VRIL debuted on the Delsin-label with his excellent Vortekz EP early in 2014, which came after releases on his family-label Giegling and also Semantica in previous years, and was followed up by the Torus LP, a double 12″ on Giegling affiliate Forum. Now he’s back with his second full length. One day VRIL sat down in his station and suddenly a Portal opened. Thru a kind of timehole infinitive moments passed by. Luckily he was able to capture a few of those to share with us. The Portal closed. Nothing was left, no questions.. only this LP.
Icelandic producer Adalsteinn Gudmundsson aka Yagya now launches his own new Small Plastic Animals imprint with a brand new album, Old Dreams and Memories. After nearly two decades of releasing his Icy dub techno on labels like Sending Orbs, Delsin Records and A Strangly Isolated Place, his latest album marks a subtle move away from the sound he has dealt in before. Still slowly propulsive rhythms underpinning every track, but they are only a small part of the overall picture. Old Dreams and Memories is a rich symphony of luxurious sound, with transportive rhythms and hugely evocative layers of melody, the human voice and cinematic sampling all showing a further evolution in the art of this standalone producer. With vocals by Natsuko Yanagimoto, poems by Michizo Tachihara and saxophone by Oskar Gudjondsson.
Second part in the Rolando Simmons summer excursions series (you may remember AF019.1, 2018). The swedish is back to Analogical Force in dark days to light the way. Playful modern electronics with enough melody and invention to stimulate your cortex and an almost whistful nostalgic yearning. Hope! fire is burning, flag is flying.
James Shinra return to Analogical Force, and it needs no introduction. ‘Reverie’ is the new 4-track EP where James plunges us into his fantasy world again and will remind you exactly why you fell in love with this talented guy. JUST DIVE IN.
Oscillation is the repetitive variation, typically in time, of some measure about a central value or between two or more different states. Aleksi Perala uses the 128 resonant colundi frequencies to create an oscillation perfected to 33.3 rpm for infinite effect. Part 1 of a 2 part series divided over Clone Basement and Dub.
The next official reissue oozes the feelgood factor, a reggae disco cover of ‘Ain’t Nobody’ by Jamaican artist Yvonne Archer. For the first time since the original release in 1980 the full length original 12” mix gets the reissue treatment along with the Lovers Rock leaning ‘Checking Out The Way I Feel’.
Noah Gibson marks his first appearance on North Electronics with an EP of plaintive meditations on his innermost causes and conflicts. Acidic enthusiasm spirals out of control in innumerable ways across ‘Press On,’ routing us through the reflective atmosphere that hangs heavy in the background of the thrilling adrenal spikes.
The enduring balance and precision fractures in CA2+’s earlier works for Northern Electronics only hint at the ferocity of his latest release, ‘Overtone Window.’ Assembling itself into troubling rhythmic rises that break of their own accord, finding more efficient models within its own feedback, each track sharpens itself with every movement. Small run… dont sleep!!
Night Sea is honoured to present their first LP to the Silent Season family. The album is the culmination of a two-year journey playing with the relationship between sound, repetition, and impermanence. The slowly evolving musical landscapes of Still are an invitation to slow down and explore the ever-changing facets of one’s experience.
This album is dedicated to Betty and Cassius for their inspiring resilience, and Glenda for her constant support.
Between Sleeps is a French producer based in Paris, passionate about sound design and synthesizers. His stage name and musical world evoke the state of semi-consciousness, when neither awake nor asleep. With dreamy pads and strong rhythms, his music mixes electronica, house, and techno. Boards Of Canada, Lone, or The Field are among his main influences. All the tracks included on Fantasia have been composed with the same hardware set-up: a sampler, an FM synthesizer and a subtractive analog synthesizer. Every track has been recorded in one stereo take.
