sobota, maja 29, 2010

Fischerle - Płyny EP [2010, not on label, file]

may 2010
dub techno, experimental idm

1. podglądałem jak sikałaś
2. po wódce wyzywam znajomych od kurew

note: co powiecie na mieszankę polskiej tradycji z eksperymentalką ala oni ayhun [in 'chillmode']?

Kyle Hall - The Water Is Fine EP [2008/10, vinyl, moods & grooves]

2008 - may 2010 [reissue]
lbl: Moods & Grooves
#: MG-045
deep house

A. Create Your Own Existence
B1. Tomorrow Is The Day
B2. One Ribbon

note: "Scrolling back a few years, Mood & Grooves present one of the very earliest (and digital only) Kyle Hall releases for the first time 'pon wax. 'The Water Is Fine' was produced roughly around the same time as his FXHE debut so what you're hearing is a lovely snapshot of a producer in near-embryonic form. 'Create Your Existence' makes a cautious start, taking its time to warm up with silken chords before dropping a thick house beat and sparkling keys. 'Tomorrow Is The Day' is nothing short of a stunning house track, the sort of gear you'd expect to hear from Shake in his prime (when in fact this guy was 17 when he wrote it!), and finally 'One Ribbon' sails home on a kinked shuffle of raw percussion and head-melting interstellar jazz keys." - boomkat.


yt preview:

& buy it:

czwartek, maja 27, 2010

Arcanoid - Synchronization [2010, vinyl, semantica]

28 february 2010
electro, idm, breaks, oldschool

A1. Intro
A2. Hydroxide
A3. Isonoe
B1. Hormone
B2. Symphony Of Horror

note: "Arcanoid continues where he left after his first outing on Semantica. Five extremely atmospheric, emotional and well produced tracks make sure this is yet another release that shouldn't be missed! Of course this mini-LP is brought to you in the classic Semantica style with hand made details on the sleeve, and is limited to just 100 copies." -

duża przyjemność z banalnych oldschool breaków.

& buy it here.
[semantica records, € 14.99]

Ramadanman - Glut / Tempest [2010, vinyl, hemlock recordings]

april 2010
lbl: Hemlock Recordings
#: HEK008
dubstep [hypnagogic dubstep? hehe]

A. Glut
B. Tempest

note: "Hey, look, it’s Ramadanman and he’s releasing more really good music.

‘Tempest’ first appeared on Scuba’s Sub:stance mix for Ostgut-Ton label earlier this year, and filters Ramadanman’s trademark, woodblock-heavy production through a kind of subterranean after party aesthetic, drum hits being pulled in weird, different ways. Ikonika, Gemmy and more talk about making synths sing, but on ‘Tempest’, it’s the drums that add variation to the straight-forward main pulse and ambient flutters. They’re almost virtuoso.

If ‘Tempest’ draws comparisons with Ramadanman’s 2009 single under his Pearson Sound name, ‘Wad’, then ‘Glut’ finds kinship in his future 12” for Swamp 81, ‘Work Them’, not to mention ghetto-house with its stripped down drum machine beat and R’n’B samples that are almost jarring when they first come in. Of course, this is Ramadanman, and the track doesn’t take long to become mournful with a nostalgic synthline. Which is followed by some serious sub hits and an old school breakdown, in case I’m making this sound like it’s anything other than a dancefloor killer." - Tom LeaFACT Mag.

atmosferyczny, gęsty step, taki fragmencik przesłodkiego 'selected ambient works' po dubstepowemu.

yt preview:

& buy it here or maybe...
[Rush Hour Store NL, €9.50 ; Rubadub,  £5.99]

wtorek, maja 25, 2010

Sigha - Shake [2010, vinyl, hotflush recordings]

24 may 2010
lbl: Hotflush Recordings
#: HFT011  
dub techno, ambient

01. Shake                                               
02. Shapes                                              
03. Light Swells (In A Distant Space)  

note: The music of London producer Sigha has always felt incongruous with its surroundings, too laid back and dubby to fit in with British techno, but certainly not dubstep either with its stubborn 4/4 pulse. With the Shake EP, his first of 2010 and the follow-up to the unfortunately slept on Rawww EP from last year (both on Scuba’s Hotflush Recordings), he mines a more inviting style that could be outright pretty if it had a little meat on its bones.

