Following up on their highly acclaimed debut release from 2020, raster presents Il Quadro di Troisi’s “Remixes” album, an eclectic collection of reinterpretations of eight of the group’s tracks. By inviting fellow label artists as well as friends and long-term collaborators to contribute to this, “Remixes” shows a broad spectrum of diversity, ranging from colorful, loop-based renditions by Toulouse Low Trax and Tropicantesimo, to (Italo) disco-inspired versions by Daniele Baldelli & Marco Dionigi and Chloé, to more rhythmical and functional tracks by AtomTM, Dasha Rush and Front de Cadeaux. The album also includes a dub-infused reinterpretation of “Il giudizio” by the artists themselves. More

Il Quadro di Troisi presents La Commedia Everything changes, all things evolve: four years after their eponymous debut, Il Quadro di Troisi return with a new album and a new line-up. The perfect circle traced by Eva Geist (aka Andrea Noce) and Donato Dozzy (aka Donato Scaramuzzi) becomes a triangle with the permanent addition of Pietro Micioni, who collaborated in the previous recordings and had been part of ll Quadro’s live set. Nothing stays the same, and the world is a lot different from what it was in 2020. The global crisis generated by the constant escalation of conflict and by the pandemic was mirrored by a time of individual crisis and personal, often irreversible transformation that underscored the entire period of the album’s composition. The influence of these turbulent times is felt in the writing: La Commedia is about turning a crisis into an opportunity and using change as a catalyst for rebirth. Much like the characters in classic Italian comedies, who are masters in using irony to face life’s hardships, Il Quadro di Troisi explores the vast and unpredictable terrain between the lighter and darker sides of the human experience, matching the magical with the mundane. La Commedia is about the many facets of life: each song is named after an archetype (e.g. the truth, the night, the Earth, the prophet), as though our existence were a tarot deck and its reading an exercise in collective consciousness. La Commedia marks the band’s embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi’s music – classic Italian songwriting with an electronic spin – meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless. La Commedia celebrates the band’s cultural roots while constantly moving into new territory, balancing nostalgia with a forward-thinking approach. La Commedia is a rare gem that confirms Il Quadro di Troisi’s relevance in the international music scene, as demonstrated by the number of top-level artists featured on the album: from Suzanne Ciani, a legend and a pioneer of independent music with a career spanning five decades, to Aimee Portioli, aka Grand River, a Dutch-Italian musician, composer and sound designer based in Berlin, along with Francesca Colombo’s eclectic violin (the de facto “fourth angle” of Il Quadro di Troisi’s frame), Fiona Brice’s strings, cultural agitator and icon of the Roman underground scene Stefano Di Trapani (aka Demented Burrocacao and a member of Trapcoustic and System Hardware Abnormal, among other projects), Maestro Daniele Di Gregorio, an excellent musician and a longtime collaboration of songwriting legend Paolo Conte, and Tommaso Cappellato, whose professional description goes well beyond “drummer” and who has been working with artists like Rabih Beaini and Maurice Louca. The cover of the album, as well as those of the singles, was designed by Francesco Messina, another icon of Italian music. Messina is a longtime Franco Battiato collaborator and co-author, a cult musician (his Prati Bagnati del Monte Analogo, made in collaboration with Roul Lovisoni, is considered a seminal record by the alternative Italian music scene), as well as a photographer, visual artist and the author of legendary record covers. More

the penultimate issue of raster-noton's unun series features »gomila park«, a new project by the two swedish musicians martin rössel and carl michael von hausswolff that started in spring 2013 in palma de mallorca. on their first ep released as a duo, they present three rather unconventional and diverse tracks. »leibniz«, for example, is characterized by a heavy rock attitude with lots of distortion and screaming guitar riffs. the b-side on the other hand, including the tracks »calculus« and »ramon llull«, is the more experimental part. considering only the track titles, »gomila park« is a homage to two of the first mathe- maticians and philosophers that helped developing the binary system and, generally speaking, the digital world. but despite all that, »gomila park« is also a matured piece of work that was held in trust for at least two years. it's once more an inspection of a fundamental possibility of music, a reference to the past. similar to mika vainio's »vandal« ep, »gomila park« echoes the tradition of rock (music) and is thus the counterpart of a younger, historically unbur- dened generation of producers like ueno masaaki or kyoka More

after successful ep collapsed (r-n116) the bristol based project strikes back with a full length album on raster-noton. once more james ginzburg & paul purgas challenge the perceptual boundaries between noise and music and the potential for both technology and architecture to embed and codify themselves within sound. recur is presented as emptyset's third studio album, continuing on from their work with demiurge the material examines the central themes of time, structure and recursion, through the analysis of scale and the interaction of both formal and fractured sonics. the album furthers the project's exploration of rhythm, dislocation and feedback within the framework of full frequency sound, structural abstraction and analogue processing. the work examines how notions of time interact with both experience and form, and the resulting modes through which this affects sound through compression and rarefaction and the forcing of signal thresholds to their critical point. More

after successful ep collapsed (r-n116) the bristol based project strikes back with a full length album on raster-noton. once more james ginzburg & paul purgas challenge the perceptual boundaries between noise and music and the potential for both technology and architecture to embed and codify themselves within sound. recur is presented as emptyset's third studio album, continuing on from their work with demiurge the material examines the central themes of time, structure and recursion, through the analysis of scale and the interaction of both formal and fractured sonics. the album furthers the project's exploration of rhythm, dislocation and feedback within the framework of full frequency sound, structural abstraction and analogue processing. the work examines how notions of time interact with both experience and form, and the resulting modes through which this affects sound through compression and rarefaction and the forcing of signal thresholds to their critical point. More