Los Angeles based artist Evan Caminiti returns with the follow up to 2017’s Toxic City Music. Living in the wrong timeline, dreaming of possible utopias; Varispeed Hydra beams in like a collection of broken transmissions, terrestrial sounds melting into the abstract and rising again as vaporous specters. Three years in the making, Hydra was recorded utilizing a variety of electroacoustic processes and honed in live performances ranging from the sound art setting of NYC’s Issue Project Room to the future-club environment of DOMMUNE in Tokyo. While thematically following Toxic City Music, it moves past that album’s emphasis on superfund sites and the proverbial rat race to turn an ear towards more rural environs. With a focus on some of the sounds we stand to lose if we continue on our current trajectory of ecological destruction, birds, insects, and water are most often found among the glowing synthesizers and warped electric guitar that comprise the album’s melodic and rhythmic core. Connecting a thread between musique concrete and dub, these sounds are atomized and diffused before being woven together with a sense of urgency, a colorful and restless haze. Phasing percussion and blurred melodies are wrapped in a fog as they tumble and glitch, occupying a space where ominous rumblings and bucolic bliss blur together. An offering of cautious optimism in the age of anxiety. Artwork by Michael Vallera and Zane Morris. Written and produced by Evan Caminiti, featuring electronics by Lisa McGee. Mastered by Rafael Anton Irisarri at Black Knoll Studios; Vinyl cut at Dubplates and Mastering Berlin. Includes download code; edition of 300.
Mysterious duo Nightstalker returns after an 19 year hiatus with ‘Tragedies Of A High Tech World’. Ten tracks spread out over 2 heavyweight vinyl slabs, containing dark hues of acid, dreamy atmospheres, and Drexciyan influenced chord progressions of the highest order. A musical journey awaits here, traveling from themes of social programming, and controlled society on Earth to mystical High Tech planets in deep outer space and back. An essential release for all admirers of pure analogue and imaginative Electro and Techno.
Doctor Fluorescent’s debut album opens a door to a world of seductive, fresh electronic pop music, where things aren’t always what they seem: sophisticated musical clockworks often lie under the dreamy surface.
Although he is primarily a scientist and explorer, Doctor Fluorescent also plays musical instruments and uses electronic gadgets to express his ideas to the world. He is assisted by musicians Scott Gilmore and Eddie Ruscha, who sit back and merely facilitate what the doctor commands. Plug in a patch cable here, turn a dial there… whatever it takes to get the proper result recorded and keep the good doctor happy.
Back when Scott and Eddie began to create this music with Doctor Fluorescent, they utilized all manner of electronic and acoustic devices with no worries or concerns regarding their discoveries. They allowed the explorations to lead themselves where they may. Their experiments began to solidify into songs, and shortly after, stories began to take shape and the Doctor’s voice emerged (to be perfectly honest, the Doctor was born out of Scott and Eddie’s minds, but soon turned into an actual human being in every sense)
The music of Doctor Fluorescent almost reminds one of a private press electronic voyage album discovered in a stack of records next to Supersempft, Roger Powell and Wally Badarou. The album explores a wide range of sound, it’s experimental in many ways, yet each track still retains the semblance of a song. Each song is its own journey, often ending in a completely new place from where it began.
Scott and Eddie have already made many records themselves using old synthesizers and drum machines, making them the perfect helpers to bring Doctor Fluorescent’s musical visions to life.
Nostalgia-tinged 90s electronica and second room IDM from the legend that is D.K.
ISLE008.5 shows Parisian artist D.K.’s concern for the nostalgia-tinged 90s electronica and second room IDM that inform not just his compositional practice but also our own tastes here at the label. Recorded live at the intimate South Korean venue The Edge, this limited 12″ births fleeting moments in a late night music bar into physical form. Propulsive rhythmic tension, heavy doses of reverb and glassy, cavernous sound design across six movements.
J.Derwort (15/07/1952 – 11/02/2019) left all his flutes, old guitars, strange percussion and some weird found objects at the Chi Factory studio. Hanyo van Oosterom went back to Patmos in April 2019 to visit all the magic places where Chi once started. He recorded the basics for ‘Travel in Peace’. Playing and recording these handmade bamboo flutes without the master himself being there was a lonely and emotional journey. But along the way the magic connection returned and the last Chi Factory album was born. On ‘Santa Fe’ and ‘Last Breath’ samples were used of J.Derwort during his last weeks in Santa Fe, Spain. The Chi circle is now closed. Chi Factory will move on as ‘Sons of Chi’. A new platform for different collabs and new adventures in sound. The legacy will live on, so will we.
