1
SG - Sentimental Guitar Dream
2
SG - Western Affect
3
SG - Romantic Excursion
4
SG - Half-Steps To Love
5
SG - Forever (Is No Time At All)
6
SG - Rain Nr. 9
7
SG - Rain Nr. 5
8
SG - Rain Nr. 33
9
SG - Rain Nr. 2
10
SG - Rain Nr. 1
SG is none other than Andrew Pekler returning to faitiche with an album of sentimental guitar escapism. For Lovers Only / Rain Suite features ten tracks made using only an electric guitar and a handful of effects pedals (plus some additional recordings of rain) and finds Pekler once again attempting to reconicile his tendencies towards kitsch, experimentation and minimalism.
What does Pekler's pseudonym SG stand for? Sentimental Guitar? Sound Gallery? Shy Guy? Sad Gnosis? Saudade Glamour? Soft Goth? We don't know, but we asked notorious Chicago romantic Sam Prekop for his take on the album – his reply:
--
It’s a wonder where the rivers go and far, how fast or slow.
Just seconds to remember, who can forget, when you are lost.
I think to recount every step, in both hands, eyes open, the clouds unfold, one two three. Every other step, just as well.
Where the moss is soft, you know strong. How many hours, days? I could have been careful, did I forget?
Never mind. Waking up, in these arms, where the rivers go, slow. One two three, one two three. More
What does Pekler's pseudonym SG stand for? Sentimental Guitar? Sound Gallery? Shy Guy? Sad Gnosis? Saudade Glamour? Soft Goth? We don't know, but we asked notorious Chicago romantic Sam Prekop for his take on the album – his reply:
--
It’s a wonder where the rivers go and far, how fast or slow.
Just seconds to remember, who can forget, when you are lost.
I think to recount every step, in both hands, eyes open, the clouds unfold, one two three. Every other step, just as well.
Where the moss is soft, you know strong. How many hours, days? I could have been careful, did I forget?
Never mind. Waking up, in these arms, where the rivers go, slow. One two three, one two three. More
More records from Faitiche
1
blackbody_radiation - Rhyolite
2
blackbody_radiation - Soft Fascination
3
blackbody_radiation - Ferric Oxide
4
blackbody_radiation - Silica
5
blackbody_radiation - Xeskouriasma
6
blackbody_radiation - Particle Float
Faitiche welcomes Andrew Black aka blackbody_radiation. His debut album Ultra Materials gathers six ghostly drones, created with the help of sound masking.
Andrew Black, who hails from one of the UK's post industrial North West Milltowns has a sensitive feeling for space and its acoustics. Having trained as a designer and operated within the realms of architecture and public space, it was only natural to extend his interest to manipulating field recordings.
The six pieces collected on Ultra-Materials provide an insight into Black's highly sensitive minimalism: they stand for a subtly meandering mediation on room acoustics and place, which are manipulated with the help of sound masking, among other things - that is, the addition and superimposition of artificially generated frequencies to mask unwanted sounds.
Sometimes the pieces are reminiscent of warm engine noise, sometimes one thinks of carefully captured natural phenomena. Their strength lies in their elusiveness: free of concrete attributions or musical location, they can unfold their hypnotic pull without revealing anything about their origins. Harmonics at times shimmer, at times warble and at times coexist. It is an attempt to get in touch with our listening abilities. More
Andrew Black, who hails from one of the UK's post industrial North West Milltowns has a sensitive feeling for space and its acoustics. Having trained as a designer and operated within the realms of architecture and public space, it was only natural to extend his interest to manipulating field recordings.
The six pieces collected on Ultra-Materials provide an insight into Black's highly sensitive minimalism: they stand for a subtly meandering mediation on room acoustics and place, which are manipulated with the help of sound masking, among other things - that is, the addition and superimposition of artificially generated frequencies to mask unwanted sounds.
Sometimes the pieces are reminiscent of warm engine noise, sometimes one thinks of carefully captured natural phenomena. Their strength lies in their elusiveness: free of concrete attributions or musical location, they can unfold their hypnotic pull without revealing anything about their origins. Harmonics at times shimmer, at times warble and at times coexist. It is an attempt to get in touch with our listening abilities. More
1
Jan Jelinek - The Water Seems Changed To Mist And Vapor
2
Jan Jelinek - Ropes Sing In The Air
3
Jan Jelinek - Waiting And Watching (Version)
4
Jan Jelinek - Warm Murmur In The Room
5
Jan Jelinek - It Moves Swiftly Forward, Throwing Up Great Waves
6
Jan Jelinek - On The Quay Now, Waiting And Watching
7
Jan Jelinek - Someone Squeezes A Concertina, Sailors Begin To Sing
8
Jan Jelinek - Drawn Toward The Whirlpool's Center
9
Jan Jelinek - It Moves Swiftly Forward (Version)
10
Jan Jelinek - On The Quay (Version)
One of the most notorious hatemongers in movie history is Captain Ahab from John Huston’s 1956 classic Moby Dick. His manic monologues cast a spell on generations of viewers. Berlin based musician and sound artist Jan Jelinek has now turned the voice of Ahab into a musical instrument.
Faitiche presents Jan Jelinek's soundtrack for SEASCAPE – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022.
SEASCAPE – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahabs voice into ten abstract soundscapes.
