Label:Other People
Cat-No:op014
Release-Date:08.09.2014
Configuration:12" Excl
Barcode:827170557567
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Cat-No:op014
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1
lucrecia dalt - esotro
2
lucrecia dalt - veta
UPC 827170557567 Rel date 27.10.2014
Tracklist 12”: A1. Lucrecia Dalt - Esotro B1. Lucrecia Dalt - Veta
Description:
Following and expanding upon the line of thought put forward in her 2013 album Syzygy, Lucrecia Dalt ends in a place familiar, yet noticeably different on her new self-titled EP. Its two tracks, “Esotro” and “Veta”, continually defy expectation — haunting vocal ballads that trickle into clouds of white noise — but for an acquainted listener that won’t surprise. What may are the music's newly raw textures and palpable weight, counterbalancing the carefully wrought beauty that’s always been there. You wouldn't be totally wrong to call Dalt a "bedroom producer," but anyone can grab a laptop, a production software, and begin experimenting in the comfort of their own home. It’s rare to find a “bedroom producer” like Dalt with so sharp an ear, matching intimacy with technical rigor beat for beat. Her music is honest, for sure, but also impeccably engineered. To that point, everything on this EP Dalt crafted herself — no samples, no Ableton Live presets. Her composition process, much like her live set, is an improvisation structured by the tools at hand. Sounds are routed and rerouted, filtered and trimmed, finally emerging as envisioned, or, as often, not. Take the vocal textures on “Veta”: “Ahs and Ohs” made by people throughout the world that she compiled through an open call made on her tumblr. But regardless of method, she always produces crystal-clear, ever surprising,
seemingly inevitable music. At every stage, she's an original.
More
Tracklist 12”: A1. Lucrecia Dalt - Esotro B1. Lucrecia Dalt - Veta
Description:
Following and expanding upon the line of thought put forward in her 2013 album Syzygy, Lucrecia Dalt ends in a place familiar, yet noticeably different on her new self-titled EP. Its two tracks, “Esotro” and “Veta”, continually defy expectation — haunting vocal ballads that trickle into clouds of white noise — but for an acquainted listener that won’t surprise. What may are the music's newly raw textures and palpable weight, counterbalancing the carefully wrought beauty that’s always been there. You wouldn't be totally wrong to call Dalt a "bedroom producer," but anyone can grab a laptop, a production software, and begin experimenting in the comfort of their own home. It’s rare to find a “bedroom producer” like Dalt with so sharp an ear, matching intimacy with technical rigor beat for beat. Her music is honest, for sure, but also impeccably engineered. To that point, everything on this EP Dalt crafted herself — no samples, no Ableton Live presets. Her composition process, much like her live set, is an improvisation structured by the tools at hand. Sounds are routed and rerouted, filtered and trimmed, finally emerging as envisioned, or, as often, not. Take the vocal textures on “Veta”: “Ahs and Ohs” made by people throughout the world that she compiled through an open call made on her tumblr. But regardless of method, she always produces crystal-clear, ever surprising,
seemingly inevitable music. At every stage, she's an original.
More
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Label:Other People
Cat-No:OP077
Release-Date:12.07.2024
Genre:Alternative/Electronic
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Configuration:2LP Excl
Barcode:4251804181679
1
Patrick Higgins - (1) Versus
2
Patrick Higgins - (2) Antinome
3
Patrick Higgins - (3) In Situ
4
Patrick Higgins - (4) Sirocco
5
Patrick Higgins - (5) Catalyst
6
Patrick Higgins - (6) Faceless (pulse)
7
Patrick Higgins - (7) The Outside Doesn't Dream of Itself
8
Patrick Higgins - (8) Little One
9
Patrick Higgins - (9) Aporia
LP. 180G BioVinyl, Obi Tag, Printed Inner Sleeves, Special Pantone Colors
2. GENRE/S: Electronic / Dark Ambient
3. TRACKLISTS:
Side A
(1) Versus (18'26")
Side B
(2) Antinome (6'57")
(3) In Situ (5'18")
Side C
(4) Sirocco (16'35")
(5) Catalyst (4'58")
Side D
(6) Faceless (pulse) (5'31")
(7) The Outside Doesn't Dream of Itself (9'30")
(8) Little One (4'21")
(9) Aporia (5'44")
4. SHORT INFO:
PATRICK HIGGINS is an American composer, guitarist, and producer from New York City, known for his work in experimental and contemporary classical music. Higgins plays guitar and composes in the band Zs, described by The New York Times as "one of the strongest avant-garde bands in New York." Heralded as a "formidable concert music composer" (Boston Globe) and "one of the most gifted guitarists working today" (The Quietus), Higgins has received attention for bridging traditions including baroque chamber music, contemporary noise, electronics and 20th century minimalism. His work has been performed in over 25 countries internationally, and he has composed works for some of the world's leading ensembles, ranging from chamber orchestra works, percussion cycles, and string quartets to smaller ensembles and soloists. He has scored works for television, museum exhibitions, and films both short-form and feature-length. Since 2013, he has operated Future-Past Studios, a recording studio in upstate NY.
He recently had a solo exhibition of artworks and sheet music, as well as two world premiers, at The Clark Museum in MA, USA. In 2019, he was a curator and headliner of the Le Guess Who festival in Holland. Higgins has performed and presented works at many of the world's largest festivals and venues across the past 12 years, including The Broad Museum (LA), The Warhol Museum, SF MOMA, Unsound Festival (Poland), Pioneer Works (NYC), Monom Berlin, Sony Ginza Park (Tokyo), ReWire (Holland), Cleveland MOCA, ICA Boston, Teatro Carignano (Torino IT), Sacrum Profanum (Kracow), Merriweather Post Pavillion, Donau Festival (Austria), Paula Cooper Gallery (NYC), Club Unit (Tokyo), Shakespeare Theater (Gdansk), The Netherlands Philharmonic Orchestra and many more.
5. VITAL SALES POINTS:
Higgins currently records for the Other People label, and has previously worked with NNA Tapes, Northern Spy, and Telegraph Harp records.
He is the founding member of AEAEA, a new duo project with electronic musician Nicolás Jaar.
"Patrick Higgins composes with a scholar's historical perspective and a punk's sense of abandon." - PITCHFORK
"one of the prime movers of the avant-garde" - The New Yorker
"a pioneer of modern experimental music" - East Village Radio (NYC)
More
2. GENRE/S: Electronic / Dark Ambient
3. TRACKLISTS:
Side A
(1) Versus (18'26")
Side B
(2) Antinome (6'57")
(3) In Situ (5'18")
Side C
(4) Sirocco (16'35")
(5) Catalyst (4'58")
Side D
(6) Faceless (pulse) (5'31")
(7) The Outside Doesn't Dream of Itself (9'30")
(8) Little One (4'21")
(9) Aporia (5'44")
4. SHORT INFO:
PATRICK HIGGINS is an American composer, guitarist, and producer from New York City, known for his work in experimental and contemporary classical music. Higgins plays guitar and composes in the band Zs, described by The New York Times as "one of the strongest avant-garde bands in New York." Heralded as a "formidable concert music composer" (Boston Globe) and "one of the most gifted guitarists working today" (The Quietus), Higgins has received attention for bridging traditions including baroque chamber music, contemporary noise, electronics and 20th century minimalism. His work has been performed in over 25 countries internationally, and he has composed works for some of the world's leading ensembles, ranging from chamber orchestra works, percussion cycles, and string quartets to smaller ensembles and soloists. He has scored works for television, museum exhibitions, and films both short-form and feature-length. Since 2013, he has operated Future-Past Studios, a recording studio in upstate NY.
He recently had a solo exhibition of artworks and sheet music, as well as two world premiers, at The Clark Museum in MA, USA. In 2019, he was a curator and headliner of the Le Guess Who festival in Holland. Higgins has performed and presented works at many of the world's largest festivals and venues across the past 12 years, including The Broad Museum (LA), The Warhol Museum, SF MOMA, Unsound Festival (Poland), Pioneer Works (NYC), Monom Berlin, Sony Ginza Park (Tokyo), ReWire (Holland), Cleveland MOCA, ICA Boston, Teatro Carignano (Torino IT), Sacrum Profanum (Kracow), Merriweather Post Pavillion, Donau Festival (Austria), Paula Cooper Gallery (NYC), Club Unit (Tokyo), Shakespeare Theater (Gdansk), The Netherlands Philharmonic Orchestra and many more.
5. VITAL SALES POINTS:
Higgins currently records for the Other People label, and has previously worked with NNA Tapes, Northern Spy, and Telegraph Harp records.
He is the founding member of AEAEA, a new duo project with electronic musician Nicolás Jaar.
"Patrick Higgins composes with a scholar's historical perspective and a punk's sense of abandon." - PITCHFORK
"one of the prime movers of the avant-garde" - The New Yorker
"a pioneer of modern experimental music" - East Village Radio (NYC)
More
Label:Other People
Cat-No:OP070
Release-Date:28.06.2024
Genre:Electronic
Configuration:LP Excl
Barcode:4251804144377
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Last in:24.04.2024
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Last in:24.04.2024
Label:Other People
Cat-No:OP070
Release-Date:28.06.2024
Genre:Electronic
Configuration:LP Excl
Barcode:4251804144377
1
Solpara - Time To Hold Better
2
Solpara - This Time Last Year
3
Solpara - We Keep Us Safe
4
Solpara - Melancholy Sabotage
5
Solpara - Measures
6
Solpara - We Don't Owe
7
Solpara - Breaking Points
8
Solpara - Eviction
LP
2. GENRE/S: Electronic / Trip Hop / Breaks
3. TRACKLISTS:
1 - Time To Hold Better
2 - This Time Last Year
3 - We Keep Us Safe
4 - Melancholy Sabotage
5 - Measures
6 - We Don't Owe
7 - Breaking Points
8 - Eviction
The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon.
Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it.
"Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward.
Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing.
5. VITAL SALES POINTS:
Solpara launched the label and event series Booma Collective with Oren Ratowsky and Valentin Stip - a lowkey institution in the international techno circuit.
His 2015 EP, Swing, marked both a sonic and professional turning point. It split the difference between noisy techno and spacey ambience, capturing the essence of a young artist settling into a singular lane. Issued by Nicolas Jaar's esteemed Other People label, it solidified Solpara's place as an inimitable up-and-comer. "Nicolas and I met in high school, played in a band together, and have been exchanging music ever since," he says. In part thanks to Jaar's powerful co-sign, subsequent Solpara releases landed on imprints such as Quiet Time Tapes and Bruta?.
Solpara fuses elements of post-punk, ambient, house, and dub techno. While plenty of his cuts would fit within the context of an energizing DJ set, many are arrhythmic and avant-garde. When asked about his influences, Solpara cites artists ranging from Laurel Halo to Laurie Spiegel to Massive Attack to Denis Mpunga to Lily Tchiumba. His eclectic tastes were nurtured while studying film and philosophy in college, with German expressionism, Tarkovsky, and Chris Marker's La Jetee allowing him to realize the atmosphere he had been searching for. This curiosity was further encouraged by Booma Collective members and his roommate Jurg Haller, who went on to found the label Forbidden Planet Records. Later, after Solpara returned to his New York City hometown, he worked as a buyer for the now-shuttered record store Halcyon. In that job, he listened to copious amounts of music every day. His deep knowledge of culture has had a strong impact on a sound that is simultaneously fluid and commanding.
More
2. GENRE/S: Electronic / Trip Hop / Breaks
3. TRACKLISTS:
1 - Time To Hold Better
2 - This Time Last Year
3 - We Keep Us Safe
4 - Melancholy Sabotage
5 - Measures
6 - We Don't Owe
7 - Breaking Points
8 - Eviction
The new album from Lebanese-American musician Solpara, Melancholy Sabotage, marks his full length debut and return to Nicolas Jaar's Other People label. While it was recorded over Covid lockdowns, Jaar had been talking about wanting to back a Solpara full-length since he put out Swing. The album came to life while Solpara was living alone in a Brooklyn loft, collecting unemployment checks and viewing ample free time as the artist residency he'd dreamed of; he'd previously been forced to make music in odd windows between numerous jobs and the unmerciful pace of city life. Free from obligations, he would wake up early to take Arabic lessons online, read Tracey Thorn's autobiography, and skateboard the deserted streets, then come home and design sounds until he had a track that felt like it needed to be released. While this easy going lifestyle was peaceful in many ways, Solpara found more complex inspiration in the emotion that stemmed from participation in Black Lives Matter protests and the 2020 Beirut Port explosion, which rocked all of his extended family members in Lebanon.
Melancholy Sabotage explores the theme of sabotaging melancholy. Echoing sounds from the post-punk, trip-hop, and ambient genres, it is about sabotaging the cycle of melancholy and looking at this process without ignoring the sources that put it into motion. It may be compared to a rattling breaking free from retention, reaching states of dreamy euphoria while simultaneously acknowledging the sources of retention, viewed from above. The sources can be personal, political, or socio-economic. They are to be apprehended post-melancholy, after the sabotaging of the initial cycle of melancholy. In other words, it is about transcending melancholy and understanding where it came from with some distance. It may be beautiful and healthy to feel for a while, but how may one sabotage this cycle when it becomes paralyzing? Ultimately, this album is about feeling melancholy but also resisting it and naming the sources that initiated it.
"Time To Hold Better" points to neglect on both personal and group levels. "This Time Last Year" is a personal time capsule. "We Keep Us Safe" is about solidarity, autonomy, and care witnessed within protest groups. "Melancholy Sabotage" is a sonic exploration of the album concept illustrating anger and sadness, but finally, resistance and liberation from these feelings. "Measures" is a more fluid exploration of the latter after the initial storm has passed. "We Don't Owe" points to bigger bodies inflicting harm on populations that we owe nothing to. "Breaking Points" harkens the times that we may lose focus while pushing to transcend melancholy. "Eviction" is about being pushed out of a space unwillingly while simultaneously being forced to move forward.