Made up of tiny, barely audible sounds, Sigha’s techno is clearly influenced by the micro-house and minimal techno that ruled much of the last decade, but he moulds it into a form more fitting to the currently dominant Berlin scene. Where producers such as Shed (under his various white label aliases) construct skeletal tools out of basic elements, the music here is bewilderingly dense and complex, always something sounding off in some distant corner.

The title track rumbles to a start with murmurs and hums until Sigha drops an almost frustratingly simple hi-hat over it, completely dominating the mix and lending the track a stubborn rigidity, forcing the rubbery, wiggly tune upright. With so much going on underneath that hi-hat, it’s hard to tell what’s what beyond the ear-splitting high frequencies — the kick sounds like it’s dancing around every beat, far from the simple thump that might be expected.

The shorter ‘Shapes’ is a quintessential Hotflush tune, a beat built out of curiously organic sounds and strapped with deep, drilling subterranean bass and noises pinging away like echolocation in a dark manmade cavern. The hi-hat is hinted at, teased, but never allowed to fully emerge as Sigha sneakily weaves in more elements until the cavern is transformed into a sweaty, throbbing mess. And still that hi-hat slyly winks as you patiently await for it to finally take flight. But it never does.

It’s the last track that might be a bit of a curveball. The rather dramatically-titled ‘Light Swells (In A Distant Space)’ – the ambient wash that memorably opened Scuba’s mix CD for Ostgut-Ton earlier this year — is a beatless astral soundscape, the world spinning around as it stands stationary. Sigha hasn’t reinvented ambient music, but it’s a gorgeous way to end the EP, staring wide-eyed off into the distance, as deep, relaxing breaths are coaxed in and out. He’s still finding his own sound, but his meshing of London’s bass music and Berlin seems bound to reach that golden ratio eventually, and Shake is just one baby step closer.

Andrew Ryce" - FACT Mag.   


& buy it here. 

[Boomkat, £5.99]

Blawan - Fram [2010, vinyl, hessle audio]

6 may 2010
lbl: Hessle Audio
#: HES013
dubstep, post-garage

A. Fram
B. Iddy

note: "Hessle Audio has made its name on its stable of garage / dubstep artists that lean heavily on the former half of that designation, boasting names such as Pangaea, Untold, Ramadanman and TRG, names that I admittedly have had trouble engaging in the past. This week sees Hessle releasing a 12" by mysterious producer Blawan, an anonymous DJ. There seem to be more and more of those these days - Burial attempted to stay anonymous for awhile, Zomby's a prominent producer that's currently behind a mask - and there's something to be said about how it's a reaction to the "celebrification" of dance music and DJ culture that even fans of awful, awful trance music dislike. There's probably a blog post to be written about that. I'm pretty sure there have been several. I think I may have read about it in some prominent net rag, so I'm not going to go into it.

But it serves a practical purpose, this anonymity, does it not? A prominent DJ can release new songs and not have them be tested against his other material. When we get something like Fram / Iddy, we can only really engage the music on its own terms (you might be able to compare it to other Hessle Audio releases, but I'm not prepared to do that).
 So yes, this is "post-garage", or "future garage", or whatever you want to call it. "Fram" leads off the single with understated bass (at least, compared to most dubstep these days) and queasy, gloomy techno synths lurching and slithering around its propulsive garage rhythm, a barely audible whisper sample looping throughout. Halfway into the song the synth moves a bit farther to the front of the mix and gets a little more elastic, pulsing and inflating and deflating. It's dark and weird, and you can dance to it. Naturally, I love it.

"Iddy", the b-side, starts off with barebones percussion clicking away while a gloomy organ sound creeps up, but it's a fake-out - the rhythm kicks in, and can I just say how much I love the sound of the kits on this track? It's the best, most dynamic and funky use of minimal drum sounds I've heard in some months, a standard to which so many so-called Garage acts seem to be incapable of meeting. I was sold on the song before Blawan's techno/jungle synths made their appearance, rising and falling like the call of some strange bird and forming a simple chord melody towards the end of the song.