In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, SEASCAPE – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events.
Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers?
If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse. More
Faitiche presents Jan Jelinek's soundtrack for SEASCAPE – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022.
SEASCAPE – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahabs voice into ten abstract soundscapes.
In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, SEASCAPE – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events.
Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers?
If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse. More
2023 repress, 300 copies
Tracks
Title Duration
1 Alice Schwarzer, Is It True That You’re A Person Of Great Tenacity? 02:08
2 John Cage, I’ve Been Told To Ask You The Following Question: Where Are You Going? 02:58
3 Hubert Fichte, Your Journey Through Life Has Been Full Of Twists And Turns. Please Tell Us When And Where This Journey Began! 02:22
4 Slavoj Žižek, What Signs Were There Of The Imminent Dissolution Of Yugoslavia? 01:51
5 Joseph Beuys, It Was You Who Said: Democracy Is So Big One Can Only Sing About It. You Recently Made Your Debut As A Singer. Which Democracy Are You Singing About? 03:03
6 Lady Gaga, You Once Said In An Interview That You Write Music For The Fashion Industry. Is Fashion As Important To You As Music? 02:17
7 Ernst Jandl, What Are Your Plans For Language: Revolution, Reform, Revolt? 02:05
8 Karlheinz Stockhausen, Which Difficulties Are Involved In Conserving Electronic Music On Magnetic Tape? 02:17
9 Marcel Duchamp, Would You Like Or Expect People To Spin The Wheel On Your Kinetic Object Roue De Bicyclette? 02:20
10 Friederike Mayröcker, When You Write, Do You Feel Like The Creator Of The Work Or More Like A Medium? 03:11
11 Yoko Ono, You Were Born Into A Rich, Aristocratic Family In Tokyo. Do You See That In Yourself? 02:11
12 Max Ernst, This Is The First Time In Twenty-five Years That You’ve Returned To Your Old Home Town, To The Cathedral In Cologne, Right? 02:04
Faitiche releases a short version of the radio play Zwischen (German for ‘between’). Devised and produced by Jan Jelinek for German public broadcaster SWR2, Zwischen brings together twelve sound poetry collages using interview answers by public figures. Each collage consists of the brief moments between the spoken words: silences, pauses for breath and hesitations in which the interviewees utter non-semantic sound particles. These voice collages also control a synthesizer, creating electronic sounds that overlay and merge with the voices to make twelve acoustic structures.
We all know the speaker’s fate: you falter, you mispronounce, there are breaks, silences and false starts. This results in delays, a language noise compared by Roland Barthes to the knocks made by a malfunctioning motor. Such gaps can be disconcerting, standing as they do for a failure of the speaker’s rhetorical skills. But what happens when they become a constitutive, poetic factor?
Zwischen consists of twelve answers to twelve questions. The answers were all recorded in interview situations. From the speech of the interviewees – all eloquent public figures – the pauses are extracted and edited together. The result is a series of sound collages of silence. But this silence is deceptive, as it is only meaning that falls silent. What remains audible is an archaic body language: modes of breathing, planning phases, seething word particles in search of sense that can break out into onomatopoeic tumult or drift off into sonorous noise.
In a further step, each of the twelve collages controls a modular synthesizer via its amplitude and frequency. Supposedly defective speech acts conduct synthetic sounds and the speakers regain their composure – not via the spoken word, but through sound.
The opening questions in the various interviews are answered by: Alice Schwarzer, John Cage, Hubert Fichte, Slavoj Žižek, Joseph Beuys, Lady Gaga, Ernst Jandl, Karlheinz Stockhausen, Marcel Duchamp, Friederike Mayröcker, Yoko Ono and Max Ernst.
Many thanks to Frank Halbig / SWR2.
More
Tracks
Title Duration
1 Alice Schwarzer, Is It True That You’re A Person Of Great Tenacity? 02:08
2 John Cage, I’ve Been Told To Ask You The Following Question: Where Are You Going? 02:58
3 Hubert Fichte, Your Journey Through Life Has Been Full Of Twists And Turns. Please Tell Us When And Where This Journey Began! 02:22
4 Slavoj Žižek, What Signs Were There Of The Imminent Dissolution Of Yugoslavia? 01:51
5 Joseph Beuys, It Was You Who Said: Democracy Is So Big One Can Only Sing About It. You Recently Made Your Debut As A Singer. Which Democracy Are You Singing About? 03:03
6 Lady Gaga, You Once Said In An Interview That You Write Music For The Fashion Industry. Is Fashion As Important To You As Music? 02:17
7 Ernst Jandl, What Are Your Plans For Language: Revolution, Reform, Revolt? 02:05
8 Karlheinz Stockhausen, Which Difficulties Are Involved In Conserving Electronic Music On Magnetic Tape? 02:17
9 Marcel Duchamp, Would You Like Or Expect People To Spin The Wheel On Your Kinetic Object Roue De Bicyclette? 02:20
10 Friederike Mayröcker, When You Write, Do You Feel Like The Creator Of The Work Or More Like A Medium? 03:11
11 Yoko Ono, You Were Born Into A Rich, Aristocratic Family In Tokyo. Do You See That In Yourself? 02:11
12 Max Ernst, This Is The First Time In Twenty-five Years That You’ve Returned To Your Old Home Town, To The Cathedral In Cologne, Right? 02:04
Faitiche releases a short version of the radio play Zwischen (German for ‘between’). Devised and produced by Jan Jelinek for German public broadcaster SWR2, Zwischen brings together twelve sound poetry collages using interview answers by public figures. Each collage consists of the brief moments between the spoken words: silences, pauses for breath and hesitations in which the interviewees utter non-semantic sound particles. These voice collages also control a synthesizer, creating electronic sounds that overlay and merge with the voices to make twelve acoustic structures.