Melancholy Sabotage pulls from a range of genres, uniting electronic sounds under the same post-punky glow. It pulls from complex, heavy themes including damage and injustice, presenting Solpara's most moving body of work to date. It highlights the poignance that has always been at the heart of his fluid sound, which caters to dancefloors and avant-garde spaces in equal measure. Working with a mix of dissonant guitars, distorted drum machines, and distant, reverb-washed vocals, Melancholy Sabotage is Solpara's uneasiest outing to date. The record pinpoints the duality at the heart of Solpara's sound, which is as plaintive as it is searing.
5. VITAL SALES POINTS:
Solpara launched the label and event series Booma Collective with Oren Ratowsky and Valentin Stip - a lowkey institution in the international techno circuit.
His 2015 EP, Swing, marked both a sonic and professional turning point. It split the difference between noisy techno and spacey ambience, capturing the essence of a young artist settling into a singular lane. Issued by Nicolas Jaar's esteemed Other People label, it solidified Solpara's place as an inimitable up-and-comer. "Nicolas and I met in high school, played in a band together, and have been exchanging music ever since," he says. In part thanks to Jaar's powerful co-sign, subsequent Solpara releases landed on imprints such as Quiet Time Tapes and Bruta?.
Solpara fuses elements of post-punk, ambient, house, and dub techno. While plenty of his cuts would fit within the context of an energizing DJ set, many are arrhythmic and avant-garde. When asked about his influences, Solpara cites artists ranging from Laurel Halo to Laurie Spiegel to Massive Attack to Denis Mpunga to Lily Tchiumba. His eclectic tastes were nurtured while studying film and philosophy in college, with German expressionism, Tarkovsky, and Chris Marker's La Jetee allowing him to realize the atmosphere he had been searching for. This curiosity was further encouraged by Booma Collective members and his roommate Jurg Haller, who went on to found the label Forbidden Planet Records. Later, after Solpara returned to his New York City hometown, he worked as a buyer for the now-shuttered record store Halcyon. In that job, he listened to copious amounts of music every day. His deep knowledge of culture has had a strong impact on a sound that is simultaneously fluid and commanding.
More
Label:Other People
Cat-No:OP076
Release-Date:28.03.2024
Genre:Alternative/Electronic
Configuration:TAPE Excl
Barcode:4251804180511
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Cat-No:OP076
Release-Date:28.03.2024
Genre:Alternative/Electronic
Configuration:TAPE Excl
Barcode:4251804180511
1
Valentina Villarroel - 1. Antena magne?tica captando campos electromagneticos I
2
Valentina Villarroel - 2. Antena magne?tica captando campos electromagne?ticos II
3
Valentina Villarroel - 3. Micro?fono de contacto captando vibracio?n del puente Llacole?n
4
Valentina Villarroel - 4. Micro?fono de contacto captando la interaccio?n entre el viento y un a?rbol
5
Valentina Villarroel - 5. Micro?fono de contacto en elementos vibrantes
6
Valentina Villarroel - 6. Micro?fonos de contacto captando granizos
7
Valentina Villarroel - 7. Micro?fonos de contacto en autobu?s
8
Valentina Villarroel - 8. Hidro?fono bajo el fondo del mar
9
Valentina Villarroel - 9. Vibraciones de materiales Geofon II
10
Valentina Villarroel - 10. Vibraciones de materiales Geofon I
11
Valentina Villarroel - 11. Vibraciones de materiales Geofon III
12
Valentina Villarroel - 12. En la direccio?n del viento
13
Valentina Villarroel - 13. Ronroneo de selai
14
Valentina Villarroel - 14. Rai?l
15
Valentina Villarroel - 15. Efectos sonoros en la naturaleza
Cassette
GENRE/S: Alternative / Electronic / Soundscapes
TRACKLISTS:
1. Antena magne?tica captando campos electromagneticos I
2. Antena magne?tica captando campos electromagne?ticos II
3. Micro?fono de contacto captando vibracio?n del puente Llacole?n
4. Micro?fono de contacto captando la interaccio?n entre el viento y un a?rbol
5. Micro?fono de contacto en elementos vibrantes
6. Micro?fonos de contacto captando granizos
7. Micro?fonos de contacto en autobu?s
8. Hidro?fono bajo el fondo del mar
9. Vibraciones de materiales Geofon II
10. Vibraciones de materiales Geofon I
11. Vibraciones de materiales Geofon III
12. En la direccio?n del viento
13. Ronroneo de selai
14. Rai?l
15. Efectos sonoros en la naturaleza
SHORT INFO:
Valentina Villarroel is a sound artist and phonographer who explores the intricate dynamics within various Southern ecosystems. Her work revolves around the profound potential of acoustic ecology, particularly in the face of encroaching real estate development on natural spaces. She also delves into the consequences of sound pollution on numerous species, contributing to their decline or disappearance. In recent years, her focus has extended to urban soundscapes and significant sonic events, such as the October 18th protest in Chile. With a solid background in bioacoustics applied to both human and animal well-being, Valentina assumes the role of co-director at AOIR Sound Laboratory. There, she spearheads an interdisciplinary initiative that centers sound as its core element. This includes the creation of the sonic cartography portal aoir.cl, as well as the development of handmade electronic devices like the Bowerbankii and the creation of various experimental microphones.
VITAL SALES POINTS:
Available only on limited cassette
More
GENRE/S: Alternative / Electronic / Soundscapes
TRACKLISTS:
1. Antena magne?tica captando campos electromagneticos I
2. Antena magne?tica captando campos electromagne?ticos II
3. Micro?fono de contacto captando vibracio?n del puente Llacole?n
4. Micro?fono de contacto captando la interaccio?n entre el viento y un a?rbol
5. Micro?fono de contacto en elementos vibrantes
6. Micro?fonos de contacto captando granizos
7. Micro?fonos de contacto en autobu?s
8. Hidro?fono bajo el fondo del mar
9. Vibraciones de materiales Geofon II
10. Vibraciones de materiales Geofon I
11. Vibraciones de materiales Geofon III
12. En la direccio?n del viento
13. Ronroneo de selai
14. Rai?l
15. Efectos sonoros en la naturaleza
SHORT INFO:
Valentina Villarroel is a sound artist and phonographer who explores the intricate dynamics within various Southern ecosystems. Her work revolves around the profound potential of acoustic ecology, particularly in the face of encroaching real estate development on natural spaces. She also delves into the consequences of sound pollution on numerous species, contributing to their decline or disappearance. In recent years, her focus has extended to urban soundscapes and significant sonic events, such as the October 18th protest in Chile. With a solid background in bioacoustics applied to both human and animal well-being, Valentina assumes the role of co-director at AOIR Sound Laboratory. There, she spearheads an interdisciplinary initiative that centers sound as its core element. This includes the creation of the sonic cartography portal aoir.cl, as well as the development of handmade electronic devices like the Bowerbankii and the creation of various experimental microphones.
VITAL SALES POINTS:
Available only on limited cassette
More
Label:Other People
Cat-No:OP075
Release-Date:16.02.2024
Genre:Alternative/Electronic
Configuration:2LP Excl
Barcode:4251804144902
in stock
Last in:07.02.2024
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in stock
Last in:07.02.2024
Label:Other People
Cat-No:OP075
Release-Date:16.02.2024
Genre:Alternative/Electronic
Configuration:2LP Excl
Barcode:4251804144902
1
Ale Hop - Head Transplant
2
Daniela Huerta - Tza Tun Tzat
3
Debashis Sinha - For the waters ever taste the heavens up parts I-V
4
Hexorcismos - Acaso de veras se vive con raíz en la Tierra
5
Hexorcismos & El Irreal Veintiuno - Interferencias
6
Jessika Khazrik - Gebera
7
Khyam Allami - Mix v6
8
Kloxii Li - Anhaga
9
KMRU - hidden options
10
MAF - What's heard once entered (Nommo)
11
Portrait XO - MUTUALISM_151122
12
Simina Oprescu - Granularities
13
Visions of Lizard - Barranca del muerto
2LP with Printed PVC Sleeve
GENRE/S: Alternative / Electronic
TRACKLISTS:
LP1:
A1 / 1. Ale Hop - Head Transplant
A2 / 2. Daniela Huerta - Tza Tun Tzat
A3 / 3. Debashis Sinha - For the waters ever taste the heavens up parts I-V
B1 / 4. Hexorcismos - ¿Acaso de veras se vive con raíz en la Tierra?
B2 / 5. Hexorcismos & El Irreal Veintiuno - Interferencias
B3 / 6. Jessika Khazrik - Gebera
LP2:
C1/ 7. Khyam Allami - Mix v6
C2 / 8. Kloxii Li - Anhaga
C3 / 9. KMRU - hidden options
C4 / 10. MAF - What's heard once entered (Nommo)
D1 / 11. Portrait XO - MUTUALISM_151122
D2 / 12. Simina Oprescu - Granularities
D3 / 13. Visions of Lizard - Barranca del muerto
SHORT INFO:
For the last seven years, sound artist, technologist, and electronic musician Moisés Horta Valenzuela (aka Hexorcismos) has been studying artificial intelligence and generative art, wondering how these new technologies might be augmented into his musical process. Born in Tijuana and currently based in Berlin, Hexorcismos has long attempted to break down the permeable borders between musical styles and expressions, using the spaces in between to reinforce his politics and worldview. And on 'MUTALISMX - becoming sonic network', he expands his vision, inviting artists from across the globe to collaborate on work that questions the biases inherent in AI models, offering a collective alternative that could serve as a blueprint for further research.
The majority of AI art at this stage works with "big data", taking ideas from the cultural canon and muddying them with our contemporary reality. But if we accept that mass culture is always politically biased, always swaying towards historical prejudices, then there must be a counter-narrative. Hexorcismos began to develop a bottom-up approach, using "small data" to interrogate his idiosyncratic approach to art; he built a tool called SEMILLA.AI based on neural audio synthesis that could not only mimic his sonic fingerprint but transform it into another. So when he offered the synth to his network of collaborators, he gave them the option of either using only their data or sharing the signatures of each other artist involved in the project, blurring their identities into a mutual voice.
The result is a compilation that unspools with the coherence and fluidity of a single-artist album or adventurous DJ mix, genreless and boundless but unified by a singular message. Hunanese-American artist Kloxii Li for example takes rugged percussion and tense, industrial ambience, smudging her soundscape into a swirling gust of ghostly dissonance. Hexorcismos himself contributes two compositions: the lengthy, hypnotic 'Acaso de veras se vive con raíz en la Tierra', an AI-powered scramble of his pointed tribal guarachero experiments; and 'Interferencias', a collaboration with Mexican club veteran Bryan Dálvez, aka El Irreal Veintiuno that drives intense dancefloor rhythms into a dense haze of frozen drones and radio static. Elsewhere, Berlin-based Lebanese artist and writer Jessika Khazrik dissolves her voice into a mesh of obscured rhythms and dissociated whirrs, blending the organic with the artificial but retaining an overpowering sense of humanity.
Some artists were drawn to the nebulous aspects of the technology, searching for truth in a soup of different sounds, while others, such as KMRU, used Hexorcismos's synthesizer the examine their output. On 'hidden options', the Kenyan sound artist fed his immense catalog into the neural net, bringing out his mannerisms and tendencies in the process. Each track is singular but myriad, prompting both mutual respect and a sonic becoming, a feedback process between the artist and the tool, the individual and the collective. Data sets are made by people, and by engaging directly with musicians, Hexorcismos suggests a new way of utilizing a technology demonized and glorified without careful examination. Each artist owns their AI model, and alongside the album Hexorcismos will release SEMILLA.AI to the public (with custom-made models to start the process), allowing anyone to access this revolutionary technology.
Even the album's artwork reflects the political message, conceptualized by Chilean duo hypereikon, who used AI processes to develop a visual reflection of the technology and its possibilities. Operating outside of academia and capitalist enterprises, MUTUALISMX proposes an alternative future - one without borders that's not beholden to the Western canon, where independent labor can be prioritized and celebrated, and where creativity can truly flourish.
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GENRE/S: Alternative / Electronic
TRACKLISTS:
LP1:
A1 / 1. Ale Hop - Head Transplant
A2 / 2. Daniela Huerta - Tza Tun Tzat
A3 / 3. Debashis Sinha - For the waters ever taste the heavens up parts I-V
B1 / 4. Hexorcismos - ¿Acaso de veras se vive con raíz en la Tierra?
B2 / 5. Hexorcismos & El Irreal Veintiuno - Interferencias
B3 / 6. Jessika Khazrik - Gebera
LP2:
C1/ 7. Khyam Allami - Mix v6
C2 / 8. Kloxii Li - Anhaga
C3 / 9. KMRU - hidden options
C4 / 10. MAF - What's heard once entered (Nommo)
D1 / 11. Portrait XO - MUTUALISM_151122
D2 / 12. Simina Oprescu - Granularities
D3 / 13. Visions of Lizard - Barranca del muerto
SHORT INFO:
For the last seven years, sound artist, technologist, and electronic musician Moisés Horta Valenzuela (aka Hexorcismos) has been studying artificial intelligence and generative art, wondering how these new technologies might be augmented into his musical process. Born in Tijuana and currently based in Berlin, Hexorcismos has long attempted to break down the permeable borders between musical styles and expressions, using the spaces in between to reinforce his politics and worldview. And on 'MUTALISMX - becoming sonic network', he expands his vision, inviting artists from across the globe to collaborate on work that questions the biases inherent in AI models, offering a collective alternative that could serve as a blueprint for further research.
The majority of AI art at this stage works with "big data", taking ideas from the cultural canon and muddying them with our contemporary reality. But if we accept that mass culture is always politically biased, always swaying towards historical prejudices, then there must be a counter-narrative. Hexorcismos began to develop a bottom-up approach, using "small data" to interrogate his idiosyncratic approach to art; he built a tool called SEMILLA.AI based on neural audio synthesis that could not only mimic his sonic fingerprint but transform it into another. So when he offered the synth to his network of collaborators, he gave them the option of either using only their data or sharing the signatures of each other artist involved in the project, blurring their identities into a mutual voice.