SUPER.TRIGGER is an absolute trove of percussive tensions and frequency driven finesse and deals mainly with the basic principles of any modern music: rhythm. frank bretschneider takes his, never simple, but all the more heartfelt relationship to rhythm and its complexity, to an intense inventory and, this time, works less out of suspenseful abstract sounds, than out of grooves. there is a real sense of perpetual evolution and coiled tightness to the pulsating rhythmic programming, while the subtle sheets of noise that fill the void behind the beats compete against the rhythm and their own sonic purity for a higher state of energy — a constant flux of tension and release. SUPER.TRIGGER comes again in bretschneider's signature style of ultra-clean bleeps and bouncing machine beats with terseness and precision, and a preference for high-voltage sounds halfway between noise and tone. the combination of programming, composition and construction is connected with his very idiosyncratic aesthetic of digital sound: controlled and objective. the whole follows simple mechanical states — on/off, up/down, soft/hard, slow/fast, loud/quiet — and is characterized by the absence of any romanticism. still this return to the elementary, the fundamental, does not diminish the music to dance-floor functionality, instead bretschneider always stays emphatically musical and manages to generate sophisticated and complex rhythm-structures, which respectively induce minimal deviations in frequency and timing relationships to generate a surplus of funk. in all, SUPER.TRIGGER is bretschneider's most straightforward, clear and compact work yet. frank bretschneider works as a musician and composer in berlin. since 1996 he has published a number of albums for raster-noton, such as RHYTHM (r-n082) & EXP (r-n108). SUPER.TRIGGER is essentially a collection of various studio improvisations and was created between 2012 and 2013. More

AOKI takamasa continues his long- term project that focuses on the modulation of rhythms and grooves. More

Aoki Takamasa continues his long- term project that focuses on the modulation of rhythms and grooves More

AtomTM's electronic quintessence: a blend of pop, electronic abstraction and powerful grooves More

a further exploration of his approach to rhythm-driven, electronic music. More

Eight new songs which allow the listener to dive into delay's cosmos of deep and likewise organic sounds. More

With »and IV (inertia)«, Grischa Lichtenberger presents his first full length record on raster-noton. More

Vladislav Delay's EP "espoo" features two new conceptual, rhythm-intense tracks. Whereas the groove of the opener "olari" derives from a sound loop which is manipulated by filters and echoes and finally brings forth the intensifying beat, the reverse is done with "kolari" on the B-side. Starting from an impulsive, staccato beat, a sound carpet is woven by means of modifiers which gradually shape a permanent vacation-like melody, close to terry riley's minimalistic concepts. Both tracks share a linear increase in density, and because of their break with the common four-four time, they create a certain folkloric atmosphere. Like with "vantaa", the experienced music producer Vladislav Delay continues his search for dance-floor compatible, yet unique and fresh music. More

With "dazed", senking continues his exploration of the abysses of sound to create dark and gloomy atmospheres. More

"Winterreise" is the audio soundtrack to a series of photographies with the same name produced by AtomTM. More

Byetone's music tries to create associations without really fulfilling the expectations. More

Il Quadro di Troisi presents La Commedia Everything changes, all things evolve: four years after their eponymous debut, Il Quadro di Troisi return with a new album and a new line-up. The perfect circle traced by Eva Geist (aka Andrea Noce) and Donato Dozzy (aka Donato Scaramuzzi) becomes a triangle with the permanent addition of Pietro Micioni, who collaborated in the previous recordings and had been part of ll Quadro’s live set. Nothing stays the same, and the world is a lot different from what it was in 2020. The global crisis generated by the constant escalation of conflict and by the pandemic was mirrored by a time of individual crisis and personal, often irreversible transformation that underscored the entire period of the album’s composition. The influence of these turbulent times is felt in the writing: La Commedia is about turning a crisis into an opportunity and using change as a catalyst for rebirth. Much like the characters in classic Italian comedies, who are masters in using irony to face life’s hardships, Il Quadro di Troisi explores the vast and unpredictable terrain between the lighter and darker sides of the human experience, matching the magical with the mundane. La Commedia is about the many facets of life: each song is named after an archetype (e.g. the truth, the night, the Earth, the prophet), as though our existence were a tarot deck and its reading an exercise in collective consciousness. La Commedia marks the band’s embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi’s music – classic Italian songwriting with an electronic spin – meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless. La Commedia celebrates the band’s cultural roots while constantly moving into new territory, balancing nostalgia with a forward-thinking approach. La Commedia is a rare gem that confirms Il Quadro di Troisi’s relevance in the international music scene, as demonstrated by the number of top-level artists featured on the album: from Suzanne Ciani, a legend and a pioneer of independent music with a career spanning five decades, to Aimee Portioli, aka Grand River, a Dutch-Italian musician, composer and sound designer based in Berlin, along with Francesca Colombo’s eclectic violin (the de facto “fourth angle” of Il Quadro di Troisi’s frame), Fiona Brice’s strings, cultural agitator and icon of the Roman underground scene Stefano Di Trapani (aka Demented Burrocacao and a member of Trapcoustic and System Hardware Abnormal, among other projects), Maestro Daniele Di Gregorio, an excellent musician and a longtime collaboration of songwriting legend Paolo Conte, and Tommaso Cappellato, whose professional description goes well beyond “drummer” and who has been working with artists like Rabih Beaini and Maurice Louca. The cover of the album, as well as those of the singles, was designed by Francesco Messina, another icon of Italian music. Messina is a longtime Franco Battiato collaborator and co-author, a cult musician (his Prati Bagnati del Monte Analogo, made in collaboration with Roul Lovisoni, is considered a seminal record by the alternative Italian music scene), as well as a photographer, visual artist and the author of legendary record covers. More