We all know the speaker’s fate: you falter, you mispronounce, there are breaks, silences and false starts. This results in delays, a language noise compared by Roland Barthes to the knocks made by a malfunctioning motor. Such gaps can be disconcerting, standing as they do for a failure of the speaker’s rhetorical skills. But what happens when they become a constitutive, poetic factor?
Zwischen consists of twelve answers to twelve questions. The answers were all recorded in interview situations. From the speech of the interviewees – all eloquent public figures – the pauses are extracted and edited together. The result is a series of sound collages of silence. But this silence is deceptive, as it is only meaning that falls silent. What remains audible is an archaic body language: modes of breathing, planning phases, seething word particles in search of sense that can break out into onomatopoeic tumult or drift off into sonorous noise.
In a further step, each of the twelve collages controls a modular synthesizer via its amplitude and frequency. Supposedly defective speech acts conduct synthetic sounds and the speakers regain their composure – not via the spoken word, but through sound.
The opening questions in the various interviews are answered by: Alice Schwarzer, John Cage, Hubert Fichte, Slavoj Žižek, Joseph Beuys, Lady Gaga, Ernst Jandl, Karlheinz Stockhausen, Marcel Duchamp, Friederike Mayröcker, Yoko Ono and Max Ernst.
Many thanks to Frank Halbig / SWR2.
More
1
Farben - Live At The Sahara Tahoe, 1973 (Remaster 2022)
2
Farben - farben Says Love To Love You Baby (Remaster 2022)
3
Farben - Muskeln (Remaster 2022)
4
Farben - Suntouch Edit (Remaster 2022)
5
Farben - farben Says As Long As There's Love Around (Remaster 2022)
6
Farben - FF (Remaster 2022)
7
Farben - Beautone (Remaster 2022)
8
Farben - farben Says So Much Love (Remaster 2022)
9
Farben - T.Microsystems (Remaster 2022)
10
Farben - Raute (Remaster 2022)
11
Farben - Silikon (Remaster 2022)
12
Farben - farben says Love Oh Love (Remaster 2022)
On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period.
A Polaroid. Still life with tangled leads and consumer electronics, late twentieth century. Black and various shades of dirty white are the dominant non-colours. The image’s spatial depth remains diffuse, the links between its elements speculative. A note stuck to the wall (a legend, perhaps, or an all-explaining blueprint in text form?) is impossible to decipher. You can’t see what connects the picture’s signs. You have to hear it.
farben says: Every sound is a text. A bearer of meaning in search of a reader. Hoping the ideas inscribed in its autonomous existence will be understood as intended. While its beauty lies precisely in misunderstanding, in reading the coded message a new way every time. A thousand colours of sound, a thousand different ways to hear, to see, to understand.
On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek’s home studio in Berlin at the time.
farben says: Move your body! The project has its roots in Jelinek’s love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music’s most extravagant stock phrases about various states of love.
Jelinek produced the tracks with the aim of making music for dancefloors. An idea that failed very productively. In the locations to which it was originally addressed, the project barely figured. But people did listen, and they listened all the more closely to this music that opened up new acoustic and associative scope for house. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it.
farben says: Signifiers. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall we hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs.
The artwork is based on photographs of former Red Army Faction members, broken down into the four colours of the CMYK model. The motifs dissolve into individual dots of a single colour, so close to the faces that their expressions are only hinted at. Taken together, the individual colours compose a new whole out of fragmentary material, defying definition and thus maintaining their vibrancy. The same occurs on the level of sound. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of colour, are dissolved into details and abstractions. They appear as splinters that recombine in new ways to create new meanings. The joy of collapsing metaphors.
farben says: New departures. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking and speculation. 1.44 megabytes of history, one thousand signifiers, one album. From “Live ...” to “... Love”.
Arno Raffeiner, 2021 More
A Polaroid. Still life with tangled leads and consumer electronics, late twentieth century. Black and various shades of dirty white are the dominant non-colours. The image’s spatial depth remains diffuse, the links between its elements speculative. A note stuck to the wall (a legend, perhaps, or an all-explaining blueprint in text form?) is impossible to decipher. You can’t see what connects the picture’s signs. You have to hear it.
farben says: Every sound is a text. A bearer of meaning in search of a reader. Hoping the ideas inscribed in its autonomous existence will be understood as intended. While its beauty lies precisely in misunderstanding, in reading the coded message a new way every time. A thousand colours of sound, a thousand different ways to hear, to see, to understand.
On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek’s home studio in Berlin at the time.
farben says: Move your body! The project has its roots in Jelinek’s love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music’s most extravagant stock phrases about various states of love.