The result is a compilation that unspools with the coherence and fluidity of a single-artist album or adventurous DJ mix, genreless and boundless but unified by a singular message. Hunanese-American artist Kloxii Li for example takes rugged percussion and tense, industrial ambience, smudging her soundscape into a swirling gust of ghostly dissonance. Hexorcismos himself contributes two compositions: the lengthy, hypnotic 'Acaso de veras se vive con raíz en la Tierra', an AI-powered scramble of his pointed tribal guarachero experiments; and 'Interferencias', a collaboration with Mexican club veteran Bryan Dálvez, aka El Irreal Veintiuno that drives intense dancefloor rhythms into a dense haze of frozen drones and radio static. Elsewhere, Berlin-based Lebanese artist and writer Jessika Khazrik dissolves her voice into a mesh of obscured rhythms and dissociated whirrs, blending the organic with the artificial but retaining an overpowering sense of humanity.
Some artists were drawn to the nebulous aspects of the technology, searching for truth in a soup of different sounds, while others, such as KMRU, used Hexorcismos's synthesizer the examine their output. On 'hidden options', the Kenyan sound artist fed his immense catalog into the neural net, bringing out his mannerisms and tendencies in the process. Each track is singular but myriad, prompting both mutual respect and a sonic becoming, a feedback process between the artist and the tool, the individual and the collective. Data sets are made by people, and by engaging directly with musicians, Hexorcismos suggests a new way of utilizing a technology demonized and glorified without careful examination. Each artist owns their AI model, and alongside the album Hexorcismos will release SEMILLA.AI to the public (with custom-made models to start the process), allowing anyone to access this revolutionary technology.
Even the album's artwork reflects the political message, conceptualized by Chilean duo hypereikon, who used AI processes to develop a visual reflection of the technology and its possibilities. Operating outside of academia and capitalist enterprises, MUTUALISMX proposes an alternative future - one without borders that's not beholden to the Western canon, where independent labor can be prioritized and celebrated, and where creativity can truly flourish.
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Label:Other People
Cat-No:OP073
Release-Date:17.11.2023
Genre:Alternative/Electronic
Configuration:LP Excl
Barcode:4251804144056
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Last in:16.11.2023
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Last in:16.11.2023
Label:Other People
Cat-No:OP073
Release-Date:17.11.2023
Genre:Alternative/Electronic
Configuration:LP Excl
Barcode:4251804144056
1
Ali Sethi & Nicolas Jaar - A1. Intiha - 3:50
2
Ali Sethi & Nicolas Jaar - A2. Nazar Se - 4:14
3
Ali Sethi & Nicolas Jaar - A3. Muddat - 6:30
4
Ali Sethi & Nicolas Jaar - A4. Raat Bhar - 2:58
5
Ali Sethi & Nicolas Jaar - B5. Dard - 7:30
6
Ali Sethi & Nicolas Jaar - B6. Chiragh - 5:46
7
Ali Sethi & Nicolas Jaar - B7. Lagta Nahi - 2:10
8
Ali Sethi & Nicolas Jaar - B8. Dono Jahan - 3:32
LP, Artwork with Obi Tag, Vinyl made of BioVinyl
2. GENRE/S: Alternative / Electronic
3. TRACKLISTS:
A
1. Intiha - 3:50
2. Nazar Se - 4:14
3. Muddat - 6:30
4. Raat Bhar - 2:58
B
5. Dard - 7:30
6. Chiragh - 5:46
7. Lagta Nahi - 2:10
8. Dono Jahan - 3:32
4. SHORT INFO:
Singer, songwriter and author Ali Sethi had been entranced by Jaar's music long before they began collaborating. He'd absorbed the sounds over a number of years, listening casually and taking in their subtleties in bars and rooftop parties across Lahore and London. "It felt familiar to me, that sense of adventure you have when you hear his music, like a tale that teases you and plays with your expectations as it unfolds," says Sethi. "In that sense it resembled the leisurely improvised ghazals and qawwalis I grew up hearing in Pakistan." So when the two were finally introduced by Indian visual artist Somnath Bhatt, a regular Jaar collaborator who also handled the album's artwork, Sethi was well prepared. He began to sketch out voice notes using loops snipped from Jaar's acclaimed 2020 album 'Telas', improvising vocalizations and seductive Urdu poems over Jaar's weightless, time-bending productions. Jaar was astonished by the result; "It was what 'Telas' had been missing," he explains.
Improvisation has been important to the Chilean artist for many years. Before he had even started making electronic music, Jaar jammed on accordion with friends on the street in New York City. It's at the core of his practice, "a moment in time," in his own words. 'Intiha', the opening track on the album, is the first they finished together, and positions Sethi's evocative phrases over Jaar's faded, metallic percussion. It's a perfect proof of concept, re- imagining the world of 'Telas' and augmenting it with a sense of ancestral melancholy and giddy euphoria that's truly transformational.
Sethi is best known globally for his attempts to revive the ghazal, an ancient poetic form that was taken by Sufi mystics from the Arab world to Persia and throughout the Indian subcontinent, where it captivated the royal court. It's been unfashionable in the last few decades, a mannered style associated with decadence, and Sethi offers it a new lease of life through his playfully revisionist covers and renditions. (His most popular single 'Pasoori' is a global phenomenon, one of the most Googled songs of 2022, with hundreds of millions of listeners tuning into its timeless message of forbidden love.) Sethi updates the ghazal form by using his years of training in raga music, lifting metaphors that reflect his journey as an out-of- place queer kid in Pakistan who became a US citizen and now lives in New York City.
5. VITAL SALES POINTS:
Critically acclaimed musician Nicolas Jaar collaborates with Pakistani artist Ali Sethi for a reworking of his original album Telas
Ali Sethi song "Pasoori" was the most googled song in 2022. It has over a billion streams across his profiles
More
2. GENRE/S: Alternative / Electronic
3. TRACKLISTS:
A
1. Intiha - 3:50
2. Nazar Se - 4:14
3. Muddat - 6:30
4. Raat Bhar - 2:58
B
5. Dard - 7:30
6. Chiragh - 5:46
7. Lagta Nahi - 2:10
8. Dono Jahan - 3:32
4. SHORT INFO:
Singer, songwriter and author Ali Sethi had been entranced by Jaar's music long before they began collaborating. He'd absorbed the sounds over a number of years, listening casually and taking in their subtleties in bars and rooftop parties across Lahore and London. "It felt familiar to me, that sense of adventure you have when you hear his music, like a tale that teases you and plays with your expectations as it unfolds," says Sethi. "In that sense it resembled the leisurely improvised ghazals and qawwalis I grew up hearing in Pakistan." So when the two were finally introduced by Indian visual artist Somnath Bhatt, a regular Jaar collaborator who also handled the album's artwork, Sethi was well prepared. He began to sketch out voice notes using loops snipped from Jaar's acclaimed 2020 album 'Telas', improvising vocalizations and seductive Urdu poems over Jaar's weightless, time-bending productions. Jaar was astonished by the result; "It was what 'Telas' had been missing," he explains.
Improvisation has been important to the Chilean artist for many years. Before he had even started making electronic music, Jaar jammed on accordion with friends on the street in New York City. It's at the core of his practice, "a moment in time," in his own words. 'Intiha', the opening track on the album, is the first they finished together, and positions Sethi's evocative phrases over Jaar's faded, metallic percussion. It's a perfect proof of concept, re- imagining the world of 'Telas' and augmenting it with a sense of ancestral melancholy and giddy euphoria that's truly transformational.
Sethi is best known globally for his attempts to revive the ghazal, an ancient poetic form that was taken by Sufi mystics from the Arab world to Persia and throughout the Indian subcontinent, where it captivated the royal court. It's been unfashionable in the last few decades, a mannered style associated with decadence, and Sethi offers it a new lease of life through his playfully revisionist covers and renditions. (His most popular single 'Pasoori' is a global phenomenon, one of the most Googled songs of 2022, with hundreds of millions of listeners tuning into its timeless message of forbidden love.) Sethi updates the ghazal form by using his years of training in raga music, lifting metaphors that reflect his journey as an out-of- place queer kid in Pakistan who became a US citizen and now lives in New York City.
5. VITAL SALES POINTS:
Critically acclaimed musician Nicolas Jaar collaborates with Pakistani artist Ali Sethi for a reworking of his original album Telas
Ali Sethi song "Pasoori" was the most googled song in 2022. It has over a billion streams across his profiles
More
MERCH Excl
in stock
Label:Other People
Cat-No:OP072
Release-Date:06.10.2023
Genre:Alternative/Electronic
Configuration:MERCH Excl
Barcode:4251804143424
in stock
Last in:31.07.2023
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in stock
Last in:31.07.2023
Label:Other People
Cat-No:OP072
Release-Date:06.10.2023
Genre:Alternative/Electronic
Configuration:MERCH Excl
Barcode:4251804143424
1
Aho Ssan - 1. Ouverture feat Nyokabi Kariuki
2
Aho Ssan - 2. Rhizome I Feat Josefa Ntjam
3
Aho Ssan - 3. Cold Summer Part I Feat Blackhaine
4
Aho Ssan - 4. Le Tremblement Feat Nicolás Jaar & Resina
5
Aho Ssan - 5. Memoria Feat Ran Cap Duoi & Richie Culver
6
Aho Ssan - 6. Till The Sun Down Feat clipping. & Resina
7
Aho Ssan - 7. Rhizome II Feat Lafawndah
8
Aho Ssan - 8. Hero Once Been Feat 9 Antiope
9
Aho Ssan - 9. Tetsuo I feat James Ginzburg
10
Aho Ssan - 10. Tetsuo II
11
Aho Ssan - 11. Away feat Exzald S & Valentina Magaletti
12
Aho Ssan - 12. Rhizome IV Feat Moor Mother, Angel Bat Dawid & Mondkopf
13
Aho Ssan - 13. Fermeture Nyokabi Kariuki
160 Pages Book (Boodk/Auduio Combination sold as "Merch Item"), containing 13 QR codes to download 13 songs.
Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more
2. GENRE/S: Electronic / Alternative
3. TRACKLIST:
1. Ouverture feat Nyokabi Kariuki
2. Rhizome I Feat Josefa Ntjam
3. Cold Summer Part I Feat Blackhaine
4. Le Tremblement Feat Nicolás Jaar & Resina
5. Memoria Feat R?n C?p ?uôi & Richie Culver
6. Till The Sun Down Feat clipping. & Resina
7. Rhizome II Feat Lafawndah
8. Hero Once Been Feat 9 Antiope
9. Tetsuo I feat James Ginzburg
10. Tetsuo II
11. Away feat Exzald S & Valentina Magaletti
12. Rhizome IV Feat Moor Mother, Angel Bat Dawid & Mondkopf
13. Fermeture Nyokabi Kariuki
4. SHORT INFO:
Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more
Paris based composer Aho Ssan, the artist moniker of Niamké Désiré, presents his new full-length 'Rhizomes' on the Other People label following his debut LP 'Simulacrum' (2020) and collaborative record 'Limen' (2022) with fellow musician KMRU.
'Rhizomes' draws inspiration from a concept coined and developed between Gilles Deleuze and Felix Guatarri. The idea of an ever evolving structural model, constantly in motion and spreading out in all directions at once. It has no beginning and no end, but always remains in a middle, through which it grows and overflows.
"The root thought is the one that kills everything around itself while the rhizome is the root that stretches out to meet other roots," Désiré explains considering the works of French writer Édouard Glissant who addresses questions of identity, crossbreeding of cultures and its evolution.
Much like the name it borrows, Aho Ssan's 'Rhizomes' is a multimedia project that embarks on a myriad of disparate, unique musical and artistic partnerships. This piece adapts this concept to explore the influence of sound materials on creation, the appropriation of a sound object, and the collaborative nature of a composition that responds to modernity.
"Rhizome represents an underground stem system that fosters connections between various organisms and allows them to flourish collectively. It's an album that celebrates collaboration and brings together a diverse group of talented artists," Désiré continues.
Aho Ssan collaborated with a comprehensive cast of artists to create a musical rhizome including Nyokabi Kariuki, Josefa Ntjam, Blackhaine, Nicolás Jaar, Resina, R?n C?p ?uôi, Richie Culver, clipping., Lafawndah, 9T Antiope, James Ginzburg, Exzald S, Valentina Magaletti, Moor Mother, Angel Bat Dawid and Mondkopf. Cooperation and community are at the root of this project and the lens through which all the compositions can be understood through.
Aho Ssan will present 'Rhizomes' AV show together with visual artist Sevi Iko Dømochevsky at Berlin Atonal 2023. 'Rhizomes' received a Honorary Mention at Prix Ars Electronica 2023 Digital Music
5. VITAL SALES POINTS:
In conjunction with the album, 'Rhizomes' comes complete with a set of illustrations by Kim Grano in a book release. The drawings become a hybrid language, each an emotional response to the musical half. The book contains an extended version of the album with 3 additional songs and 2 longer versions of the album songs. It also includes a sample pack by Aho Ssan and a collection of solo tracks by Elliot Blaise, KMRU, Lamin Fofana, Brodinski & Se?bastien Forrester, Valence Drake, 9T Antiope, Exzald S and Valentina Magaletti. The extended version package is only accessible through the QR codes in the book.
More
Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more
2. GENRE/S: Electronic / Alternative
3. TRACKLIST:
1. Ouverture feat Nyokabi Kariuki
2. Rhizome I Feat Josefa Ntjam
3. Cold Summer Part I Feat Blackhaine
4. Le Tremblement Feat Nicolás Jaar & Resina
5. Memoria Feat R?n C?p ?uôi & Richie Culver
6. Till The Sun Down Feat clipping. & Resina
7. Rhizome II Feat Lafawndah
8. Hero Once Been Feat 9 Antiope
9. Tetsuo I feat James Ginzburg
10. Tetsuo II
11. Away feat Exzald S & Valentina Magaletti
12. Rhizome IV Feat Moor Mother, Angel Bat Dawid & Mondkopf
13. Fermeture Nyokabi Kariuki
4. SHORT INFO:
Aho Ssan debuts on Other People with second solo album and book 'Rhizomes' featuring Nicolás Jaar, Moor Mother, Angel Bat Dawid, clipping., Blackhaine and more
Paris based composer Aho Ssan, the artist moniker of Niamké Désiré, presents his new full-length 'Rhizomes' on the Other People label following his debut LP 'Simulacrum' (2020) and collaborative record 'Limen' (2022) with fellow musician KMRU.
