Plateaux-like glitch in ‘Douakek’, to the air-stepping pads of ‘Direnker’, and crispy noirish jazz hustle streaked with intercepted radio signals and keening crowd noise in ‘Razheta’, while ’Skaotan’ comes off like a glitching Raime workout, and the squashed break trip of ‘Berzh’ recall
Spectre or Scorn.

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The Gagmen (Aaron Dilloway, Nate Young, Joachim Nordwall, Andrew W.K) - The Gagmen

White Vinyl

Bezonked, high/low-grade crud from Aaron Dilloway, Nate Young, Joachim Nordwall, and partyrock hero Andrew W.K. as The Gagmen - recorded in a tiny NYC basement in 2012 and now finally seeing light of day on Nordwall’s unstoppable iDEAL Recordings Put three of experimental music’s gnarliest dudes, and their pals, in a room and this is what you get; 40 minutes of charred and gungy electronics with tormented vocals that sound like they just crawled out of a Brooklyn sewer. If you’re remotely familiar with anyone on board, or their various actions between the charts and the gutter, your expectations will be met side-on with engrossing levels of raw tape manipulation and throttled analog synths masticated and spat out in four parts
that hark back to their respective pinnacles of this era;- from Nate Young’s now classic ‘Regression’ seshes, to the body gurns of Dilloway’s ‘Modern Jester’, and Nordwall’s crushing ‘Monstrance’
collaboration with Mika Vainio.
A Swedish newspaper wrote “What the hell is this?”, in a review of The Gagmen’s debut gig in a posh Stockholm hotel, but keener ears will surely recognise the calibre of grot on offer from these dons of the trip metal underground. The mode is slanted and pharmaceutically enchanted, with Andrew W.K. sounding like he’s partied too hard on his pair of severely blunted vocal contributions,
while Dilloway, Young, and Nordwall’s noise supergroup vent crankiest spleen in tortuous tangles of ferric buzz and machine howl, all grungily gelling into anxious, burned-out industrial dub rhythms.
A total headwreck.

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