Aren't the greatest entertainments the surprises? Hessle Audio is an imprint I have a lot of respect for even if their releases aren't the ones I immediately gravitate towards when I'm sitting down next to my turntable. A few more releases like this and I might have to rethink the distance to which I hold them. Sublime stuff." - description found on the pop stalinist.

potężna fuzja specyfiki hessle audio i kaskaderskich ewolucji perkusyjnych.

yt preview:


buy it here.
[Phonica Records, £ 5.99]

poniedziałek, maja 24, 2010

zamulan in the mix: for the victims of flood [2010]

24 may 2010
dub techno, techno, minimal techno, tech-house, deep house


czwartek, maja 20, 2010

Space Dimension Controller - The Love Quadrant [2009, vinyl, kinnego records]

october 2009
lbl: Kinnego Records
#: KGO002
french house, deep house, electro

A. The Love Quadrant 4:30  
B. Electropod-250 Collision

producer: Jack Hammil

note: "Space Dimension Controller is the techno funk alias of 19-year-old Jack Hamill. Equally inspired by both the tape warped soundtrack to Garth Merenghi’s Darkplace and early Aphex Twin, Jack’s all-analogue production gives his tracks a timeless sound that’s a mile away from contemporary electro and house. The beats are low slung and funky, and the melodies are addictive and show a natural flair. On The Love Quadrant, a girl / boy vocal exchange sets the scene while the track builds momentum, before the whole thing spaces off on a sweet minimoog solo. On the flip, Electropod-250 Collision has a deep 808 pulse and flanged bass, topped off with Detroit-inspired melodies and blurred out reverbs."



buy it here.
[Juno Records, £5.50]

poniedziałek, maja 17, 2010

VVV - The Projects EP [2010, vinyl, fortified audio]

1 april 2010
lbl: Fortified Audio
#: ELIM002

1. Project Z
2. Back To Life
3. Project Y
4. Project X

note: "Big twelve for followers of Burial and the Future-Garage scene!* The Fortified Audio crew follow that killer release from Loops Haunt with a terrific future garage EP from VVV. Aside from the fact that they've got an EP forthcoming on Infrasonics we can tell you bot-all about Texans VVV. And sometimes that's the best thing when the music is left to speak for itself. There are obvious nods to the dreamy post-club perspective of Burial, and deeper still to El-B and MJ Cole, but the rich electronic element owes something to another field of practice, earning them a well deserved "future-garage" tagline. 'Project X' has to be the highlight, sweeping up synthesized string symphonics and driving 2-step syncopations to brilliant effect, while 'Back To Life' takes it right back to 1998 for a sparkling rekindling of Dem 2 styled street sophistication and brightly spacious electronics. This is some high calibre garage gear on a par with the likes of the LHF crew or Sully - massive twelve!" - boomkat.


yt preview:


buy it here.
[Clone, € 7.99]

środa, maja 12, 2010

Space Dimension Controller - Unidentified Flying Oscillator [2009, file, acroplane recordings]

6 april 2009
lbl: Acroplane Recordings
#: acp046
electro, acid

1. Unidentified Flying Oscillator
2. Space Dimension Controller
3. Spanner Cord (Q150 Edit)
4. SH-8040
5. I Made A Funny
6. Title Sequence
7. VCOcation
8. Spanner Cord (Monolith Remix)
9. Branston Pickle Fit
10. Don't Push Him
11. Galactic Effector
12. 110 Probe-lems
13. Galactic Effector (Filaria Remix)
14. VCOcation (Boxcutter Remix)

note: "Outer space.

A time after the past and before the future, a rogue astro bandit named Jack Tiraquon has uncovered a relic from the long lost vaults of groove, floating freely in space.

The creator, known as Mr. 8040, is said to have been a high ranking Space Dimension Controller in the quadra-sector of the Tiraquon6 security barrier, but legend tells of Mr. 8040 occasionally losing his mind and breaking out in a frenzy of galactic funk. These frenzies were recorded and are now presented to you as the UNIDENTIFIED FLYING OSCILLATOR."


yt preview:



Tin Hat - The Sad Machinery Of Spring [2007, cd, hannibal records]

23 january 2007
lbl: Hannibal Records
#: HNCD 1524
folk, jazz
instrumental, avant-garde

1. Old World
2. The Secret Fluid Of Dusk
3. Blind Paper Dragon
4. Dionysus
5. Daisy Bell
6. Drawing Lessons
7. The Book
8. Dead Season
9. Black Thursday
10. The Tailor's Dummies
11. Dionysus II
12. The Land Of Perpetual Sleep
13. Janissary Band
14. The Comet
15. Intractable