'Rhizomes' draws inspiration from a concept coined and developed between Gilles Deleuze and Felix Guatarri. The idea of an ever evolving structural model, constantly in motion and spreading out in all directions at once. It has no beginning and no end, but always remains in a middle, through which it grows and overflows.
"The root thought is the one that kills everything around itself while the rhizome is the root that stretches out to meet other roots," Désiré explains considering the works of French writer Édouard Glissant who addresses questions of identity, crossbreeding of cultures and its evolution.
Much like the name it borrows, Aho Ssan's 'Rhizomes' is a multimedia project that embarks on a myriad of disparate, unique musical and artistic partnerships. This piece adapts this concept to explore the influence of sound materials on creation, the appropriation of a sound object, and the collaborative nature of a composition that responds to modernity.
"Rhizome represents an underground stem system that fosters connections between various organisms and allows them to flourish collectively. It's an album that celebrates collaboration and brings together a diverse group of talented artists," Désiré continues.
Aho Ssan collaborated with a comprehensive cast of artists to create a musical rhizome including Nyokabi Kariuki, Josefa Ntjam, Blackhaine, Nicolás Jaar, Resina, R?n C?p ?uôi, Richie Culver, clipping., Lafawndah, 9T Antiope, James Ginzburg, Exzald S, Valentina Magaletti, Moor Mother, Angel Bat Dawid and Mondkopf. Cooperation and community are at the root of this project and the lens through which all the compositions can be understood through.
Aho Ssan will present 'Rhizomes' AV show together with visual artist Sevi Iko Dømochevsky at Berlin Atonal 2023. 'Rhizomes' received a Honorary Mention at Prix Ars Electronica 2023 Digital Music
5. VITAL SALES POINTS:
In conjunction with the album, 'Rhizomes' comes complete with a set of illustrations by Kim Grano in a book release. The drawings become a hybrid language, each an emotional response to the musical half. The book contains an extended version of the album with 3 additional songs and 2 longer versions of the album songs. It also includes a sample pack by Aho Ssan and a collection of solo tracks by Elliot Blaise, KMRU, Lamin Fofana, Brodinski & Se?bastien Forrester, Valence Drake, 9T Antiope, Exzald S and Valentina Magaletti. The extended version package is only accessible through the QR codes in the book.
More
Book 1 (0-999 g)
in stock
Label:Other People
Cat-No:OP069
Release-Date:11.11.2022
Genre:Alternative/Electronic
Configuration:Book 1 (0-999 g)
Barcode:4251804139533
in stock
Last in:28.04.2023
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in stock
Last in:28.04.2023
Label:Other People
Cat-No:OP069
Release-Date:11.11.2022
Genre:Alternative/Electronic
Configuration:Book 1 (0-999 g)
Barcode:4251804139533
Book (No Audio Included)
GENRE/S: Alternative / Electronic / Noise
TRACKLISTS (Chapters):
1-Pedro Paramo on his way to meet the dead
2-I was convinced that an atom of your love could keep me goinng
3-Sometimes a day can last a lifetime
4-The tune of Titan 3
5-John Coltrane and John Fahey crossing the Danube
6-So long lover
SHORT INFO:
Charbel Haber is Lebanese musician, performer, visual artist and composer from Beirut. His work has seen him collaborate with artists from a wide range of disciplines - film, video art, visual art, theatre, dance - both in Lebanon and abroad.
As a solo artist and as a member of post-punk band Scrambled Eggs, he has composed music for directors Khalil Joreige and Joana Hadjithomas, Ghassan Salhab, Mohamad Malas, video artists Lamia Joreige and Akram Zaatari, Maqamat dance company and playwrights Rabih Mroueh and Lina Saneh, to name but a few. His prolific and collaborative career includes free improv group Johnny Kafta Anti-Vegetarian Orchestra, psychedelic Arabic music ensembles Malayeen and Orchestra Omar, cold wave band The Bunny Tylers and minimal ambient duo Good Luck In Death. He is the founder of Those Kids Must Choke and co-founder of Johnny Kafta's Kids Menu - two experimental record labels - and he has recorded and collaborated with notable artists from the fields of free rock and improv such as Oiseaux-Tempête, Radwan Moumneh, Tarek Atoui, Jean Francois Pauvros, The Ex, Michael Zerang, Mats Gustafson, Eddie Prevost, Xavier Charles and Tony Buck.
VITAL SALES POINTS:
And once again, here I am telling you to go look for the truth and its beauty in the words of dead poets, in the little tales of ravaged cities, in aborted dreams, in the melancholy of the ruins of tomorrow, in meaningless plastic totems, in the enigmatic end of restless fools.
I'll be here long after you all disappear.
These are the first and last sentences from Charbel Haber's latest offering, A Common Misunderstanding of the Speed of Light: a multi-media musing on the chronic and the chronological, the subversive nature of time. This combination of a record and book observes the slow passing of life and the illusion of retrogradation in his every day. Simply by documenting - via image, text and tune - Haber assigns value to everything that is cast in amber by this project. There's an acceptance and appreciation of the destitution he witnesses, it is an homage given in overlapping forms.
ACMOTSOL has two parts. The book, hardcover in an embossed orange, features photographs and texts taken from Haber's personal digital diary spanning from 2020 to the start of 2022. Broken into six chapters - named for the six tracks on the record - the entries are an artist's log of sorts during a peculiar period of global hyper stagnation and navigating the aftermath of the Beirut explosions. The 96 pages highlight Haber's interest in decay, negative space and the temporality of the human condition. Instead of presenting the images and texts as they were originally paired online, they're reordered and recontextualized in the book. New connections are formed, as tenuous and fleeting as the content they surround. The images interrupt the texts in many instances, forcing pauses and inviting distraction.
At the center of the book is a sudden burst of orange pages, with stylized pluckings of the text framing a QR-code that grants access to the record. With the brilliant orange covers and matching innards, pregnant with the music at the core, it's almost as if these central pages act as a way to turn the book inside out. There, the book's purpose is altered, fixated on a mirror image of itself. It forms a self-completing arc for the project, a loop.
ACMOTSO's second half is that mirrored album. Six tracks totalling just under 52 minutes. The music could be a continuation of his solo albums Of Palm Trees and Decompositions (2016) and It Ended Up Being a Good Day Mr. Allende (2012), an exploration into the expansiveness of seemingly simple loops of a lilting guitar. Careful electronic effects add dimensions or reground the listener. There's a swelling of sound, the illusion of the push of space before it retracts back into itself or fades into the distance. Much like the images and texts the music complements, the songs challenge the purity of cycles. Endings are beginnings, beginnings are endings or is everything just the middle? Haber is quietly and elegantly grappling with the troublesome act of place-making. In music, in words and in visual storytelling.
ACMOTSOL is a work that can be calming or disorienting, depending on what is requested of it. Similar to the way loops and cycles can signify both meditation and mania. The tendrils of Haber's past - his home of Beirut, fictional and real characters encountered, authors read, films watched, composers listened, walks taken - knit themselves together for a presentation of our immediate present. An evidence of a happening. A considered project of time.
All photographs, texts and music by Charbel Haber. Album mixed by Radwan Ghazi Moumneh. Design by Maziyar Pahlevan. Printed by Albe De Coker in Belgium.
This dual-part project will be released on XX XXX 2022 on 'Other People.'
Description by Nereya Otieno.
86 images
6 songs*
52 minutes*
96 pages
86 texts
*there are no audio files coming with the book.
More
GENRE/S: Alternative / Electronic / Noise
TRACKLISTS (Chapters):
1-Pedro Paramo on his way to meet the dead
2-I was convinced that an atom of your love could keep me goinng
3-Sometimes a day can last a lifetime
4-The tune of Titan 3
5-John Coltrane and John Fahey crossing the Danube
6-So long lover
SHORT INFO:
Charbel Haber is Lebanese musician, performer, visual artist and composer from Beirut. His work has seen him collaborate with artists from a wide range of disciplines - film, video art, visual art, theatre, dance - both in Lebanon and abroad.
As a solo artist and as a member of post-punk band Scrambled Eggs, he has composed music for directors Khalil Joreige and Joana Hadjithomas, Ghassan Salhab, Mohamad Malas, video artists Lamia Joreige and Akram Zaatari, Maqamat dance company and playwrights Rabih Mroueh and Lina Saneh, to name but a few. His prolific and collaborative career includes free improv group Johnny Kafta Anti-Vegetarian Orchestra, psychedelic Arabic music ensembles Malayeen and Orchestra Omar, cold wave band The Bunny Tylers and minimal ambient duo Good Luck In Death. He is the founder of Those Kids Must Choke and co-founder of Johnny Kafta's Kids Menu - two experimental record labels - and he has recorded and collaborated with notable artists from the fields of free rock and improv such as Oiseaux-Tempête, Radwan Moumneh, Tarek Atoui, Jean Francois Pauvros, The Ex, Michael Zerang, Mats Gustafson, Eddie Prevost, Xavier Charles and Tony Buck.
VITAL SALES POINTS:
And once again, here I am telling you to go look for the truth and its beauty in the words of dead poets, in the little tales of ravaged cities, in aborted dreams, in the melancholy of the ruins of tomorrow, in meaningless plastic totems, in the enigmatic end of restless fools.
I'll be here long after you all disappear.
These are the first and last sentences from Charbel Haber's latest offering, A Common Misunderstanding of the Speed of Light: a multi-media musing on the chronic and the chronological, the subversive nature of time. This combination of a record and book observes the slow passing of life and the illusion of retrogradation in his every day. Simply by documenting - via image, text and tune - Haber assigns value to everything that is cast in amber by this project. There's an acceptance and appreciation of the destitution he witnesses, it is an homage given in overlapping forms.
ACMOTSOL has two parts. The book, hardcover in an embossed orange, features photographs and texts taken from Haber's personal digital diary spanning from 2020 to the start of 2022. Broken into six chapters - named for the six tracks on the record - the entries are an artist's log of sorts during a peculiar period of global hyper stagnation and navigating the aftermath of the Beirut explosions. The 96 pages highlight Haber's interest in decay, negative space and the temporality of the human condition. Instead of presenting the images and texts as they were originally paired online, they're reordered and recontextualized in the book. New connections are formed, as tenuous and fleeting as the content they surround. The images interrupt the texts in many instances, forcing pauses and inviting distraction.
At the center of the book is a sudden burst of orange pages, with stylized pluckings of the text framing a QR-code that grants access to the record. With the brilliant orange covers and matching innards, pregnant with the music at the core, it's almost as if these central pages act as a way to turn the book inside out. There, the book's purpose is altered, fixated on a mirror image of itself. It forms a self-completing arc for the project, a loop.
ACMOTSO's second half is that mirrored album. Six tracks totalling just under 52 minutes. The music could be a continuation of his solo albums Of Palm Trees and Decompositions (2016) and It Ended Up Being a Good Day Mr. Allende (2012), an exploration into the expansiveness of seemingly simple loops of a lilting guitar. Careful electronic effects add dimensions or reground the listener. There's a swelling of sound, the illusion of the push of space before it retracts back into itself or fades into the distance. Much like the images and texts the music complements, the songs challenge the purity of cycles. Endings are beginnings, beginnings are endings or is everything just the middle? Haber is quietly and elegantly grappling with the troublesome act of place-making. In music, in words and in visual storytelling.
ACMOTSOL is a work that can be calming or disorienting, depending on what is requested of it. Similar to the way loops and cycles can signify both meditation and mania. The tendrils of Haber's past - his home of Beirut, fictional and real characters encountered, authors read, films watched, composers listened, walks taken - knit themselves together for a presentation of our immediate present. An evidence of a happening. A considered project of time.
All photographs, texts and music by Charbel Haber. Album mixed by Radwan Ghazi Moumneh. Design by Maziyar Pahlevan. Printed by Albe De Coker in Belgium.
This dual-part project will be released on XX XXX 2022 on 'Other People.'
Description by Nereya Otieno.
86 images
6 songs*
52 minutes*
96 pages
86 texts
*there are no audio files coming with the book.
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Cat-No:OP068
Release-Date:30.09.2022
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LP [Limited Edition Vinyl]
GENRE/S: Alternative / Electronic / Noise
TRACKLISTS:
1. At The Opposite Pole of Architectural Virtue
2. In One Corner The Male Relatives
3. Serene Company
4. Tiles of The Façade
5. Chafing Dish
6. Such Gardens There Are
7. Capping Verse
8. Overdose Ferocious
9. Patience Of A Traitor
10. Bareekullah Picnic
11. In Thrall
SHORT INFO:
Tehran-born, NY based brothers Mohammad and Mehdi collaborate with Ian McDonnell, a.k.a. Eomac on a new record entitled "Patience of a Traitor". Inspired by the traditional bath houses in their native Tehran, the brothers say: "This record speaks to preserving the things that are timeless, through revisiting the past. The traditional Persian bath house - its architecture, the role it played in keeping, building community, the bathing rituals - served as our ultimate symbol. Now we drink from one cup, and fill the jar with the other."
More
GENRE/S: Alternative / Electronic / Noise
TRACKLISTS:
1. At The Opposite Pole of Architectural Virtue
2. In One Corner The Male Relatives
3. Serene Company
4. Tiles of The Façade
5. Chafing Dish
6. Such Gardens There Are
7. Capping Verse
8. Overdose Ferocious
9. Patience Of A Traitor
10. Bareekullah Picnic
11. In Thrall
SHORT INFO:
Tehran-born, NY based brothers Mohammad and Mehdi collaborate with Ian McDonnell, a.k.a. Eomac on a new record entitled "Patience of a Traitor". Inspired by the traditional bath houses in their native Tehran, the brothers say: "This record speaks to preserving the things that are timeless, through revisiting the past. The traditional Persian bath house - its architecture, the role it played in keeping, building community, the bathing rituals - served as our ultimate symbol. Now we drink from one cup, and fill the jar with the other."