Jelinek produced the tracks with the aim of making music for dancefloors. An idea that failed very productively. In the locations to which it was originally addressed, the project barely figured. But people did listen, and they listened all the more closely to this music that opened up new acoustic and associative scope for house. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it.
farben says: Signifiers. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall we hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs.
The artwork is based on photographs of former Red Army Faction members, broken down into the four colours of the CMYK model. The motifs dissolve into individual dots of a single colour, so close to the faces that their expressions are only hinted at. Taken together, the individual colours compose a new whole out of fragmentary material, defying definition and thus maintaining their vibrancy. The same occurs on the level of sound. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of colour, are dissolved into details and abstractions. They appear as splinters that recombine in new ways to create new meanings. The joy of collapsing metaphors.
farben says: New departures. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking and speculation. 1.44 megabytes of history, one thousand signifiers, one album. From “Live ...” to “... Love”.
Arno Raffeiner, 2021 More
1
Beispiel ( Frank Bretschneider & Jan Jel - 2
2
Beispiel ( Frank Bretschneider & Jan Jel - J&F-2A
3
Beispiel ( Frank Bretschneider & Jan Jel - FB&JJ2017-1
4
Beispiel ( Frank Bretschneider & Jan Jel - J&F-1C
5
Beispiel ( Frank Bretschneider & Jan Jel - 1(1.Teil)
6
Beispiel ( Frank Bretschneider & Jan Jel - Version1
7
Beispiel ( Frank Bretschneider & Jan Jel - 18-6-28-FB&JJ-E
8
Beispiel ( Frank Bretschneider & Jan Jel - 3(Kurz)
9
Beispiel ( Frank Bretschneider & Jan Jel - 1(2.Teil)&FBJJ(2.Teil)
Faitiche presents Beispiel (German for "example", also suggests playing together), a joint project by Frank Bretschneider and Jan Jelinek. Muster is their first album.
Free electronic music, the result of spontaneous improvisations.
“Meaning” is a concept that is overused in connection with music. Muster does not call for the same kind of air quotes. With its title, German for patterns/exemplars, Beispiel’s album frees itself from the ballast of teleological semantics. There is no overarching theme, no preparation, no reading list, no reason for this music. Just two facts: Frank Bretschneider and Jan Jelinek have known each other a long time and appreciate each other’s work; and they share a love of modular synthesizers and of experimental set-ups designed to capture surprise.
Bretschneider and Jelinek got together for their first joint session in 2016 and the years that followed brought more such meetings at Jelinek’s studio for open-ended musical dialog – at irregular intervals and with no clear objective. The improvisations were recorded in two stereo tracks: one track for Bretschneider’s audio, one for Jelinek’s. After each session, the recordings were processed separately, the options essentially limited to cutting and altering the frequency range. The nine pieces for Muster were selected from the resulting material.
This approach reflects an ideal: music is when you play your first note without knowing what the third or fourth will sound like. When your 290th note still sees you leaving the beaten track, and when curiosity grows as the piece unfolds. Duping is part of Beispiel’s practice. Improvisation is about disagreement. It’s a matter of addressing the right issues. What’s happening here? What’s mine, what’s yours? Are “why” and “where next” legitimate questions?
Muster is an exemplary work. Nine suggestions for what can be. Nine ideas for possibilities of listening.
Arno Raffeiner More
Free electronic music, the result of spontaneous improvisations.
“Meaning” is a concept that is overused in connection with music. Muster does not call for the same kind of air quotes. With its title, German for patterns/exemplars, Beispiel’s album frees itself from the ballast of teleological semantics. There is no overarching theme, no preparation, no reading list, no reason for this music. Just two facts: Frank Bretschneider and Jan Jelinek have known each other a long time and appreciate each other’s work; and they share a love of modular synthesizers and of experimental set-ups designed to capture surprise.
Bretschneider and Jelinek got together for their first joint session in 2016 and the years that followed brought more such meetings at Jelinek’s studio for open-ended musical dialog – at irregular intervals and with no clear objective. The improvisations were recorded in two stereo tracks: one track for Bretschneider’s audio, one for Jelinek’s. After each session, the recordings were processed separately, the options essentially limited to cutting and altering the frequency range. The nine pieces for Muster were selected from the resulting material.
This approach reflects an ideal: music is when you play your first note without knowing what the third or fourth will sound like. When your 290th note still sees you leaving the beaten track, and when curiosity grows as the piece unfolds. Duping is part of Beispiel’s practice. Improvisation is about disagreement. It’s a matter of addressing the right issues. What’s happening here? What’s mine, what’s yours? Are “why” and “where next” legitimate questions?
Muster is an exemplary work. Nine suggestions for what can be. Nine ideas for possibilities of listening.
Arno Raffeiner More
1
Jan Jelinek - Moiré (Piano & Organ)
2
Jan Jelinek - Rock In The Video Age
3
Jan Jelinek - They, Them
4
Jan Jelinek - Them, Their
5
Jan Jelinek - Tendency
6
Jan Jelinek - Moiré (Strings)
7
Jan Jelinek - Do Dekor
8
Jan Jelinek - Drift
9
Jan Jelinek - Moiré (Guitar & Horns)
10
Jan Jelinek - Poren
Repress!