Clarinet [B-flat, Alto, Contra Alto] - Ben Goldberg
Guitar, Guitar [Prepared, Dobro], Banjo - Mark Orton
Harp, Accordion - Zeena Parkins
Producer - Carla Kihlstedt , Mark Orton
Trumpet, Horns [Baritone], Organ [Pump], Piano [Toy], Celesta - Ara Anderson
Violin, Viola, Violin [Trumpet], Voice, Piano, Celesta, Vibraphone [Bowed], Bass - Carla Kihlstedt

note: "Despite the departure of founder member Rob Burger, Tin Hat have produced possibly their deepest, most beguiling work with The Sad Machinery of Spring; their fifth album released in their ten years together. Violinist/vocalist and multi instrumentalist Carla Kihlstedt and guitarist/multi instrumentalist Mark Orton have added trumpeter Ara Anderson (of Tom Waits fame) and clarinettist Ben Goldberg to the mix, plus they’ve upgraded the extraordinary harpist Zeena Parkins to full-time status. With instrumentation ranging from dobro to the massive contra alto clarinet (everyone except Parkins seems to play about 15 different instruments), Tin Hat have increased their already expansive and totally acoustic palette into something even richer and stranger.

The inspiration for this album is the work of Polish writer Bruno Schulz (1892-1942), whose dark, Kafka-esque surrealism makes a nice fit with Tin Hat's lush yet disturbing mix of Eastern European folk, 20th century classical and free improvisation. Titles like "The Secret Fluid of Dusk", "Dead Season" and "Black Thursday" give some idea of the mood. Even during the sprightliest moments, there’s a finely honed dissonance at work which suggests that something not quite right may be lurking in the shadows. This is made most obvious on Kihlstedt’s urgent, breathy rendition of "Daisy Bell" (aka "Daisy, Daisy"), which suggests that Daisy would be best advised to avoid hopping on the back of a bicycle built for two and taking out a restraining order on her would-be suitor instead. Elsewhere the mix of beauty and creeping dread is more subtle. "The Land of Perpetual Sleep" manages to be sinister and dreamily beautiful simultaneously; violin and clarinet trace a wounded, sickly melody over a gentle ripple of harps, dobro and drones, while "Janissary Band" sounds like Stravinsky played by a strangely infernal clockwork machine.

Amazingly accomplished and beautifully recorded work from a group of preternaturally talented musicians. Record of the year material, and it's only January..." - Peter Marsh, 2007-01-23, BBC Music.



buy it here.
[CD Universe, $14.79]

wtorek, maja 11, 2010

VA - Workshop 10 [2010, vinyl, workshop]

april 2010
lbl: Workshop
deep house

A. Lowtec  - Untitled
B1. Schweiz Rec.  - Untitled
B2. Ron Deacon  - Untitled

note: "Ten releases into their catalog, Workshop seem to have more momentum than ever. After releasing some of last year's finest records—namely Reagenz's Playtime and Kassem Mosse's Workshop 08—the rubber-stamped imprint returns with another untitled EP, this time featuring Lowtec and two new artists, Schweiz Rec and Ron Deacon. Much like Playtime, the new record draws from the more colorful end of Workshop's palette, with deep, shadowy tunes on one side and disco-tinted house on the other. Though less subtle than some of their previous releases, Workshop 10 is surely one of the label's best. 

Taking the entire A-side to himself, Lowtec provides the record's moodier selections. The first tune is the EP's best: as dark as it is warm, with a breezy rhythm, dramatic strings and vaguely mournful diva vocals. It's a surprisingly melancholy track for Lowtec, who normally leans toward more cryptic house and techno, as heard on EPs like Workshop 06 and Angstrom. The second part of Side A is equally surprising: a smoky, broken beat affair, ala Burial or Actress, but delivered in perfectly polished tones. It's unclear exactly how these songs are related—though divided by a period of silence and a series of loud pops, Workshop 10's A-side is widely listed as having only one track. In any case, both parts are exceptional—the first bursting with club potential, the other making for contemplative home listening. 

On the B-side, Workshop's two newcomers brighten things up considerably. Schweiz Rec contributes an organ-dominated number with a cartoonishly blissful vibe, disrupted now and then by a weird, distorted squawk. Ron Deacon follows with a sunny, disco-influenced house track, whose strutting rhythm and warbling melody make it Workshop 10's most club-ready selection. Both artists make impressive debuts, and help expand the record's pop sensibility without compromising its enigmatic feel. " - Will Lynch, RA.



buy it here.