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Label:Other People
Cat-No:OP067
Release-Date:23.09.2022
Genre:Alternative/Electronic
Configuration:LP Excl
Barcode:4251804138864
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Cat-No:OP067
Release-Date:23.09.2022
Genre:Alternative/Electronic
Configuration:LP Excl
Barcode:4251804138864
1
Dienne - Addio
2
Dienne - Felicitazioni
3
Dienne - Piccolo e Cattivo
4
Dienne - Mio Signore
5
Dienne - Tranquillo
6
Dienne - Oboe Vento e Rumore
7
Dienne - Ti Saluto Parte 2
8
Dienne - Contacto
9
Dienne - Casa di Emma
10
Dienne - Ti Saluto Parte 1
LP [Limited Edition Vinyl]
GENRE/S: Alternative / Electronic / Ambient
TRACKLIST:
1. Addio
2. Felicitazioni
3. Piccolo e Cattivo
4. Mio Signore
5. Tranquillo
6. Oboe Vento e Rumore
7. Ti Saluto Parte 2
8. Contacto
9. Casa di Emma
10. Ti Saluto Parte 1
SHORT INFO:
Dienne's 'Addio' is a 32 minute study on loss and mourning. Following the death of her grandmother due to covid, and unable to say a proper goodbye due to travel restrictions, Dienne set out to give her "Addio" through musical form. She lets objects fall, leaves windows open, and lets the wind dust off the shelves. This is the sound of everyday mourning, a taste instead of an event. A lingering, broken and patient work of undeniable beauty.
Credits:
Artwork by Africanus Okokon and Maziyar Pahlevan.
Mastering by Gert Van Hoof.
Bio:
Dienne is a Belgian composer, vocalist and multi-instrumentalist. She builds songs and soundscapes portraying images & stories that play behind her eyes. Starting with the oboe as a child, before adding the piano and flute to her repertoire, she later produced soundtracks for theater and dance performances. Her debut 'Addio' will be released on 'Other People'.
More
GENRE/S: Alternative / Electronic / Ambient
TRACKLIST:
1. Addio
2. Felicitazioni
3. Piccolo e Cattivo
4. Mio Signore
5. Tranquillo
6. Oboe Vento e Rumore
7. Ti Saluto Parte 2
8. Contacto
9. Casa di Emma
10. Ti Saluto Parte 1
SHORT INFO:
Dienne's 'Addio' is a 32 minute study on loss and mourning. Following the death of her grandmother due to covid, and unable to say a proper goodbye due to travel restrictions, Dienne set out to give her "Addio" through musical form. She lets objects fall, leaves windows open, and lets the wind dust off the shelves. This is the sound of everyday mourning, a taste instead of an event. A lingering, broken and patient work of undeniable beauty.
Credits:
Artwork by Africanus Okokon and Maziyar Pahlevan.
Mastering by Gert Van Hoof.
Bio:
Dienne is a Belgian composer, vocalist and multi-instrumentalist. She builds songs and soundscapes portraying images & stories that play behind her eyes. Starting with the oboe as a child, before adding the piano and flute to her repertoire, she later produced soundtracks for theater and dance performances. Her debut 'Addio' will be released on 'Other People'.
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Label:Other People
Cat-No:OP056
Release-Date:20.05.2022
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LTD 2LP [Includes Art Prints by Zofia Kulik]
Compiled on vinyl for the first time
GENRE/S: Library / Ambient
TRACKLISTS:
1. Krzysztof Knittel: Lapis (1985)
2. Bohdan Mazurek: Canti (1973)
3. Magdalena Dàugosz: Yes and No (1990)
4. Barbara Zawadzka - Greya - III (1991)
5. Barbara Zawadzka Greya - IV (1990)
6. Barbara Zawadzka Greya - II (1987)
7. Rudnik - Epitaph of Stones (1984)
8. Boguslaw Shaeffer - Symphony. Elec…e (perf. by Wolfram) (1964-66) - I
9. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - II
10. Boguslaw Shaeffer - Symphony. Elec…(perf. by Wolfram) (1964-66) - III
11. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - IV
SHORT INFO:
Would It Sound Just As Bad If You Played It Backwards?"
A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik
"Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?
Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations."
Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them.
The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio."
The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków.
Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects.
Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War.
Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973).
As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties.
In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."
More
Compiled on vinyl for the first time
GENRE/S: Library / Ambient
TRACKLISTS:
1. Krzysztof Knittel: Lapis (1985)
2. Bohdan Mazurek: Canti (1973)
3. Magdalena Dàugosz: Yes and No (1990)
4. Barbara Zawadzka - Greya - III (1991)
5. Barbara Zawadzka Greya - IV (1990)
6. Barbara Zawadzka Greya - II (1987)
7. Rudnik - Epitaph of Stones (1984)
8. Boguslaw Shaeffer - Symphony. Elec…e (perf. by Wolfram) (1964-66) - I
9. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - II
10. Boguslaw Shaeffer - Symphony. Elec…(perf. by Wolfram) (1964-66) - III
11. Boguslaw Shaeffer - Symphony. Elec… (perf. by Wolfram) (1964-66) - IV
SHORT INFO:
Would It Sound Just As Bad If You Played It Backwards?"
A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik
"Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?
Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations."
Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them.
The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio."
The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków.
Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects.
Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War.
Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973).
As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties.
In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."
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Label:Other People
Cat-No:OP059
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Barcode:4251804137034
1
Various Artists - 1. Wlodzimierz Kotonski - Study for One Cymbal Stroke (1951)
2
Various Artists - 2. Symphony. Electronic music, part I (performed by Bohdan Mazurek) (1966)
3
Various Artists - 3. Elzbieta Sikora - Letters to M. (1980)
4
Various Artists - 4. Bernadetta Matuszczak - Libera me (1991)
5
Various Artists - 5. Elzbieta Sikora - View from the Window (1978)
6
Various Artists - 6. Magdalena Dlugosz - Mictlan I (1987)
7
Various Artists - 7. Barbara Zawadzka - Greya part V (1991)
8
Various Artists - 8. Krzysztof Knittel - Poko (1986)
LTD 2LP [Includes Art Prints by Zofia Kulik]
Compiled on vinyl for the first time
GENRE/S: Library / Ambient
TRACKLISTS:
1. Wlodzimierz Kotonski - Study for One Cymbal Stroke (1951)
2. Symphony. Electronic music, part I (performed by Bohdan Mazurek) (1966)
3. Elzbieta Sikora - Letters to M. (1980)
4. Bernadetta Matuszczak - Libera me (1991)
5. Elzbieta Sikora - View from the Window (1978)
6. Magdalena Dlugosz - Mictlan I (1987)
7. Barbara Zawadzka - Greya part V (1991)
8. Krzysztof Knittel - Poko (1986)
SHORT INFO:
Would It Sound Just As Bad If You Played It Backwards?"
A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik
"Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?
Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations."
Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them.
The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio."
The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków.
Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects.
Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War.
Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973).
As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties.
In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."
More
Compiled on vinyl for the first time
GENRE/S: Library / Ambient
TRACKLISTS:
1. Wlodzimierz Kotonski - Study for One Cymbal Stroke (1951)
2. Symphony. Electronic music, part I (performed by Bohdan Mazurek) (1966)
3. Elzbieta Sikora - Letters to M. (1980)
4. Bernadetta Matuszczak - Libera me (1991)
5. Elzbieta Sikora - View from the Window (1978)
6. Magdalena Dlugosz - Mictlan I (1987)
7. Barbara Zawadzka - Greya part V (1991)
8. Krzysztof Knittel - Poko (1986)
SHORT INFO:
Would It Sound Just As Bad If You Played It Backwards?"
A Collection of Sounds from the Studio Eksperymentalne Polskiego Radia (1959-2001)
Art by Zofia Kulik
"Would it sound just as bad if you played it backwards?" assembles a collection of audio experi-ments created at the Polish Radio Experimental Studio (PRES) from 1959 to the beginning of the century. These exceptional works are presented alongside images from the Polish artist Zofia Kulik, whose career reached its apogee between the late 1960s and early 70s. While PRES and Kulik remain touchstones in the recent history of the Polish avant-garde, presenting them togeth-er in one release may not have seemed like an obvious choice. There are, of course, some histori-cal intersections-the most notable being a shared interest in Polish artist and architect Oskar Hansen's Open Form theory. Open Form promoted a modular theory of architecture that became a tool adapted by its users and inhabitants. Hansen's ideas influenced Kulik's early works and also manifested in the PRES's iconic "black room," a music studio designed by Hansen, himself, which was equipped with moveable sound panels that absorbed or reflected sounds to promote a greater, creative freedom from its users. And yet, as it usually goes, the most obvious connections are usually the most deceitful. Whereas Kulik initially followed Open Form, she later turned away from it. And as for the black room-it mostly worked in theory but not in practice. What is it then that makes the two work together?
Within the realm of art history, Kulik's work is often divided into two periods: her early, artistic endeavours connected to Open Form, and the KwieKulik collaboration (with Przemys?av Kwiek), followed by her later turn towards a closed form, characterised by a departure from pro-cessual art in favour of material works of art. Yet these terms don't necessarily bring out the es-sence of Kulik's works. The artist explained that Hansen's Open Form was important for how it opened his students to perceive their environments in a different way. Reminiscing about those times, she states, "I wanted to catch the moment when the object I was looking at was real. I de-cided that as a static item it can never be real-it's possible only in the process of looking at it. That translates to the object being recorded and presented in certain sequences [...] there's the astonishment at the materiality of objects, colours, transformations."
Kulik's works chosen for this release are taken from two projects, Lady Halina and Cones (1968-71) and Excursion with White Screen. Route: Cemetery, The Palace of Culture, which were in-cluded in Kulik's diploma at the Sculpture Department of the Academy of Fine Arts in Warsaw. The projects consisted of slide projections presented on three screens, with specific temporal se-quencing. Lady Halina and Cones presents a woman's body, its forms, geometrical figures, and shapes undergoing a process of transformation. About Excursion with White Screen, Kulik says "this white sheet was supposed to signify an empty screen in different spatial situations in the city. I thought that I would later project a slide onto that screen, imposing another image after-wards, like a collage, but suddenly that screen became a material object instead of an abstract, pure idea of a potential image within an image. It became an object in itself and I began to notice that the screen sometimes wrinkles in the cemetery, and sometimes moves with the wind." A myriad of new meanings and references arise in the twenty-first century from Kulik's sequenced films. From the perspective of a young woman, Lady Halina and Scones poses questions about the objectification of women, the boundaries of their agency, and the recognition of their subjec-tivity within the patriarchal world in which their bodies often functioned as objects of control. In Excursion with White Screen the symbolism of a white sheet placed against a background image of a cemetery or the Palace of Culture questions the role of these religio-political monuments, the white screen acting as an empty, and potentially alternative, space between them.
The music chosen for "Would it sound just as bad if you played it backwards?" spans most of the history of the Polish Radio Experimental Studio, including tracks as early as W?odzimi-erz Koto?ski's "Concrete etude, Study for One Cymbal Stroke," and ending chronologically with Wolfram's rendition of Bogus?aw Schaeffer's "Symphony. Electronic Music." Just as with Kulik's works, the contemporaneity of the music presented is astonishing. The album opens and closes with Krzysztof Knittel's 1980s compositions, "Lapis" and "Poko," and perfectly encapsu-late his descriptions of his experiences in the studio: "We acted without any initial plans or elec-tronic scores, there were no goals to be achieved, no creative method defined in advance. We used our aesthetic and technological knowledge freely, the shapes of tracks emerged during our shared work in the studio."
The album also includes "Mictlan I" (1987) and "Yes and No," (1990) two stunning works by Magdalena D?ugosz, who studied composition with Krystyna Moszuma?ska-Nazar and music theory with Józef Patkowski. Since 1979 she has been teaching in the Electroacoustic Music Stu-dio at the Academy of Music in Kraków.
Also featured is the avant-garde composer El?bieta Sikora, Knittel's fellow member from the KEW Composers' Group, with her stark pieces "Letters to M" and "View from the Window," (1971), and Barbara Zawadzka, whose "Greya" (1988) is meant to evoke different sequencings of the colour grey. In this piece, particularly, it's hard not to appreciate the similarity to Kulik's notion of sequencing and transformation of objects.
Bernadetta Matuszczak's "Libera me" (1991) is an example of a somewhat different creative ex-perience. In a radio interview conducted by Marek Zwyrzykowski in 1992, the composer stated that she wasn't intending to discover any "extraordinary electronic effects"; instead, she focused on the piece's "expressive layer." With the help of Tadeusz Sudnik from PRES, she incorporated into "Libera Me" the characteristic melody from the Polish version of the Orthodox hymn "Holy God, Holy Mighty, Holy Immortal" and then combined it with sounds of explosions and instru-mental recordings, a veiled response to the US's interventions during the Gulf War.
Eugeniusz Rudnik, the composer and sound engineer whose name is among those most strongly associated with PRES, contributes with his "Epitaph for Stones," (1984) a dedication to Jerzy Popie?uszko, the Polish Roman Catholic priest associated with the Solidarity trade union and an-ti-communist movement who was murdered by the Security Service. Bohdan Mazurek, who took over the reins of the studio from Rudnik in 1962 is also included with his piece "Canti" (1973).
As mentioned above, the album also includes W?odzimierz Koto?ski's seminal "Concrete etude, Study for One Cymbal Stroke," a piece sourced from the single stroke of a mid-sized Turkish cymbal; it is often considered to be an important starting point for the development of experi-mental music in Poland. And, finally, the album features two performances of Bogus?aw Schaeffer's "Symphony. Electronic Music," the first by Bohdan Mazurek which remains very close to the composer's score, and a contemporary version by Wolfram, which takes much more creative liberties.