In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth) More
In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)
“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)
“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)
“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)
“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)
“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)
PS:
“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth) More
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2
Bicep, - Courtside Drama
3
Bicep, - Rise
4
Bicep, - The Game
2022 Repress
UPC: 827170486263
Tracklist EP: A1: Stash A2: Courtside Drama B1:Rise B2: The Game
Release Info:
Aus Music non-stop. Not quite content with already chalking up two of the biggest EPs of 2013 so far from Midland and Dusky, Aus return once again with yet another release you’ve been waiting for - the return of Belfast’s biggest sons, Bicep. The London-based duo of Andrew Ferguson and Matthew McBriar had a breakthrough year in 2012, four years after the pair's Feel My Bicep blog first began. The past year has seen them play in more than a dozen countries, including major gigs across the US, China and, more recently, Australia, with particular highlights including a peak time set at Berlin’s haloed Panorama Bar and capacity crowds at both Sub Club and Trouw. In addition to the release of “You/ Don’t” on Aus, the boys also inaugurated their own imprint With the Visions Of Love EP, whilst "$tripper", which was released through Love Fever, came in at number 35 on RA's top 50 tracks of 2012 poll. Further to that they scooped the award for DJ Mag’s Best Breakthrough DJ, supplied Tim Sweeney’s Beats In Space show with an exclusive mix of unreleased material, remixed Ripperton’s “Let’s Hope,” and all the while maintaining the DJ treasure trove that is their blog. Across the EP they take things a little deeper, delving into a different area of their own personal taste. What's presented is an overall more lo-fi style and broader approach, drawing from a wide range of influences including King Street Sounds, HBO's The Wire and Aphex Twin. More
UPC: 827170486263
Tracklist EP: A1: Stash A2: Courtside Drama B1:Rise B2: The Game
Release Info:
Aus Music non-stop. Not quite content with already chalking up two of the biggest EPs of 2013 so far from Midland and Dusky, Aus return once again with yet another release you’ve been waiting for - the return of Belfast’s biggest sons, Bicep. The London-based duo of Andrew Ferguson and Matthew McBriar had a breakthrough year in 2012, four years after the pair's Feel My Bicep blog first began. The past year has seen them play in more than a dozen countries, including major gigs across the US, China and, more recently, Australia, with particular highlights including a peak time set at Berlin’s haloed Panorama Bar and capacity crowds at both Sub Club and Trouw. In addition to the release of “You/ Don’t” on Aus, the boys also inaugurated their own imprint With the Visions Of Love EP, whilst "$tripper", which was released through Love Fever, came in at number 35 on RA's top 50 tracks of 2012 poll. Further to that they scooped the award for DJ Mag’s Best Breakthrough DJ, supplied Tim Sweeney’s Beats In Space show with an exclusive mix of unreleased material, remixed Ripperton’s “Let’s Hope,” and all the while maintaining the DJ treasure trove that is their blog. Across the EP they take things a little deeper, delving into a different area of their own personal taste. What's presented is an overall more lo-fi style and broader approach, drawing from a wide range of influences including King Street Sounds, HBO's The Wire and Aphex Twin. More
1
Brainwaltzera - A1. FMsquared [royal wavetable mellodies A]
2
Brainwaltzera - A2. copperfeel
3
Brainwaltzera - A3. WSsquared [royal wavetable mellodies B]
4
Brainwaltzera - B1. good endgar
5
Brainwaltzera - B2. FMsquared [epiloggy] [beauvine bonus perc version]
6
Brainwaltzera - B3. LANsqape4 [short_oneTake]
LP
tracklist:
A1. FMsquared [royal wavetable mellodies A] B1. good endgar
A2. copperfeel B2. FMsquared [epiloggy] [beauvine bonus perc version]
A3. WSsquared [royal wavetable mellodies B] B3. LANsqape4 [short_oneTake]
short info:
Brainwaltzera returns to FILM with a brace of archive recordings in the artist's characteristically idiosyncratic style.
The collection opens with FMsquared [royal wavetable mellodies A], a mesmerizing beatless composition split across two contrasting movements. Synth-focused, the first explores a more introspective tone whilst the second is decidedly more elevated and playful. Follow up good endgar showcases the artist's enviable talent for crafting rolling, wide-open IDM, marrying crisp drum machine hits with washed out pads and a resonant bassline. WSsquared [royal wavetable mellodies B] follows the same pattern as mellodies A, split once again into two movements. This time each movement is markedly more distinct: the first, an atmospheric, half-time dirge and the second a more uplifting and esoteric workout, with crystalline FX breaking up the composition. On LANsqape4 [short_oneTake] Brainwaltzera lets the drums roll out, underpinning more lush synth work with a hint of a break closing in as the piece subsides near its close. Copperfeel, the penultimate offering, is the most reduced work in the collection with a single main melody doing the bulk of the legwork, and buoyed by vocal-sounding synths. FMsquared [epiloggy] [beauvine bonus perc version] closes the collection, a pleasing bookend that sees the riff from the opening track's latter movement return - now underpinned with rolling drums.
More
tracklist:
A1. FMsquared [royal wavetable mellodies A] B1. good endgar
A2. copperfeel B2. FMsquared [epiloggy] [beauvine bonus perc version]
A3. WSsquared [royal wavetable mellodies B] B3. LANsqape4 [short_oneTake]
short info:
Brainwaltzera returns to FILM with a brace of archive recordings in the artist's characteristically idiosyncratic style.
