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Label:Obliques
Cat-No:OBL07
Release-Date:17.05.2024
Genre:Electronic
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Label:Obliques
Cat-No:OBL07
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Genre:Electronic
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1
Jonathan Fitoussi - Poème symphonique 1
2
Jonathan Fitoussi - Poème symphonique 2
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Jonathan Fitoussi - Poème symphonique 3
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Jonathan Fitoussi - Poème symphonique 4
Obliques presents Poème symphonique. Electronic music composer Jonathan Fitoussi revisits Symphony No. 1 “Titan” by Gustav Mahler as part of a world creation commissioned by Radio France. Concert recorded live in the large auditorium of La maison de la radio on November 18, 2023, Paris.
Limited Edition clear vinyl LP - No Digital
Tracklist:
A1 - Poème symphonique 1
A2 - Poème symphonique 2
B1 - Poème symphonique 3
B2 - Poème symphonique 4 More
Limited Edition clear vinyl LP - No Digital
Tracklist:
A1 - Poème symphonique 1
A2 - Poème symphonique 2
B1 - Poème symphonique 3
B2 - Poème symphonique 4 More
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Jonathan Fitoussi - Aquarius
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Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download
- Jonathan Fitoussi is a French composer and audio engineer working at the Institut National de
l’Audiovisuel – INA - Recorded with EMS Synthi AKS, Sequential Circuits Pro-One, and YC45D electric organ. - Mastered by Rahshad Becker @ Dubplates & Mastering - Seven Aquatints (1973) artwork licensed from Robert Mangold
Tracklist LP:
A1 Aquarius (6:51) , A2 Triangulum (5:39) , A3 Orion (4:43)
B1 Oiseau de Paradis (5:24) , B2 Andromede (6:00) , B3 Cassiopee (6:58)
Short info:
“The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories
we tell.” Rebecca Solnit
The above quote by the American author Solnit inspired Parisian producer Jonathan Fitoussi's debut album for Further Records, Imaginary Lines. He used those words and the concept of Harmony Of The
Spheres to create the six ravishing interstellar evocations on Imaginary Lines, to spin his own intriguing yarns about the cosmos. While conjuring the vastness of space, Fitoussi imbues the journey with profound feelings of awe and beauty. “This idea that the constellations are an imaginary representation that man drew in the sky to serve as landmarks in space and on Earth is greatly appealing to me, and works very well with the story behind this album, on which each song title bears the name of a constellation,” Fitoussi says. “With Imaginary Lines, I wanted to work with this idea as its core; on one hand geometrical and linear, like the shape of the constellations, characterized by the use of repetitive sequences, and on the other hand, through sections of improvised organ to evoke the more spiritual dimension, and l’invitation au voyage.”
Imaginary Lines sounds like it was made with acute academic rigor yet it is also lavishly beautiful and sensuous. “I like having a mixture of a solid base to work from,” Fitoussi says, “which is characterized here by a repetitive sequence, that leaves room for improvisation as well. This is something that recurs often in my work: creating a stable structure which then allows me to create spaces within it. I also love architecture, with its lines and volumes, and I think this influences my work as a composer.”
To manifest Imaginary Lines, Fitoussi mainly employed an EMS Synthi AKS synthesizer and a Yamaha YC45D organ, which he processed through tape echo with two tape recorders. In addition, Fitoussi says, “many of the sounds were also fed back into a large metallic resonator (similar to the Ondes Martenot), which produced beautiful reverberations.”
“Aquarius” starts the album on a spinetingling note, with its windchime and vibraphonelike pulsations reminiscent of Mike Oldfield's Tubular Bells (which, of course, has associations with the soundtrack for The Exorcist). Fitoussi creates a suspenseful foundation over which he drops dramatic bass plunges and cascades of astraldusted and oceanspumed synths. “Triangulum” offers a Philip Glasslike
repetition of lustrous synth chords, but is less manic than most of that minimalist master's work. The track's subtle modulations and gradual intensification foster the sense that something momentous is about to happen—which it does with “Orion,” whose brisk percolation and glassy tones recall Harmonia's Deluxe, but shot into deep space. This is the sort of elegant urgency and streamlined propulsion you might hear on an avantgarde scififilm soundtrack.
“Oiseau De Paradis” and “Andromede” evoke the feeling of effortless ascension through smooth, celestial oscillations, with the latter coming off as slightly more hectic, generating the illusion of pursuit.
“Cassiopee” brings the album to a close with a more downcast, contemplative mood, its swirling tones and cyclical motif spurring you to ponder existential thoughts... or to just marvel at the universe's
mysterious magnificence. Fitoussi connects these farflung dots with éclat.