In a text about his seminal work, Schaeffer stated that he "decided to include the factor of inter-pretation in a work that was greatly precise by nature" underlining the importance of shifting el-ements: "the development of music lies in individual elements shifting in the hierarchy of their functions." Indeed, an interest in shifting hierarchies seems present in Kulik's powerful images and most of the sound pieces contained in this release. When the Polish Radio appointed Eu-geniusz Rudnik to present PRES's technical capabilities to a conservative delegation of Soviet composers, he was met with a bitter reply: "Would it sound just as bad, if you played it back-wards?" asked the rigid composers. Rudnick's answer was to create "Skalary," (1966) a multi-version piece which could be played from start to finish and from finish to start, at different speeds, as well as with altered left and right channel distribution. This modular openness calls to mind the empty sheet in Kulik's images. Whatever the context, its static emptiness creates space for a different reality than that which those in power had in mind. This brings us back to Kulik's thoughts on her experiences as a student in the late 60s, a pivotal time in which she determined the process of looking and listening was central to reality itself, thereby shattering the rigidity of traditional forms and religio-political power: "I decided that as a static item, an object can never be real-it's possible only in the process of looking at it."
More
Label:Other People
Cat-No:OP055-LP
Release-Date:23.10.2020
Configuration:LP Excl
Barcode:4251804120012
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+ Show full info- Close
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Barcode:4251804120012
1
Nicolas Jaar - 1 Vanish
2
Nicolas Jaar - 2 Menysid
3
Nicolas Jaar - 3 Cenizas
4
Nicolas Jaar - 4 Agosto
5
Nicolas Jaar - 5 Gocce
6
Nicolas Jaar - 6 Mud
7
Nicolas Jaar - 7 Vacíar
8
Nicolas Jaar - 8 Sunder
9
Nicolas Jaar - 9 Hello, Chain
10
Nicolas Jaar - 10 Rubble
11
Nicolas Jaar - 11 Garden
12
Nicolas Jaar - 12 Xerox
13
Nicolas Jaar - 13 Faith Made of Silk
LP
CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.
8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music
8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole
9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.
NICOLAS JAAR BIOGRAPHY
NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE
Tracklist:
1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk
More
CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.
8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music
8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole
9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.
NICOLAS JAAR BIOGRAPHY
NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE
Tracklist:
1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk
More
2LP Excl
backorder
Label:Other People
Cat-No:OP055-2LP
Release-Date:25.09.2020
Configuration:2LP Excl
Barcode:4251804121149
backorder
Last in:18.03.2022
+ Show full info- Close
backorder
Last in:18.03.2022
Label:Other People
Cat-No:OP055-2LP
Release-Date:25.09.2020
Configuration:2LP Excl
Barcode:4251804121149
1
Nicolas Jaar - 1. Vanish
2
Nicolas Jaar - 2. Menysid
3
Nicolas Jaar - 3. Cenizas
4
Nicolas Jaar - 4. Agosto
5
Nicolas Jaar - 5. Gocce
6
Nicolas Jaar - 6. Mud
7
Nicolas Jaar - 7. Vacíar
8
Nicolas Jaar - 8. Sunder
9
Nicolas Jaar - 9. Hello, Chain
10
Nicolas Jaar - 10. Rubble
11
Nicolas Jaar - 11. Garden
12
Nicolas Jaar - 12. Xerox
13
Nicolas Jaar - 13. Faith Made of Silk
- 2LP is mastered for Exceptional Sound
LTD Edition includes : 2LP + Book + OCard + Clear PVC Sleeve
CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.
8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music
8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole
9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.
NICOLAS JAAR BIOGRAPHY
NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE
Tracklist:
1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk
More
LTD Edition includes : 2LP + Book + OCard + Clear PVC Sleeve
CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.
8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music
8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole
9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.
NICOLAS JAAR BIOGRAPHY
NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE
Tracklist:
1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk
More
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1
Nicolas Jaar - 1. Vanish
2
Nicolas Jaar - 2. Menysid
3
Nicolas Jaar - 3. Cenizas
4
Nicolas Jaar - 4. Agosto
5
Nicolas Jaar - 5. Gocce
6
Nicolas Jaar - 6. Mud
7
Nicolas Jaar - 7. Vacíar
8
Nicolas Jaar - 8. Sunder
9
Nicolas Jaar - 9. Hello, Chain
10
Nicolas Jaar - 10. Rubble
11
Nicolas Jaar - 11. Garden
12
Nicolas Jaar - 12. Xerox
13
Nicolas Jaar - 13. Faith Made of Silk
LTD CD : CD + Book + Clear PVC Sleeve
CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.
8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music
8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole
9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.
NICOLAS JAAR BIOGRAPHY
NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE
Tracklist:
1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk
More
CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.
8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music
8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole
9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.
NICOLAS JAAR BIOGRAPHY
NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE
Tracklist:
1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk
More
Label:Other People
Cat-No:OP055-CD
Release-Date:25.09.2020
Configuration:CD Excl
Barcode:4251804120029
in stock
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+ Show full info- Close
in stock
Last in:18.09.2020
Label:Other People
Cat-No:OP055-CD
Release-Date:25.09.2020
Configuration:CD Excl
Barcode:4251804120029
1
Nicolas Jaar - 1. Vanish
2
Nicolas Jaar - 2. Menysid
3
Nicolas Jaar - 3. Cenizas
4
Nicolas Jaar - 4. Agosto
5
Nicolas Jaar - 5. Gocce
6
Nicolas Jaar - 6. Mud
7
Nicolas Jaar - 7. Vacíar
8
Nicolas Jaar - 8. Sunder
9
Nicolas Jaar - 9. Hello, Chain
10
Nicolas Jaar - 10. Rubble
11
Nicolas Jaar - 11. Garden
12
Nicolas Jaar - 12. Xerox
13
Nicolas Jaar - 13. Faith Made of Silk
CD Version
CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.
8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music
8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole
9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.
NICOLAS JAAR BIOGRAPHY
NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE
Tracklist:
1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk
More
CENIZAS WAS WRITTEN AND PRODUCED BY NICOLAS JAAR BETWEEN 2017-2019. MASTERING BY RASHAD BECKER ART BY MAZIYAR PAHLEVAN
MIXING BY NICOLAS JAAR AND PATRICK HIGGINS
* In 2019, Patrick Higgins and Nicolas Jaar mixed some of the record in Higgins' Future- Past studios in Hudson NY and Electric Lady Studios in Manhattan. Additional mixing was done in Figure8 Studios in Brooklyn by Nicola?s.
8/10 Resident Advisor - Cenizas is an LP of significant gravitas from an artist with among the largest and most engaged followings in electronic music
8.0 Pitchfork - Given all the technical ground Cenizas covers, Jarr is an impressively meticulous guide. Every pluck, ping, buzz, scratch, and whistle is intentional, a bump in the tunnel as you slide down the rabbit hole
9/10 Loud & Quiet - Jaar's music has always been deeply preoccupied with atmosphere, and Cenizas is a deeply atmospheric album. It sounds like a void. As you listen, you feel like you could fall into it and never find your way out. In that way, these 54 minutes feel like a sequel to Jaar's first hit, Space is Only Noise, set 5,000 years in the future. He told us then. He's showing us now.
NICOLAS JAAR BIOGRAPHY
NICOLAS JAAR is a Chilean sound maker born in 1990. He is known in the club world for his various dance 12?? EPs and remixes he put out from 2008 to 2011. Since his first full length (SPACE IS ONLY NOISE, 2011), he has embarked in multiple divergent path.
For the last 7 years, he has released a large volume of recordings through his label OTHER PEOPLE (including music by LYDIA LUNCH, WILLIAM BASINSKI, PATRICK HIGGINS, DJ SLUGO, LUCRETIA DALT, PIERRE BASTIEN & TOMAGA, VTGNIKE and others).
In 2015, Nicolas scored DHEEPAN by director JACQUES AUDIARD (winner of the Palme d'Or at Cannes 2015).
In 2016, Jaar launched THE NETWORK, a web of 111 fictional radio stations done in collaboration with artists JENA MYUNG and MAZIYAR PAHLEVAN. A batch of these mixes was aired on NTS radio and is archived here: (https://bit.ly/35PwrHu). In 2017, THE NETWORK became a book, published by PRINTED MATTER In NY.
In the spring of 2019, Jaar was commissioned for a 9 hour improvisation in the OUDE KERK CHURCH in Amsterdam which he performed alongside two organists and a dozen surround speakers pointed at the ceiling of the church.
Nicola?s is currently curating a residency for sound artists in the West Bank that takes place in a 130 year-old converted food storage shack in Bethlehem (within the DAR YUSUF NASRI JACIR FOR ART AND RESEARCH)
Residents so far include composer SEBASTIAN JATZ RAWICZ and researcher and artist ROLANDO HERNANDEZ.
In the fall of 2019, he presented INCOMPREHENSIBLE SUN, a sound and light installation in a 200-meter-long ex-military shooting range in Zaandam (The Netherlands) and RETAINING THE ENERGY, BUT LOSING THE IMAGE alongside artist VINCENT DE BELLEVAL which consisted of 10 large rotating parabolic reflectors that capture and emit hyper-focalized surround sound.
For the first SHARJAH ARCHITECTURE TRIENNALE (curated by ADRIAN LAHOUD IN 2019) Nicola?s performed a piece for 16 buried speakers in the desert near the MLEIHA ARCHAEOLOGICAL CENTRE.
Nicola?s has collaborated with artist LYDIA OURAHMANE (MUSIC FOR TWO SEAS, Stromboli), FKA TWIGS (MAGDALENE), and PATRICK HIGGINS under the name AEAEA. He is also a current member of improvisational ensemble ¡MIE?RCOLES! alongside dancer and choreographer STEPHANIE JANAINA, founding member of research collective SHOCK FOREST GROUP, and half of the band DARKSIDE
Tracklist:
1 Vanish
2 Menysid
3 Cenizas
4 Agosto
5 Gocce
6 Mud
7 Vacíar
8 Sunder
9 Hello, Chain
10 Rubble
11 Garden
12 Xerox
13 Faith Made of Silk
More
Label:Other People
Cat-No:OP053
Release-Date:15.05.2020
Configuration:3LP Excl
Barcode:4251648416838
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Last in:13.01.2022
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Last in:13.01.2022
Label:Other People
Cat-No:OP053
Release-Date:15.05.2020
Configuration:3LP Excl
Barcode:4251648416838
1
AGAINST ALL LOGIC - 01 Fantasy
2
AGAINST ALL LOGIC - 02 If Loving You Is Wrong
3
AGAINST ALL LOGIC - 03 With An Addict
4
AGAINST ALL LOGIC - 04 If You Can't Do It Good, Do It Hard (feat. Lydia Lunch)
5
AGAINST ALL LOGIC - 05 Alarm
6
AGAINST ALL LOGIC - 06 Deeeeeeefers
7
AGAINST ALL LOGIC - 07 Faith
8
AGAINST ALL LOGIC - 08 Penny
9
AGAINST ALL LOGIC - 09 You (forever)
AAL 3LP '2017-2019' on Other People featuring Lydia Lunch.
F = vinyl-only edit
Tracklist 3LP
A1. Fantasy
A2. If Loving You Is Wrong
B. With An Addict
C1. If You Can't Do It Good, Do It Hard feat. Lydia Lunch
C2. Alarm
C3. Deeeeeeefers
D. Faith
E1. Penny
E2. You (Forever)
F. Vinyl-Only Edit More
F = vinyl-only edit
Tracklist 3LP
A1. Fantasy
A2. If Loving You Is Wrong
B. With An Addict
C1. If You Can't Do It Good, Do It Hard feat. Lydia Lunch
C2. Alarm
C3. Deeeeeeefers
D. Faith
E1. Penny
E2. You (Forever)
F. Vinyl-Only Edit More
12" Excl
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Label:Other People
Cat-No:OP057
Release-Date:15.05.2020
Configuration:12" Excl
Barcode:4251648417064
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Last in:11.06.2020
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Cat-No:OP057
Release-Date:15.05.2020
Configuration:12" Excl
Barcode:4251648417064
1
AGAINST ALL LOGIC - Illusions of Shameless Abundance (feat. Lydia Lunch)
2
AGAINST ALL LOGIC - Alucinao (Feat. Estado Unido & FKA twigs)
AAL Single 12" on Other People featuring Lydia Lunch and FKA twigs.
Tracklist EP
A Illusions Of Shameless Abundance
Featuring – Lydia Lunch
B Alucinao
Feat. Estado Unido & FKA twigs
More
Tracklist EP
A Illusions Of Shameless Abundance
Featuring – Lydia Lunch
B Alucinao
Feat. Estado Unido & FKA twigs
More
Label:Other People
Cat-No:OP052
Release-Date:06.03.2020
Configuration:LP Excl
Barcode:4251648415664
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Last in:11.02.2020
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1
Sary Moussa - In Praise Of Shadows
2
Sary Moussa - Figure
3
Sary Moussa - Distance
4
Sary Moussa - Rest
5
Sary Moussa - Weight
6
Sary Moussa - South
7
Sary Moussa - Tides
Tracklist LP:
1. In Praise Of Shadows
2. Figure
3. Distance
4. Rest
5. Weight
6. South
7. Tides
Sary Moussa is an electronic musician who has been active in the Beirut underground scene since 2008. He released his first full-length album Issrar in October of 2014 under the moniker radiokvm. His latest record Imbalance, finds Moussa revisiting the soundscapes of his childhood; from the echoes of political unrest, to Greek-Catholic chants, and the quiet nights of a secluded Southern village. The album combines sound design with intricate melodic arrangements to create a choir of synthesizers and noise singing in and out of sync.
In addition to his solo work, Moussa has also composed music for theatre and dance performances, short films, and museum installations.