Hanyo: As J.Derwort explained by a dream he is now in a wonderful place far away and still so close. The dream came during the recordings when I asked him how he is and where he is. I saw beautiful and ever changing constructions of plants. Nothing else. No words and just a simple explanation: everything is created and connected by intuitive vegetable intelligence. The opening piece ‘Bless You’ is the last track I recorded, it reflects the memory of my dream the most. I almost decided to start all over again, but I did not. Hope you like the last Chi Factory album, thx for all your support, also to my good friend and soul brother J.Derwort this meant a lot. One love!
Multicast Dynamics returns with a sixth studio album that marks something of a new chapter. Ancient Circuits is an advancement from previous works on Denovali and one that stands the project aside as a powerful electronic act that tells stories while also serving up heavy hitting soundscapes that are persuasive, unexpected and disturbing. Each of the four 25-minute pieces of Ancient Circuits are clearly demarcated yet sequential sci-fi stories that introduce new characters and are drawn out of long and complex studio experiments. They are collages of sound that glimmer, disturb, shine, dive deep and explore new realms and make for ambient so arresting that it pulls you deep inside. Once again here, Multicast Dynamics draws together cinematic sound design and conceptual intergalactic fiction to come up with a work that is a multi-sensory exploration that puts you as the central character in an expressive musical world
Antinote and Dizonord present STUDIOLO – Belfiore, Veneto, 1447. Birth of the first “Studiolo” or cabinet of curiosities, these rooms where “rare, new, and singular things”, often exotic, were stored and exhibited. A practice that would spread throughout Europe during the Renaissance.
Northeastern Italy, at the beginning of the 1980s, an entire local scene gathered around a handful of DJs who put their dancefloors in a trance to the sounds of “rare, new, and singular” music, under the strong influence of ethnic and world music. Mixes where German Kosmische clashes with space disco, along with the most experimental side of British new wave, industrial music, creepy funk, deviant rock and pop. All this mixed with Brazilian and Afro music, reggae, ragga, percussions and bhangra… A kind of mixing in total rupture with that of a dying disco for which it is intended as an alternative. A way of playing songs often at the wrong speeds, at 33RPM instead of 45RPM and vice versa, and always the obsession of a slow tempo, between 95 and 110 BPM, while the cruising speed of disco mixes goes up to 125/130 BPM… A haunting rhythm, accelerated or slowed down voices, with experimental and ethnic approaches… the sets by Moz-Art, Ebreo, Roberto Lodola, TBC, Meo, Fabrizio Fattori… are endowed with a baroque, quasi)mystical dimension. Without forgetting the enemy brothers, at the origin of this fusion of styles, Daniele Baldelli, resident of the Cosmic Club in Rimini, who called it Cosmic Style, and Beppe Loda, resident of the Typhoon in Gambara (a small town not far from Belfiore, unsurprisingly) and who referred to his mixing as “Afro Style”. “Afro”, the name that will be adopted by this scene and especially by its fans, recognizable by their post-hippy style, their Citroën DS or 2CV, with car radios fully powered by mixtape cassettes recorded in the clubs by these DJs, then sold in the parking lot of what was still called “the discotheque” at that time. This “Afro” wave mainly involved 3 regions in Italy (Lombardy, Emilia Romagna, and Veneto) and the young Austrians and Germans who would go there on holiday. Among them, Stefan Egger, a young DJ from Innsbruck, received a monumental shock while listening to a set by Daniele Baldelli during his holidays in Rimini. Therefore, he decided to make his Austrian dancefloor resonate to the sound of the Cosmic Style.