The collection opens with FMsquared [royal wavetable mellodies A], a mesmerizing beatless composition split across two contrasting movements. Synth-focused, the first explores a more introspective tone whilst the second is decidedly more elevated and playful. Follow up good endgar showcases the artist's enviable talent for crafting rolling, wide-open IDM, marrying crisp drum machine hits with washed out pads and a resonant bassline. WSsquared [royal wavetable mellodies B] follows the same pattern as mellodies A, split once again into two movements. This time each movement is markedly more distinct: the first, an atmospheric, half-time dirge and the second a more uplifting and esoteric workout, with crystalline FX breaking up the composition. On LANsqape4 [short_oneTake] Brainwaltzera lets the drums roll out, underpinning more lush synth work with a hint of a break closing in as the piece subsides near its close. Copperfeel, the penultimate offering, is the most reduced work in the collection with a single main melody doing the bulk of the legwork, and buoyed by vocal-sounding synths. FMsquared [epiloggy] [beauvine bonus perc version] closes the collection, a pleasing bookend that sees the riff from the opening track's latter movement return - now underpinned with rolling drums.
More
1
Guy Pedersen - Indian Pop Bass (2:35)
2
Guy Pedersen - Prélude À Une Angoisse (2:20)
3
Guy Pedersen - Patio Bass (2:30)
4
Guy Pedersen - Tension Nerveuse (2:10)
5
Guy Pedersen - Amour, Délices Et Contrebasse (2:30)
6
Guy Pedersen - Percussion Bass (2:50)
7
Guy Pedersen - Obsession Diabolique (2:02)
8
Guy Pedersen - Les Copains De La Basse (2:32)
9
Guy Pedersen - Doucement La Basse (2:22)
10
Guy Pedersen - Bass Session (2:25)
11
Guy Pedersen - Bass After Love (2:06)
12
Guy Pedersen - Ballade Pour Une Basse (2:02)
13
Guy Pedersen - Cosmic Bass (2:55)
Territories: Worldwide no restrictions
Format Notes: Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
A1 Indian Pop Bass 2:35
A2 Prélude À Une Angoisse 2:20
A3 Patio Bass 2:30
A4 Tension Nerveuse 2:10
A5 Amour, Délices Et Contrebasse 2:30
A6 Percussion Bass 2:50
A7 Obsession Diabolique 2:02
B1 Les Copains De La Basse 2:32
B2 Doucement La Basse 2:22
B3 Bass Session 2:25
B4 Bass After Love 2:06
B5 Ballade Pour Une Basse 2:02
B6 Cosmic Bass 2:55
Release Notes:
Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.
"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.
Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".
The audio for Contrebasses has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. More
Format Notes: Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl
Track List:
A1 Indian Pop Bass 2:35
A2 Prélude À Une Angoisse 2:20
A3 Patio Bass 2:30
A4 Tension Nerveuse 2:10
A5 Amour, Délices Et Contrebasse 2:30
A6 Percussion Bass 2:50
A7 Obsession Diabolique 2:02
B1 Les Copains De La Basse 2:32
B2 Doucement La Basse 2:22
B3 Bass Session 2:25
B4 Bass After Love 2:06
B5 Ballade Pour Une Basse 2:02
B6 Cosmic Bass 2:55
Release Notes:
Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.
"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.
Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".
The audio for Contrebasses has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. More
1
Moritz von Oswald - Silencio 12:34
2
Moritz von Oswald - Luminoso 08:53
3
Moritz von Oswald - Librarsi 03:04
4
Moritz von Oswald - Infinito 06:17
5
Moritz von Oswald - Colpo 05:05
6
Moritz von Oswald - Volta (Version) 04:02
7
Moritz von Oswald - Infinito (Version) 06:25
8
Moritz von Oswald - Luminoso (Version) 04:49
9
Moritz von Oswald - Volta 05:47
10
Moritz von Oswald - Opaco 08:57
11
Moritz von Oswald - Opaco (Version) 01:54
Territories: World excl. UK + North America
FORMAT 2x12" 180g vinyl, full printed sleeve, artwork by Cyprien Gaillard
TRACKLIST
1 / A1. Silencio 12:34
2 / A2. Luminoso 08:53
3 / B1. Librarsi 03:04
4 / B2. Infinito 06:17
5 / B3. Colpo 05:05
6 / C1. Volta (Version) 04:02
7 / C2. Infinito (Version) 06:25
8 / C3. Luminoso (Version) 04:49
9 / D1. Volta 05:47
10 / D2. Opaco 08:57
11 / D3. Opaco (Version) 01:54
What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a
16-voice choir to explore this concept.
Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and
dark & dissonant.
As masterfully demonstrated in the early work of von Oswald and Mark Ernestus’ influential Basic Channel project, repetition and reduction are key elements here, much in the tradition of techno and minimalism. The vast dynamism of the human voice adds to the
profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald’s repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms.
The compositions were written in von Oswald’s Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city’s Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long. The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.
The relationship between von Oswald and Tresor Records goes back thirty years, all the way to Blake Baxter’s Dream Sequence in 1991 - which von Oswald engineered alongside Thomas Fehlmann. The collaboration with Fehlmann lived on, seeing the duo team up as 3MB with Eddie Fowlkes or Juan Atkins. More recently, the Detroit-Berlin connection continued as Juan Atkins & Moritz von Oswald present Borderland.
