Support it here: https://infinite-drift.bandcamp.com/album/ouroboros
@textchunk @svenk666 @infinite-drift
Do you ever feel frustrated, stuck in a rut? 
Repetition is funny that way. It has the potential to be the source of great serenity or great despair. 
Their latest release sees Text Chunk and Sven K transmuting their visions of repetition into seamless sonic blends of Breaks, Jungle and Footwork. 
Like it's namesake, Ouroboros' perpetual motion embodies life's cyclical nature of creation and destruction in equal measures. Tension is built up to be released, structures erected to be torn down. 
Along the way, they explore the tribulations and revel in the beauty of repetition. One beat at a time. 
Don't let life run circles around you, let Text Chunk, Sven K and Hood Joplin help you to pick up the pace and gyrate your hips to the sound of Ouroboros.
Full project incl. a jewelcase CD drops March 31st 2023.
Artwork by Tim Lindacher
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More 030esar0303
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https://open.spotify.com/user/36gpx9w5czvvow3mpk1y0m4sg?si=0e722513c2464d2f

YouTube

PREMIERE: Text Chunk & Sven K - Drum Runna [Infinite Drift]

Wave Drop

This new release is not a generated illusion by your subconscious. It's the result of a mechanical modification of reality. A reality altered by Circular Square who signed a remarkable aesthetics sound. Kinetic bass, analog harmony and frenetic rhythm tinged with dub, the Paris-based producer offers us his vision of electronic music that shapes our digital symbiosis.

Available in cassette tapes (classic crystal case) and on ultra limited edition (RGB slime case).

https://soundcloud.com/circular_square
https://soundcloud.com/10-60-hz

PREMIERE⚡️Circular Square - M03.OP2 [10.60 Hz]

What happens when dubby drum & bass meets Dischord’s post-punk colossus Black Eyes? “Break” is the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music.

Prompted by friends to write a drum & bass live set just as Black Eyes was reuniting, the results didn’t quite fit the d&b genre. But it felt right. Quick, nimble, with room for the ferocity of his favorite post punk and some of the spaciousness of dub. Evergreen vibes, really, but seen from a fresh perspective.

Honed over a period of two years, the five tracks on “Break” fuse Relaxer’s careening, technoid sounds with free jazz-tinted drum programming, snarling sound design and spacious echo trails. It’s a perfect fit for 29 Speedway’s future-facing, exploratory anti-genre approach to electronics. The tape features two remixes by the singular DJ Marcelle and mastering by Dubplates & Mastering. Daniel tells his side of the story below:

“Two years ago my friends who run the drum ‘n’ bass party Headznite asked me to write a live set for a Ukraine fundraiser they were putting on. Right at the same time, my punk band Black Eyes was having our first practices in 20 years, which meant I was re-training my body to scream at top volume and high registers and to lay into my guitar at full force. In those same months, Dripping was forming and ideas were flying for crazy, boundary-pushing lineups. I had just finished writing the meditative composition suite “In Softening Air” and was feeling the call; it was time to let it rip.

Everything poured into that live set for Headznite, and a new style was born. Relaxer had begun as a decisively techno project, but pushing the BPMs and working in drum breaks tweaked the formula enough to cut any lingering ties with that ethos.

Over the next two years I kept on it, writing more, recording, pushing the technique and exploring the sound. “Break” is the first time any of this work has been made public. Sometimes a detour can hack your brain. My first dance 12” as Ital was supposed to be a one-off side project to my punk band and it ended up taking over my life. Now punk music is calling asking for the debt to be repaid. Fuck it.”

Written & recorded by Daniel Martin-McCormick, 2022-2024.
Mixed by Daniel Martin-McCormick & Sol León, with assistance from Sphente Shepherd.
Mastered at Dubplates & Mastering.
Art & design by Brian Mark.
Thanks to Headznite for the prompt.