More
- Jonathan Fitoussi is a French composer and audio engineer working at the Institut National de
l’Audiovisuel – INA - Recorded with EMS Synthi AKS, Sequential Circuits Pro-One, and YC45D electric organ. - Mastered by Rahshad Becker @ Dubplates & Mastering - Seven Aquatints (1973) artwork licensed from Robert Mangold
Tracklist LP:
A1 Aquarius (6:51) , A2 Triangulum (5:39) , A3 Orion (4:43)
B1 Oiseau de Paradis (5:24) , B2 Andromede (6:00) , B3 Cassiopee (6:58)
Short info:
“The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories
we tell.” Rebecca Solnit
The above quote by the American author Solnit inspired Parisian producer Jonathan Fitoussi's debut album for Further Records, Imaginary Lines. He used those words and the concept of Harmony Of The
Spheres to create the six ravishing interstellar evocations on Imaginary Lines, to spin his own intriguing yarns about the cosmos. While conjuring the vastness of space, Fitoussi imbues the journey with profound feelings of awe and beauty. “This idea that the constellations are an imaginary representation that man drew in the sky to serve as landmarks in space and on Earth is greatly appealing to me, and works very well with the story behind this album, on which each song title bears the name of a constellation,” Fitoussi says. “With Imaginary Lines, I wanted to work with this idea as its core; on one hand geometrical and linear, like the shape of the constellations, characterized by the use of repetitive sequences, and on the other hand, through sections of improvised organ to evoke the more spiritual dimension, and l’invitation au voyage.”
Imaginary Lines sounds like it was made with acute academic rigor yet it is also lavishly beautiful and sensuous. “I like having a mixture of a solid base to work from,” Fitoussi says, “which is characterized here by a repetitive sequence, that leaves room for improvisation as well. This is something that recurs often in my work: creating a stable structure which then allows me to create spaces within it. I also love architecture, with its lines and volumes, and I think this influences my work as a composer.”
To manifest Imaginary Lines, Fitoussi mainly employed an EMS Synthi AKS synthesizer and a Yamaha YC45D organ, which he processed through tape echo with two tape recorders. In addition, Fitoussi says, “many of the sounds were also fed back into a large metallic resonator (similar to the Ondes Martenot), which produced beautiful reverberations.”
“Aquarius” starts the album on a spinetingling note, with its windchime and vibraphonelike pulsations reminiscent of Mike Oldfield's Tubular Bells (which, of course, has associations with the soundtrack for The Exorcist). Fitoussi creates a suspenseful foundation over which he drops dramatic bass plunges and cascades of astraldusted and oceanspumed synths. “Triangulum” offers a Philip Glasslike
repetition of lustrous synth chords, but is less manic than most of that minimalist master's work. The track's subtle modulations and gradual intensification foster the sense that something momentous is about to happen—which it does with “Orion,” whose brisk percolation and glassy tones recall Harmonia's Deluxe, but shot into deep space. This is the sort of elegant urgency and streamlined propulsion you might hear on an avantgarde scififilm soundtrack.
“Oiseau De Paradis” and “Andromede” evoke the feeling of effortless ascension through smooth, celestial oscillations, with the latter coming off as slightly more hectic, generating the illusion of pursuit.
“Cassiopee” brings the album to a close with a more downcast, contemplative mood, its swirling tones and cyclical motif spurring you to ponder existential thoughts... or to just marvel at the universe's
mysterious magnificence. Fitoussi connects these farflung dots with éclat.
More
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Preview: https://soundcloud.com/dkr-nyc/sets/dkr-286-v-a-prince-philip
This compilation is dedicated to the memory of the late great “Prince” Philip Smart - the first apprentice of King Tubby and the first engineer at Tubby’s studio besides Tubby himself. Alongside Tubby, Philip was integral to the innovation that took place at Tubby’s studio in the mid 1970s, where the mixing of new roots reggae revolutionized the sound of Jamaican music and created styles and techniques that are still being echoed today, nearly 50 years later.
Though rarely credited on records in comparison to Tubby, Philip also mixed a lot of the paramount music produced by those close associates of Tubby’s studio such as Bunny Lee, Yabby You, and Augustus Pablo. Philip was closely tied to Pablo due to their childhood friendship and was a partner in his stylistically significant early production works. In the early years of Tubby’s studio, both men were making and cutting custom dubs there for their sound systems before starting to produce their own tunes from scratch, and Philip becoming the second chair engineer.