While the official history of underground dance music has very quickly and rightly retained the contribution of DJs from Chicago and New York, it was not until the early 2000s that interest in the Afro/Cosmic scene was finally shown. Since then, a lot has been said on this scene, its DJs, their completely crazy and obscure tracklists, while Daniele Baldelli and Beppe Loda are playing Boiler Room sets as well as Europan and Japanese gigs one after the other. But few have shown interest in the moment in time when, at the end of the 80s, these DJs became producers and started creating songs that sounded like their sets, where all their influences would collide, often naively, sometimes with genius, always without filters. Nor to how this scene changed at the beginning of the 90s with a marginal approach to trance and progressive house, when the Italian, Austrian and German DJs of this second Afro period played these trance and progressive records at 33+8, as their elders did with synth wave or post-punk records, always staying within this 100/110 BPM tempo. It is in this last period that this compilation will immerse you, through 8 tracks from the Italian, German and Austrian scenes
Any botanist will extol the virtues of cross-pollination, and musical hybrids are a Growing Bin speciality. For the latest release Parisian outfit Maât splice jazz with Balearic, dub, house and Afro to create a free thinking LP dedicated to world fusion fore-runners Codona.
If Singu found calm amongst the chaos of Tokyo for ’Siku’ (GBR017), then Maât map out a Sunday stroll through the sun dappled streets of the Parisian banlieue on ’Solar Mantra’. Humming reeds converge into a pre-dawn chorus before dewy sequences and drifting syncopation signal sunrise over La Vilette, a perfect place to start ‘The Walk’. Skirting the Périphérique, the Parisian ensemble pick out a street percussionist by Boulevard d’Algérie then detour to Pré-Satint-Gervais to draw a bassline out of the Metro Area, adding an Environ cool to the uptempo ‘Jaki & Bryn’. With icy bells, brooding guitars and melancholic vocals, ‘Feuglace’ transports Miko’s garten to the 20th arrondissement while the polyrhythmic patter and micro-tuned guitars of ‘Solar Mantra’ see out the A-side with a fourth world hymn.
Chakras cleansed and ready for a B-side rebirth, Maât take us dancing through Père Lachaise via organic house bomb ‘Quetzal Pacino’, an emotive exploration of rhythmic mallets, dreamy pads and propulsive bass, which moves like the Innerzone Orchestra re-arranged by Jon Hassell. Rest comes with the soothing pianos and swelling sine waves of the pastoral ‘Clarière’, a hazy homage to the noon sun on a clearing. Circular motifs, limber grooves and dubby bass mean we’re on the move again, slipping into Montreuil with the echo-drenched scat and firm back beats of ‘Mount Beuvray’, before ‘Llomé Dub’ takes us home in time for a cool beer and much needed smoke on the balcony. Acoustic guitar, lilting piano and a gorgeous female vocal ride the punchy bass and clattering drums to perfection, keeping us company until the day fades into a contented haze.
Cinematic Vintage Synth and live drums project by Lance Ferguson (The Bamboos, Menagerie, Rare Groove Spectrum, Lanu). Turquoise coloured double LP incl. download card, limited to 300 copies worldwide.Imagine drummer Bernard Purdie playing with Ryuichi Sakamoto, or perhaps Clyde Stubblefield joining Cocteau Twins. An immersive album that recalls Boards Of Canada, Four Tet, Air, and Tycho
LP1 takes influence from cold wave, applying gloomy chords onto House and Breakbeat, whilst including textures that might draw reference to early IDM. Earth Trax blends dreamy vocals, pads and melodies with striking rhythms, squawking synthesizers and strong bass lines throughout. The LP was recorded as an extension of some of the artists moodier singles on Shall Not Fade sister imprint, Lost Palms. It explores a more experimental approach towards House music, whilst drawing influence from some of his more downtempo style releases as Bartosz Kruczyński. LP1 features the stunning photography of Kasia Zacharko & graphic design of Kaja Kukuła.
From their native St. Petersburg, Square Fauna evoke a score for imaginary protoplasmic oceans, surreal, sepia-tinged space operas and Russian sci-fi folk tales; lush, green landscapes littered with the burned out husks of automobiles, military vehicles, and askew telephone poles no longer in use though marked by pools of water in which can be found the debris of modern society.
Primitive kosmische electronics and vintage spacescapes cascade around complex polyrhythmic percussion. Ethereal mists of gaseous reverb are scattered by windswept synths and white-noise striations.
‘Meet The Fauna’ is as much of a cheeky nod to The Residents and Coil (or even Haroumi Hosono and John Hassell) as it is to the likes of B12, Black Dog, Richard H Kirk.
A completely singular, modern sci-fi soundtrack for the discerning sofanaut.