Jackals

Worldwide artist collective Plasma Sources pull together their first compilation featuring 14 artists who lean into their ethos of sci-fi aesthetics and crazy sound design - no matter the genre or mood - creating a wild excursion through varying soundscapes. 

With the full release due next week on the 27th March, we're premiering the skittering, breakneck track from Atrice & Klahrk.

@atricemiras
@klahrk

Premiere: Atrice & Klahrk - You’ve Changed (Plasma Sources)

CEM - FORMA
Cat. Nr: DN031
Format: Digital / Transparent LP
Release Date: 28 March, 2025
Buy / stream: dansenoire.ffm.to/cem

CEM has gained international notoriety over the past years for bewitching club and festival audiences alike with his feverish, polymorphic and richly referential DJ sets. For his debut full-length album, FORMA, the Berlin-based Herrensauna founder momentarily departs the dancefl oor, instead contributing a refl ective and at times menacing compositional study on terror and temporal anachronism for our perplexing times. All six pieces were originally commissioned to accompany Portuguese artist Mauro Ventura’s performative installation of the same name, shown fi rst at the Volksbühne in 2022; the work engaged notions of labor and repetition through a multiplicity of gestural and corporeal interventions. Featured prominently on FORMA are the sound of bells—doorbells, meditative bowls, farm cowbells, Shinto bells—a motif CEM distills repeatedly onto the record to presage and work through both the violent specter of order and discipline, as well as the reparative qualities of harmony and retreat.
Opening the album with poignant synths, granulated bell hits, and double bass string drones is “The Calling”, which summons listeners into a rattling and twisting soundscape that dichotomously channels alertness and serenity at once. “Bells Corrupt”, in turn, transforms the comforting chime of bells into an alarming and insistent pattern as it evolves in pitch and form, recalling the anxious fi lm grammar of Italian giallo legends Lucio Fulci and Dario Argento or Czech animator Jan Švankmajer. “An Industrial Satire” is conceived as an homage to experimentalist Limpe Fuchs, known for her Dadaist use of self-made, metallic instruments and strings. The second part of the piece takes a staggering turn with the addition of ghaita—a Northern Moroccan double reed horn with a series of holes—sampled from the Master Musicians of Joujouka’s collaborative 1971 album with Brian Jones and layered alongside CEM’s own percussion work. The horn elements—linked to the ancient fertility rites of Pan—here culminate in a melodic embodiment of panic and celebration. “Statue Garden” is a minimalist organ drone piece interlaced with fi eld recordings accumulated through the musician’s recent travels across East Asia. Its dexterous balance of stillness and depth provides a contemplative interlude amidst the album’s vigour. The album closes on a provocative note with “The Sincerity Test” that features Berlin-based Lithuanian performance artist Gertrūda Gilytė, whose wry spoken-word intervention mirrors the kind of grotesque, deluded ‘positive affirmations’ that abounds on social media, suggesting a relatedness between narcissistic online speak and the rise of reactionary politics.

CEM is no stranger to the ever-threatening past and present of fascism, having been raised in Vienna within a Turkish-Kurdish immigrant household. FORMA thus emerges as a militant sonic offering and, through its razor-sharp interweaving of atmosphere and texture, conjures a fractured, albeit elegiac, space of possibility wherein time is out of joint and the circular motion of history with a capital H is dizzyingly thrown into disarray. As our world rushes forward into the past, casting dissonant spells might turn out to be our last rempart.

Forma is a series of action painting performances founded and directed by Mauro Ventura with movement direction by the choreographer Kiani del Valle

Track 1 mastered by Raphael Valensi
Track 2-6 mastered by Rashad Becker
Artwork by Niels Wehrspann

buy / stream 

CEM - An Industrial Satire I

★ CREDITS ★

‘GOT IT’
Written & Performed by VV PETE
Produced by UTILITY and CASSIUS SELECT
Cover art by JON WATTS, UTILITY, VV PETE
Mixed by GEORGE NICHOLAS
Mastered by RYAN SCHWABE
Released by TRACKWORK