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More
This compilation is dedicated to the memory of the late great “Prince” Philip Smart - the first apprentice of King Tubby and the first engineer at Tubby’s studio besides Tubby himself. Alongside Tubby, Philip was integral to the innovation that took place at Tubby’s studio in the mid 1970s, where the mixing of new roots reggae revolutionized the sound of Jamaican music and created styles and techniques that are still being echoed today, nearly 50 years later.
Though rarely credited on records in comparison to Tubby, Philip also mixed a lot of the paramount music produced by those close associates of Tubby’s studio such as Bunny Lee, Yabby You, and Augustus Pablo. Philip was closely tied to Pablo due to their childhood friendship and was a partner in his stylistically significant early production works. In the early years of Tubby’s studio, both men were making and cutting custom dubs there for their sound systems before starting to produce their own tunes from scratch, and Philip becoming the second chair engineer.
Several of the songs on this compilation are a selection of the aforementioned work. All of the songs here are sourced from Philip’s personal tape archive, and basically all of these mixes and versions have been scarcely if ever heard, and never released before. This double album comprises a rare and genuine glimpse into the dubplate workings of the inner circle of Tubby’s studio in the mid 1970s, where the prime players and emerging giants of reggae music production and sound system versioned, remixed and voiced rhythms for custom and exclusive cuts. Some of the cuts heard here were formerly exclusive power plays on King Tubby’s own legendary sound system, and unlike some previous issues of such material, these are genuine mixes done at the time. Some other tracks clearly exude the youthful enthusiasm of the participants. In both cases we find this collection of tracks to be truly compelling, so please enjoy this glimpse into such rare air. Rest in power Prince Philip Smart.
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A1 Obscure Shape - Die Ruckkehr
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It's a pleasure, a labour of love and a yearly highlight to present a new volume of the Mr Bongo Record Club series. In this collection, we have curated new finds alongside old, treasured tracks that hold a special place in our hearts, selecting music inspiring us from the Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo genres. We have chosen a diverse array of artists, including Os Panteras from Brazil, stomping underground disco by Claude Jay, the Danish soul sounds of Gitte & Inger and the gospel excellence of Truth & Devotion, to name a few.
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Most of the selections in this volume are older vintage productions, however, there is one very special contemporary production, recorded exclusively for Mr Bongo Record Club 7. For ‘Spring Has Sprung’, we linked three of our cherished musical family together; the legendary cult artist Asha Puthli, the wonderous band SOYUZ (???3) and Swedish maestro Sven Wunder. The result, as you’d expect, is completely breathtaking.
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Priori - Sub Lux (Sansibar Remix)
With a remix and a compilation cameo already under his belt, Canadian figurehead Priori makes his Kalahari return for the debut proper. 3 squelchy incursions complete with a hefty remix from fellow Oyster Cult acolyte Sansibar.
Known for traversing breezy, horizontal zones, the NAFF co-founder sets downbeat and ambient concerns aside for the direct and propulsive. Expect insistent, urgent forays down the wormhole as nocturnal jaunts made of ritual and darkroom throb coalesce with meditative, essential rhythm.
This is fractal gear born from the the traditions of European, Japanese and American Mid-West techno; tunnelling and immersive, conjuring moments of ascension for the gathered masses.
Finishing on Sansibar’s meaty refit, the one-two punch of seismic kick and dry-as-bone snare propels Priori’s original in a whole new direction. . More
Known for traversing breezy, horizontal zones, the NAFF co-founder sets downbeat and ambient concerns aside for the direct and propulsive. Expect insistent, urgent forays down the wormhole as nocturnal jaunts made of ritual and darkroom throb coalesce with meditative, essential rhythm.
This is fractal gear born from the the traditions of European, Japanese and American Mid-West techno; tunnelling and immersive, conjuring moments of ascension for the gathered masses.
Finishing on Sansibar’s meaty refit, the one-two punch of seismic kick and dry-as-bone snare propels Priori’s original in a whole new direction. . More
12"
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Label:only one music
Cat-No:Only7
Release-Date:31.10.2016
Genre:House
Configuration:12"
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Last in:26.09.2024
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Label:only one music
Cat-No:Only7
Release-Date:31.10.2016
Genre:House
Configuration:12"
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Label:GRC Recordings
Cat-No:GRC001
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Genre:House
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Last in:26.09.2024
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Label:chiwax classic edition
Cat-No:cce010
Release-Date:04.12.2013
Genre:House
Configuration:12"
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Last in:05.06.2024
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Last in:05.06.2024
Label:chiwax classic edition
Cat-No:cce010
Release-Date:04.12.2013
Genre:House
Configuration:12"
Barcode:
Re-issue of the sought after Dance Mania 279... Fast-paced ghetto tech the original way!
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