For von Oswald, Tresor Records and also the participating guest musicians of the choir, this release brings together audiences from other musical areas, cross-pollinating; Silencio is an album that stands for itself beyond the musical genre boundaries. More
FORMAT 2x12" 180g vinyl, full printed sleeve, artwork by Cyprien Gaillard
TRACKLIST
1 / A1. Silencio 12:34
2 / A2. Luminoso 08:53
3 / B1. Librarsi 03:04
4 / B2. Infinito 06:17
5 / B3. Colpo 05:05
6 / C1. Volta (Version) 04:02
7 / C2. Infinito (Version) 06:25
8 / C3. Luminoso (Version) 04:49
9 / D1. Volta 05:47
10 / D2. Opaco 08:57
11 / D3. Opaco (Version) 01:54
What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On Silencio, his latest album for Tresor Records, Moritz von Oswald works with a
16-voice choir to explore this concept.
Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and
dark & dissonant.
As masterfully demonstrated in the early work of von Oswald and Mark Ernestus’ influential Basic Channel project, repetition and reduction are key elements here, much in the tradition of techno and minimalism. The vast dynamism of the human voice adds to the
profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald’s repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms.
The compositions were written in von Oswald’s Berlin studio on classic synthesizers, such as the EMS VCS3 & AKS, Prophet V, Oberheim 4-Voice and the Moog Model 15. These abstract recordings were transcribed to sheet music for choir by Berlin-based Finnish composer and pianist, Jarkko Riihimäki and performed by Vocalconsort Berlin in Ölberg church in the city’s Kreuzberg district, only few metres down the road from where Dubplates & Mastering and Hard Wax opened their doors for music enthusiasts for many years so long. The recordings of the choral versions were then incorporated into the synthesized parts of the album and brought into anew electronic context; in Silencio, the focus is not on using one means to imitate the other, but to sonically discuss the tensions and harmonies between the two worlds and create a dialogue between them.
The relationship between von Oswald and Tresor Records goes back thirty years, all the way to Blake Baxter’s Dream Sequence in 1991 - which von Oswald engineered alongside Thomas Fehlmann. The collaboration with Fehlmann lived on, seeing the duo team up as 3MB with Eddie Fowlkes or Juan Atkins. More recently, the Detroit-Berlin connection continued as Juan Atkins & Moritz von Oswald present Borderland.
For von Oswald, Tresor Records and also the participating guest musicians of the choir, this release brings together audiences from other musical areas, cross-pollinating; Silencio is an album that stands for itself beyond the musical genre boundaries. More
1
Kerri Chandler - Who’s Afraid Of The Dark (Original)
2
Josh Butler - Sunday Club (Original Mix)
Kerri’s Kaoz Theory label unlocks the vault to two key tracks from the early days of the label that have never pressed on vinyl before.
First up the man himself, Kerri Chandler with a deep, heads down stomper ‘Who’s Afraid Of The Dark’. Kerri at his hard hitting best, as vocal refrains wash over the chunkiest of synth stabs and basslines with crunched up percussion laying the basis for a track that is readymade for smoke filled clubs and pumping sound systems.
On the flip, Josh Butler ‘Sunday Club’ goes deep down the rabbit hole effortlessly moving from ethereal elegance to twisted machine energy, showcasing that light and dark can sit together seamlessly to produce something seriously special. More
First up the man himself, Kerri Chandler with a deep, heads down stomper ‘Who’s Afraid Of The Dark’. Kerri at his hard hitting best, as vocal refrains wash over the chunkiest of synth stabs and basslines with crunched up percussion laying the basis for a track that is readymade for smoke filled clubs and pumping sound systems.