More
1. In Praise Of Shadows
2. Figure
3. Distance
4. Rest
5. Weight
6. South
7. Tides
Sary Moussa is an electronic musician who has been active in the Beirut underground scene since 2008. He released his first full-length album Issrar in October of 2014 under the moniker radiokvm. His latest record Imbalance, finds Moussa revisiting the soundscapes of his childhood; from the echoes of political unrest, to Greek-Catholic chants, and the quiet nights of a secluded Southern village. The album combines sound design with intricate melodic arrangements to create a choir of synthesizers and noise singing in and out of sync.
In addition to his solo work, Moussa has also composed music for theatre and dance performances, short films, and museum installations.
More
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Genre:Techno
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1
DJ Stingray 313 - LARGE LANGUAGE MODEL 03:39
2
DJ Stingray 313 - MULTI FUNCTIONAL ROBOTICS 03:29
3
DJ Stingray 313 - SENSOR DATA 03:44
FORMAT 12‘‘ Vinyl, full Pantone printed sleeve, download code
TRACKLIST
1. LARGE LANGUAGE MODEL 03:39
2. MULTI FUNCTIONAL ROBOTICS 03:29
3. SENSOR DATA 03:44
RELEASE INFO
DJ Stingray 313's INDUSTRY 4.0 EP is a sonic exploration into modern manufacturing concepts and the impact on humanity.
Moods and titles across the EP cover artificial intelligence (LARGE LANGUGE MODEL), the internet, and robotics (MULTI FUNCTIONAL ROBOTICS and SENSOR DATA) – all set to his signature high-energy, industrial, cyborg-style productions.
Together, the tracks on INDUSTRY 4.0 work as a striking and current introspective of humanity’s uncertain evolution, moving as fast as the technology it creates.
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TRACKLIST
1. LARGE LANGUAGE MODEL 03:39
2. MULTI FUNCTIONAL ROBOTICS 03:29
3. SENSOR DATA 03:44
RELEASE INFO
DJ Stingray 313's INDUSTRY 4.0 EP is a sonic exploration into modern manufacturing concepts and the impact on humanity.
Moods and titles across the EP cover artificial intelligence (LARGE LANGUGE MODEL), the internet, and robotics (MULTI FUNCTIONAL ROBOTICS and SENSOR DATA) – all set to his signature high-energy, industrial, cyborg-style productions.
Together, the tracks on INDUSTRY 4.0 work as a striking and current introspective of humanity’s uncertain evolution, moving as fast as the technology it creates.
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Label:Periodica Records
Cat-No:PRD1022
Release-Date:14.06.2024
Configuration:LP
Barcode:
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Label:Periodica Records
Cat-No:PRD1022
Release-Date:14.06.2024
Configuration:LP
Barcode:
1
Mystic Jungle - Don't Stop Your Love
2
Mystic Jungle - Get Down On It
3
Mystic Jungle - Hold On Your Dreams
4
Mystic Jungle - Money Wonder
5
Mystic Jungle - Keep Alive This Fire
2024 Repress!
Mystic Jungle makes a much-awaited return with Deviant Disco, a new 12” of sun-soaked groovers released through Periodica Records. A culmination of several years of writing, vibing, and influence mining, these compositions represent the producer’s most varied and expansive works yet, and to fully realize his vision, Mystic Jungle invited the entire West Hill Studio crew to contribute narcotizing layers of pop vocal mesmerism, and additional touches of guitar, bass, percussion, and synth.
Strains of Italo disco, balearic boogie, and freaky funk are interspersed amidst passages of Nigerian highlife, soft focus AOR, kinetic Hi-NRG, and exotic lover’s rock, resulting in a personalized voyage through a paradise of sound, one that is unmoored from the concerns of modernity, and celebrates instead a hedonistic naivety, and a desire to dance all day in spiritual ecstasy. More
Mystic Jungle makes a much-awaited return with Deviant Disco, a new 12” of sun-soaked groovers released through Periodica Records. A culmination of several years of writing, vibing, and influence mining, these compositions represent the producer’s most varied and expansive works yet, and to fully realize his vision, Mystic Jungle invited the entire West Hill Studio crew to contribute narcotizing layers of pop vocal mesmerism, and additional touches of guitar, bass, percussion, and synth.
Strains of Italo disco, balearic boogie, and freaky funk are interspersed amidst passages of Nigerian highlife, soft focus AOR, kinetic Hi-NRG, and exotic lover’s rock, resulting in a personalized voyage through a paradise of sound, one that is unmoored from the concerns of modernity, and celebrates instead a hedonistic naivety, and a desire to dance all day in spiritual ecstasy. More
12" Excl
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Label:The Outer Edge
Cat-No:EDGE-024
Release-Date:22.03.2024
Configuration:12" Excl
Barcode:4251804180610
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Last in:18.03.2024
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Label:The Outer Edge
Cat-No:EDGE-024
Release-Date:22.03.2024
Configuration:12" Excl
Barcode:4251804180610
1
Ghia - The Other Side feat. Adriano Prestel
2
Ghia - Out Of Luck feat. Adriano Prestel (DJ Friction Remix)
3
Ghia - The Other Side feat. Adriano Prestel (Marian Tone '85 Rework)
4
Ghia - The Other Side (Instrumental)
5
Ghia - Out Of Luck (DJ Friction Remix) (Instrumental)
6
Ghia - Out Of Luck (Instrumental) (Soundrays Mix)
Following the success of the "Out Of Luck" single, we're wrapping up the Ghia reworks chapter with "The Other Side" - a dynamic 12" vinyl loaded with three contemporary funk tracks and three instrumental cuts.
The release starts off with the title track on which we can hear another collaboration with vocalist Adriano Prestel. The song is built on the foundation of "Message From The Other Side," a synth-funk instrumental from last year's "Don't Stop" LP. Jim Dunloop has skillfully rebuilt the infectious grooves from scratch, and guitarist Lucy Liebe has contributed to the guitar elements. Interestingly, the 1985 original version contained vocals that were preserved on a demo tape. These original lyrics conveyed the idea that everyone should learn to listen to the other side. Adriano picked up this idea and wrote new verses and a new chorus, beautifully transforming the song into a soulful bliss. In today's world, the message remains relevant: without listening, understanding, and compromise, solutions are elusive.
Next up, DJ Friction takes "Out Of Luck" to new heights with a remix infused with electro-funk. The synth bass replaces the original, a punchier kick and a clap snare give it a classic boogie feel. Additional strings on the chorus and an extended build-up complete the transformation, making it a fantastic tune for any DJ set.
Marian Tone returns to remix "The Other Side" in the '85 rework, blending parts of the original song with replayed instruments from the studio sessions. He adds clav sounds and retains the original marimba keys by Ghia's Lutz Boberg. If you are into the 80s vibes, this rework will be your choice.
The flip side features instrumental versions that, even without vocals, are a special treat for all boogie and funk enthusiasts. Last but not least, the release includes the original mixdown of "Out Of Luck" from when the recording was finalized at Ed Longo's Soundrays studio - offering a different take from the instrumental version on the previously issued 45 single.
The 12" is presented in a full-picture sleeve designed by The Raincoatman, also known as label owner DJ Scientist.
Side A
The Other Side feat. Adriano Prestel
Out Of Luck feat. Adriano Prestel (DJ Friction Remix)
The Other Side feat. Adriano Prestel (Marian Tone '85 Rework)
Side B
The Other Side (Instrumental)
Out Of Luck (DJ Friction Remix) (Instrumental)
Out Of Luck (Instrumental) (Soundrays Mix)
More
The release starts off with the title track on which we can hear another collaboration with vocalist Adriano Prestel. The song is built on the foundation of "Message From The Other Side," a synth-funk instrumental from last year's "Don't Stop" LP. Jim Dunloop has skillfully rebuilt the infectious grooves from scratch, and guitarist Lucy Liebe has contributed to the guitar elements. Interestingly, the 1985 original version contained vocals that were preserved on a demo tape. These original lyrics conveyed the idea that everyone should learn to listen to the other side. Adriano picked up this idea and wrote new verses and a new chorus, beautifully transforming the song into a soulful bliss. In today's world, the message remains relevant: without listening, understanding, and compromise, solutions are elusive.
Next up, DJ Friction takes "Out Of Luck" to new heights with a remix infused with electro-funk. The synth bass replaces the original, a punchier kick and a clap snare give it a classic boogie feel. Additional strings on the chorus and an extended build-up complete the transformation, making it a fantastic tune for any DJ set.
Marian Tone returns to remix "The Other Side" in the '85 rework, blending parts of the original song with replayed instruments from the studio sessions. He adds clav sounds and retains the original marimba keys by Ghia's Lutz Boberg. If you are into the 80s vibes, this rework will be your choice.
The flip side features instrumental versions that, even without vocals, are a special treat for all boogie and funk enthusiasts. Last but not least, the release includes the original mixdown of "Out Of Luck" from when the recording was finalized at Ed Longo's Soundrays studio - offering a different take from the instrumental version on the previously issued 45 single.
The 12" is presented in a full-picture sleeve designed by The Raincoatman, also known as label owner DJ Scientist.
Side A
The Other Side feat. Adriano Prestel
Out Of Luck feat. Adriano Prestel (DJ Friction Remix)
The Other Side feat. Adriano Prestel (Marian Tone '85 Rework)
Side B
The Other Side (Instrumental)
Out Of Luck (DJ Friction Remix) (Instrumental)
Out Of Luck (Instrumental) (Soundrays Mix)
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Label:Deep Vibes
Cat-No:dvr022
Release-Date:13.06.2013
Genre:House
Configuration:12" Excl
Barcode:827170441569
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Last in:27.06.2014
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Label:Deep Vibes
Cat-No:dvr022
Release-Date:13.06.2013
Genre:House
Configuration:12" Excl
Barcode:827170441569
UPC: 827170441569 Release date 15.7.2013
Tracklist 12: A1 Wanna Let You Go B1 Back On Earth B2 Reagy Dub
Markus Fix has been one of the early companions of Deep Vibes Recordings and we're happy to see him back with this stunning 3 Track solo EP. In fact this record somehow seems to close the circle between his early playful works and today's club sound. " Wanna Let You Go" is a beautiful warm house track with a sweet piano line. What might seem like a perfect sundowner has potential to become a secret weapon for early morning hours too. Release your mind and let the body follow! Whilst speaking of that: " Back On Earth" will make you jack! Pure energy, compressed to a juicy baseline. No more words needed. " Reagy Dub" makes the round up and fills in somewhere between the two others. Warm up, cool down or open airs sun splash. Check out this diverse as beautiful record!
Have a great summer! Yours truly, DVR.
More
Tracklist 12: A1 Wanna Let You Go B1 Back On Earth B2 Reagy Dub
Markus Fix has been one of the early companions of Deep Vibes Recordings and we're happy to see him back with this stunning 3 Track solo EP. In fact this record somehow seems to close the circle between his early playful works and today's club sound. " Wanna Let You Go" is a beautiful warm house track with a sweet piano line. What might seem like a perfect sundowner has potential to become a secret weapon for early morning hours too. Release your mind and let the body follow! Whilst speaking of that: " Back On Earth" will make you jack! Pure energy, compressed to a juicy baseline. No more words needed. " Reagy Dub" makes the round up and fills in somewhere between the two others. Warm up, cool down or open airs sun splash. Check out this diverse as beautiful record!
Have a great summer! Yours truly, DVR.
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Last in:08.03.2024
Label:Mitsubasa
Cat-No:MTB011
Release-Date:05.04.2024
Genre:Techno
Configuration:12" Excl
Barcode:0640813321390
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OFF / GRID - For the Mind
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OFF / GRID - Monolith
3
OFF / GRID - Is This the End
4
OFF / GRID - Consequences
Genre: Techno
Tracklist 12":
A1 OFF / GRID – For the Mind
A2 OFF / GRID - Monolith
B1 OFF / GRID – Is This the End
B2 OFF / GRID - Consequences
Short Info:
Powerful dubby techno EP with a fast paced groovy soul.
Mastering & lacquer cut by Kassian Troyer at Dubplates & Mastering Berlin More
Tracklist 12":
A1 OFF / GRID – For the Mind
A2 OFF / GRID - Monolith
B1 OFF / GRID – Is This the End
B2 OFF / GRID - Consequences
Short Info:
Powerful dubby techno EP with a fast paced groovy soul.
Mastering & lacquer cut by Kassian Troyer at Dubplates & Mastering Berlin More
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Last in:16.07.2024
Label:tresor
Cat-No:tresor105
Release-Date:18.10.2024
Genre:Techno
Configuration:2LP Excl
Barcode:666017330211
1
Infiniti - Skyway 05:58
2
Infiniti - Walking On Water 05:27
3
Infiniti - Thought Process 04:27
4
Infiniti - Electric Circus 03:10
5
Infiniti - Postcard From The Future 05:59
6
Infiniti - Body Oil 10:28
7
Infiniti - Coffeeshop Interlude 04:15
8
Infiniti - Coffeeshop Connection 05:07
9
Infiniti - Subterrainea 05:43
FORMAT 2LP vinyl, printed sleeve, dl card
TRACKLIST
1. / A1 Skyway 05:58
2. / A2 Walking On Water 05:27
3. / B1 Thought Process 04:27
4. / B2 Electric Circus 03:10
5. / B3 Postcard From The Future 05:59
6. / C1 Body Oil 10:28
7. / C2 Coffeeshop Interlude 04:15
8. / D1 Coffeeshop Connection 05:07
9. / C2 Subterrainea 05:43
Postcard From The Future 05:59
Juan Atkins' Infiniti project combines raw tactility and puristic elegance with Skynet, where slinking grooves mask chaotic frequencies and roughly-hewn structure. Alongside fellow Detroit legend Terrence Dixon who appears on several tracks, Atkins exposes the life and emotion in machines, outputting a biomorphic atmosphere of industrial soul. The ongoing importance of this album is indisputable, essential both to techno and to Tresor. More
TRACKLIST
1. / A1 Skyway 05:58
2. / A2 Walking On Water 05:27
3. / B1 Thought Process 04:27
4. / B2 Electric Circus 03:10
5. / B3 Postcard From The Future 05:59
6. / C1 Body Oil 10:28
7. / C2 Coffeeshop Interlude 04:15
8. / D1 Coffeeshop Connection 05:07
9. / C2 Subterrainea 05:43
Postcard From The Future 05:59
Juan Atkins' Infiniti project combines raw tactility and puristic elegance with Skynet, where slinking grooves mask chaotic frequencies and roughly-hewn structure. Alongside fellow Detroit legend Terrence Dixon who appears on several tracks, Atkins exposes the life and emotion in machines, outputting a biomorphic atmosphere of industrial soul. The ongoing importance of this album is indisputable, essential both to techno and to Tresor. More
Label:make a beautiful corpse
Cat-No:mabc002
Release-Date:22.01.2013
Configuration:12" Excl
Barcode:827170485464
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Last in:08.03.2013
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Last in:08.03.2013
Label:make a beautiful corpse
Cat-No:mabc002
Release-Date:22.01.2013
Configuration:12" Excl
Barcode:827170485464
UPC: 827170485464 Release : 18.02.2013
Special Remarks: Cover art by Gustaf Johnsson
Tracklist 12": A1. Reconnect - B1. Receive and Transmit
Establishing itself as a reliable source of music for the soul with "Minilogue - Endlessness", the Stockholm based label Make a Beautiful Corpse now welcomes its new family member. This second release made by the Swedish music artist and producer KAB is a brilliant sequel with a great soundscape and truly distinct beats. KAB, an abbreviation of his name Karl-Axel Bissler, has been active since the early 90's and, back then, released on the renowned NovaMute label along with artists such as Richie Hawtin (Plastikman), Speedy J, and Luke Slater. More lately his works has been released on Mule Electronic and WIR, to mention a few who too have recognized his subtle way of expressing feelings through music. Music that can be experienced either through the little white earbuds in a crowded bus as well as in the total freedom of the open nature. It doesn't matter. As long as you are ready to open yourself up a little bit, "Reconnect" and "Receive and Transmit" will bring you to a wonderful place inside you. We thank KAB for bringing these beats to this world, every beat denoting another heartbeat in the life of the MABC label.
More
Special Remarks: Cover art by Gustaf Johnsson
Tracklist 12": A1. Reconnect - B1. Receive and Transmit
Establishing itself as a reliable source of music for the soul with "Minilogue - Endlessness", the Stockholm based label Make a Beautiful Corpse now welcomes its new family member. This second release made by the Swedish music artist and producer KAB is a brilliant sequel with a great soundscape and truly distinct beats. KAB, an abbreviation of his name Karl-Axel Bissler, has been active since the early 90's and, back then, released on the renowned NovaMute label along with artists such as Richie Hawtin (Plastikman), Speedy J, and Luke Slater. More lately his works has been released on Mule Electronic and WIR, to mention a few who too have recognized his subtle way of expressing feelings through music. Music that can be experienced either through the little white earbuds in a crowded bus as well as in the total freedom of the open nature. It doesn't matter. As long as you are ready to open yourself up a little bit, "Reconnect" and "Receive and Transmit" will bring you to a wonderful place inside you. We thank KAB for bringing these beats to this world, every beat denoting another heartbeat in the life of the MABC label.
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12" Excl
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Label:MUSAR Recordings
Cat-No:MUSAR004
Release-Date:19.11.2021
Genre:Electro
Configuration:12" Excl
Barcode:5414165102700
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Last in:04.10.2022
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Last in:04.10.2022
Label:MUSAR Recordings
Cat-No:MUSAR004
Release-Date:19.11.2021
Genre:Electro
Configuration:12" Excl
Barcode:5414165102700
1
Annie Hall - Linium
2
Annie Hall - Lavandula (Mattheis Remix)
3
Annie Hall - Lavandula
4
Annie Hall - Silene
5
Annie Hall - Santolina
After more than a decade of deep, expansive productions on labels such as Detroit Underground and CPU, Annie Hall
arrives on MUSAR for a record typically rich in tex- ture andunderstated grooves.
Opening track ‘Linium’ immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly
twisting and turning it’s way around Hall’s analogue world.
Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of
‘Lavandula’. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline.
The EP continues to hit a more urgent note with the tense machinations of ‘Silene’, where dense layers of stuttering,
frenetic drums interweave with Hall’s trademark, melancholy keys. The record concludes on a weightless, transcendent note
with ‘San- tolina’, taking each visceral element featured thus far and slowing each down, with af- fecting results.
Indebted to vintage electro and IDM, Hall’s music is no throwback, always looking for- ward and moving dancefloors in the most unexpected ways.
Tracklist 12":
A1. Linium / 05:17
A2. Lavandula (Mattheis Remix) / 06:02
B1. Lavandula / 04:44
B2. Silene / 05:25
B3. Santolina / 04:51
More
arrives on MUSAR for a record typically rich in tex- ture andunderstated grooves.
Opening track ‘Linium’ immediately seduces listeners with a complex drum pattern that somehow feels spacious, subtly
twisting and turning it’s way around Hall’s analogue world.
Dutch artist Mattheis maintains this understated feel but adds a soft, compelling kick in response on his suspenseful remix of
‘Lavandula’. The original, moodier version of this cut the follows to open the B side, gradually erupting around a killer distorted bassline.
The EP continues to hit a more urgent note with the tense machinations of ‘Silene’, where dense layers of stuttering,
frenetic drums interweave with Hall’s trademark, melancholy keys. The record concludes on a weightless, transcendent note
with ‘San- tolina’, taking each visceral element featured thus far and slowing each down, with af- fecting results.
Indebted to vintage electro and IDM, Hall’s music is no throwback, always looking for- ward and moving dancefloors in the most unexpected ways.
Tracklist 12":
A1. Linium / 05:17
A2. Lavandula (Mattheis Remix) / 06:02
B1. Lavandula / 04:44
B2. Silene / 05:25
B3. Santolina / 04:51
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Label:Toy Tonics
Cat-No:TOYT137
Release-Date:28.07.2023
Genre:House
Configuration:12" Excl
Barcode:0880655513717
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Last in:23.01.2023
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Label:Toy Tonics
Cat-No:TOYT137
Release-Date:28.07.2023
Genre:House
Configuration:12" Excl
Barcode:0880655513717
1
Gome - Elevator Man
2
Gome & David Bay - Television
3
Gome - Elevator Man (Mike Dunn BlackBall Remix)
4
Gome - Elevator Man (Telephones Remix)
Tracklist 12":
A1 Gome - Elevator Man
A2 Gome & David Bay – Television
B1 Gome - Elevator Man (Mike Dunn BlackBall Remix)
B2 Gome - Elevator Man (Telephones Remix)
New record by Gome with fat remixes by Mike Dunn and Telephones.
More
A1 Gome - Elevator Man
A2 Gome & David Bay – Television
B1 Gome - Elevator Man (Mike Dunn BlackBall Remix)
B2 Gome - Elevator Man (Telephones Remix)
New record by Gome with fat remixes by Mike Dunn and Telephones.
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Label:Studio Barnhus
Cat-No:barn063
Release-Date:12.04.2019
Genre:House
Configuration:12" Excl
Barcode:4251648412328
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Last in:04.04.2019
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Label:Studio Barnhus
Cat-No:barn063
Release-Date:12.04.2019
Genre:House
Configuration:12" Excl
Barcode:4251648412328
1
Bella Boo - The Hours
2
Bella Boo - Álom
3
Bella Boo - Barak
A. The Hours – B1. Álom – B2. Barak
The story of Bella Boo is not one of overnight success, though of course it might appear as such, if
you haven't been somewhat embedded in the wonderful and weird world of Swedish club culture
over the last 12 years or so, in which case you will know her as one of the most eclectic, informed
and hardworking DJs on the scene.
It wasn't until last year's Studio Barnhus debut, the Fire EP, that the world finally started talking
about Bella's extraordinary production skills – the record's fuzzy r&b harmonics and snappy analog
drums prompted Pitchfork to declare it “the flat-out dreamiest thing to come from the label yet”.
This was followed quickly by boyboy, a universally beloved track on last year's Studio Barnhus
Volym 1 compilation, in which she “[drizzled] bluesy sweet nothings over elliptical scrapes and
squelches, suggesting Matthew Herbert remixing St Germain” (Pitchfork again).
Supervillain is Bella's first solo release of 2019, a perfect three-track thing that sees the currently
London-based artist continue to expertly straddle the fence between enigmatic dreamlands and
groove-locked dance floors. Artwork by Stockholm visual artist and long-time Bella colla-Boo-rator
Alexandra Karpilovski. More
The story of Bella Boo is not one of overnight success, though of course it might appear as such, if
you haven't been somewhat embedded in the wonderful and weird world of Swedish club culture
over the last 12 years or so, in which case you will know her as one of the most eclectic, informed
and hardworking DJs on the scene.
It wasn't until last year's Studio Barnhus debut, the Fire EP, that the world finally started talking
about Bella's extraordinary production skills – the record's fuzzy r&b harmonics and snappy analog
drums prompted Pitchfork to declare it “the flat-out dreamiest thing to come from the label yet”.
This was followed quickly by boyboy, a universally beloved track on last year's Studio Barnhus
Volym 1 compilation, in which she “[drizzled] bluesy sweet nothings over elliptical scrapes and
squelches, suggesting Matthew Herbert remixing St Germain” (Pitchfork again).
Supervillain is Bella's first solo release of 2019, a perfect three-track thing that sees the currently
London-based artist continue to expertly straddle the fence between enigmatic dreamlands and
groove-locked dance floors. Artwork by Stockholm visual artist and long-time Bella colla-Boo-rator
Alexandra Karpilovski. More
Label:Running Back
Cat-No:rb027
Release-Date:01.07.2011
Genre:House
Configuration:12" Excl
Barcode:827170412163
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Last in:09.01.2020
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Last in:09.01.2020
Label:Running Back
Cat-No:rb027
Release-Date:01.07.2011
Genre:House
Configuration:12" Excl
Barcode:827170412163
1
Suzanne Kraft, - Morning Come
2
Suzanne Kraft, - Turning
3
Suzanne Kraft, - Green Flash
4
Suzanne Kraft, - Femme Cosmic
A boy named Suzanne. Travelling from Los Angeles to Portland and back to Los Angeles again, Suzanne Kraft's vinyl debut (check out his previous efforts on http://discothequerecords.wordpress.com/tag/suzanne-kraft/) features four tracks of frenetic sunshine ecstasy. Chill rave, pill wave, hypno disco, Balearic beats or slow-motion house made by the careless youth of the US-American west coast? Call it what you want, at the end of the day or the night it's simply joyful music made to make you happy. On Kraft's "Green Flash EP", the contemplative romance of "Green Flash" counteracts the straightness of "Morning Come", while "Turning" and especially "Femme Cosmic" are the icing on the cake. Let's face it, old people: The kids are all right! First 5000 copies housed in a killer and tremendously flamboyant sleeve. Bite into summer.
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12" Excl
in stock
Label:Kalakuta Soul Records
Cat-No:kksep002
Release-Date:12.06.2020
Configuration:12" Excl
Barcode:4251804121224
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Last in:10.06.2020
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Last in:10.06.2020
Label:Kalakuta Soul Records
Cat-No:kksep002
Release-Date:12.06.2020
Configuration:12" Excl
Barcode:4251804121224
1
Philippos Sîpano & The MPC Orchestra - A1 Nechîrvano
2
Philippos Sîpano & The MPC Orchestra - A2 Weso
3
Philippos Sîpano & The MPC Orchestra - B1 Tesîye De Bi Lûr Lûr
4
Philippos Sîpano & The MPC Orchestra - B2 Kurdistanê Baxcê Gulan
5
Philippos Sîpano & The MPC Orchestra - B3 Baran Barana
Special remarks : 12” with printed deluxe sleeve
Tracklist
A1 Nechîrvano
A2 Weso
B1 Tesîye De Bi Lûr Lûr
B2 Kurdistanê Baxcê Gulan
B3 Baran Barana
Shortinfo:
We gladly present the long awaited debut album by kurdish multi-instrumentalist Philippos Sîpano and Frankfurt am Main’s mighty duo Dan Bay & Le Rubrique aka The MPC Orchestra. “The Spirit of Dilovan” pays tribute to Philippos Sîpano and Dan Bayat’s youth band “Spirit Of Dilovan”, sketches the different musical paths the two took over the years and finds its final form in their new collaboration with Dilovan Le Rubrique, a master in the studio and a true patchbay wizzard.
With multilayered arrangements based on different kurdish music traditions and inspired by their indivudual experiences of Pop- and Clubculture, Philippos Sîpano & The MPC Orchestra’s new album can be both perceived as diasporic Popmusic or epic dancefloor monster for experienced music lovers.
All songs were produced at Offenbach’s Upper Citycenter Studio and dedicated to all DIlovans* out there, hoping they will one day constitute the majority of all people and we will all find peace, love and habibtiness on planet earth.
* good-hearted people <3
More
Tracklist
A1 Nechîrvano
A2 Weso
B1 Tesîye De Bi Lûr Lûr
B2 Kurdistanê Baxcê Gulan
B3 Baran Barana
Shortinfo:
We gladly present the long awaited debut album by kurdish multi-instrumentalist Philippos Sîpano and Frankfurt am Main’s mighty duo Dan Bay & Le Rubrique aka The MPC Orchestra. “The Spirit of Dilovan” pays tribute to Philippos Sîpano and Dan Bayat’s youth band “Spirit Of Dilovan”, sketches the different musical paths the two took over the years and finds its final form in their new collaboration with Dilovan Le Rubrique, a master in the studio and a true patchbay wizzard.
With multilayered arrangements based on different kurdish music traditions and inspired by their indivudual experiences of Pop- and Clubculture, Philippos Sîpano & The MPC Orchestra’s new album can be both perceived as diasporic Popmusic or epic dancefloor monster for experienced music lovers.
All songs were produced at Offenbach’s Upper Citycenter Studio and dedicated to all DIlovans* out there, hoping they will one day constitute the majority of all people and we will all find peace, love and habibtiness on planet earth.
* good-hearted people <3
More