On the flip, Josh Butler ‘Sunday Club’ goes deep down the rabbit hole effortlessly moving from ethereal elegance to twisted machine energy, showcasing that light and dark can sit together seamlessly to produce something seriously special. More
1
KW - Midnight Run
2
KW - Paste
3
KW - Copy
4
KW - Lastmin_Res
Alluring Stripped Down Dribblers
More
TRACKLIST:
1. SOURCE (LIVE AT RADIO CITY MUSIC HALL)
2. THE MESSAGE CONTINUES (LIVE AT RADIO CITY MUSIC HALL)
3. LA CUMBIA ME ESTá LLAMANDO (LIVE AT RADIO CITY MUSIC HALL)
4. SO WE WON'T FORGET (LIVE AT RADIO CITY MUSIC HALL)
5. THE INFAMOUS BILL (LIVE AT RADIO CITY MUSIC HALL)
6. PELOTA (LIVE AT RADIO CITY MUSIC HALL)
7. TIME (YOU AND I) [LIVE AT RADIO CITY MUSIC HALL]
It's only fitting that Khruangbin's first-ever official live releases would be albums paired with their tourmates: artists whose music they love and admire, friends who've become family along the way. Khruangbin's 'Live At' series of live LPs traces just one small slice of the band's flight plan through the years: it's a taste of some of their most beloved cities, stages and nights. Most of all, Khruangbin's 'Live at' series ignites both sides of the band's magic: the warm, prismatic feeling of their albums and the bewitching energy of their performances. 'Live at Radio City Music Hall' features performances by Nubya Garcia and Khruangbin. More
1. SOURCE (LIVE AT RADIO CITY MUSIC HALL)
2. THE MESSAGE CONTINUES (LIVE AT RADIO CITY MUSIC HALL)
3. LA CUMBIA ME ESTá LLAMANDO (LIVE AT RADIO CITY MUSIC HALL)
4. SO WE WON'T FORGET (LIVE AT RADIO CITY MUSIC HALL)
5. THE INFAMOUS BILL (LIVE AT RADIO CITY MUSIC HALL)
6. PELOTA (LIVE AT RADIO CITY MUSIC HALL)
7. TIME (YOU AND I) [LIVE AT RADIO CITY MUSIC HALL]
It's only fitting that Khruangbin's first-ever official live releases would be albums paired with their tourmates: artists whose music they love and admire, friends who've become family along the way. Khruangbin's 'Live At' series of live LPs traces just one small slice of the band's flight plan through the years: it's a taste of some of their most beloved cities, stages and nights. Most of all, Khruangbin's 'Live at' series ignites both sides of the band's magic: the warm, prismatic feeling of their albums and the bewitching energy of their performances. 'Live at Radio City Music Hall' features performances by Nubya Garcia and Khruangbin. More
1
Anthony Naples - Moto Verse
2
Anthony Naples - Orb Two
3
Anthony Naples - Morph
4
Anthony Naples - Silas
5
Anthony Naples - Gem
6
Anthony Naples - Ackee
7
Anthony Naples - Scars
8
Anthony Naples - Strobe (second single)
9
Anthony Naples - Tito
10
Anthony Naples - Unknow
2023 repress
Tracklist:
A1. Moto Verse
A2. Orb Two
A3. Morph
A4. Silas
A5. Gem
B1. Ackee
B2. Scars
B3. Strobe (second single
B4. Tito
B5. Unknow
Release Info:
Anthony Naples fifth full length LP “orbs” is a moody portal of shoegazed and slo-mo songs suspended in thin air. The album doesn’t reassemble the A.N. sound from the ground up, so much as enhance and expand its scope in all directions. Samples and Instruments meld together into new languorous and liquid forms that with or without the beat of drums, shift with the gentle movements of time.
More
Tracklist:
A1. Moto Verse
A2. Orb Two
A3. Morph
A4. Silas
A5. Gem
B1. Ackee
B2. Scars
B3. Strobe (second single
B4. Tito
B5. Unknow
Release Info:
Anthony Naples fifth full length LP “orbs” is a moody portal of shoegazed and slo-mo songs suspended in thin air. The album doesn’t reassemble the A.N. sound from the ground up, so much as enhance and expand its scope in all directions. Samples and Instruments meld together into new languorous and liquid forms that with or without the beat of drums, shift with the gentle movements of time.
More
1
Danny Scrilla - Dupes
2
Danny Scrilla - Disorganize
3
Danny Scrilla - Real
Early DJ Support from: Laurent Garnier, Riz La Teef, Boofy, Ojoo Gyal, Addison Groove, Emerald, Main Phase, Miley Serious, Kouslin, Yushh, Bakey, Tãn, Sister Zo, GRRL (NTS), Syz, Flore, Star Eyes, Lefto, Roger 23, Tailor Jae, Ciel, Om Unit + more
More
1
Enji - Zuud (04:33 min)
2
Enji - Taivshral (03:07 min)
3
Enji - Duulnaa (03:02 min)
4
Enji - Temeen Deerees Naran Oirhon (03:42 min)
5
Enji - Vogl (04:20 min)
6
Enji - Ulaan (03:30 min)
7
Enji - Libelle (02:38 min)
8
Enji - Picture / Three Shadows (05:21 min)
9
Enji - Encanto (01:33 min)
10
Enji - Uzegdel (04:25 min)
Special remarks: 180g
Tracklist:
A1) Zuud 04:33 min
A2) Taivshral 03:07 min
A3) Duulnaa 03:02 min
A4) Temeen Deerees Naran Oirhon 03:42 min
A5) Vogl 04:20 min
B1) Ulaan 03:30 min
B2) Libelle 02:38 min
B3) Picture / Three Shadows 05:21 min
B4) Encanto 01:33 min
B5) Uzegdel 04:25 min
Info:
After the success of 2021’s Ursgal, Mongolian jazz singer Enji returns with her third album Ulaan. The line-up has grown in size with drummer Mariá Portugal and clarinettist Joana Queiroz from Brazil joining the band to create an invigorating blend of grounded Folk and brooding Jazz.
More
Tracklist:
A1) Zuud 04:33 min
A2) Taivshral 03:07 min
A3) Duulnaa 03:02 min
A4) Temeen Deerees Naran Oirhon 03:42 min
A5) Vogl 04:20 min
B1) Ulaan 03:30 min
B2) Libelle 02:38 min
B3) Picture / Three Shadows 05:21 min
B4) Encanto 01:33 min
B5) Uzegdel 04:25 min
Info:
After the success of 2021’s Ursgal, Mongolian jazz singer Enji returns with her third album Ulaan. The line-up has grown in size with drummer Mariá Portugal and clarinettist Joana Queiroz from Brazil joining the band to create an invigorating blend of grounded Folk and brooding Jazz.
More