Name: ÆCHO - Magnetism by ÆCHO
Duration: 3 min 50 s
Description: 2nd track of our EP which is coming soon!

From the album Zorya. Vocal improvisations by Ridina Ahmedová. Mixed and mastered by Matouš Godík (www.zka4t.com). Released by Minority Records in cooperation with Amanita Design.

05 Forget-me-not

From the album Zorya. Cello - Tomáš Jamník. Mixed and mastered by Matouš Godík (www.zka4t.com). Released by Minority Records in cooperation with Amanita Design.

06 Veronika's Dream

Taken from the album Zorya. Vocals by Marinella Mastrosimone (Musetta). Mixed and mastered by Matouš Godík (www.zka4t.com). Released by Minority Records in cooperation with Amanita Design.

09 Nel Blu feat. Musetta

Radiohead's 'All I Need' // Patterns In Plastic rework

Featured on the WrongWeather Playlist #2 curated by Sunglitters // 
http://wrongweather.net/play/2013/03/16/wrong-weather-forecast-2

All I Need

Denovali Records is proud to announce the release of John Lemke's debut album in July 2013. As an appetizer we offer the song "Traveller" and a remix by Emperor Echo as a free download at [www.denovali.com/mp3shop]
        

01 Traveller
02 Traveller (Emperor Echo's Dub Europe Express Mix)

Track 1 written, recorded & produced by John Lemke (2013)
Track 2 mixed and dubbed by Emperor Echo

Artwork by Lukasz Bernacki
Frequencies lifted by LXC at WATTA SOUND

---

John Lemke is a Glasgow based artist, originally from Berlin.

Working across a great variety of media he has spent the last years exploring music and all things sonic through collaborations, live performance, film sound design and especially his work as a documentary film composer.

Motivated by fusing elements of his more emotive film composition approach with rhythm and space, John has created a distinctive sound world on his forthcoming debut solo album, where abstracted guitar landscapes collide with percussive, prepared piano and disembodied vocal textures to form a danceable, electro-acoustic whole.

Traveller

John Lemke - Traveller

2nd track of our EP which is coming soon!

ÆCHO - Magnetism

from 'Where We Were' [CD|2xLP|DIGITAL]
available from May 2013 on all formats at [http://denovali.com/greghaines]

ON TOUR

21.04.2013 London (uk) - Denovali Swingfest

08.05.13 Eindhoven (nl) - Muziekgebouw
10.05.13 Groningen (nl) - De Oosterpoort
11.05.13 Amsterdam (nl) - Paradiso
12.05.13 Trier (ger) - Synagoge Schweich
13.05.13 Paris (fr) - Café de la Danse

17.05.13 Münster (ger) - Black Box
18.05.13 Utrecht (nl) - Le Guess Who Festival May Day
19.05.13 Essen (ger) - Welterbe Zollverein
20.05.13 Brussel (bel) - Ancienne Belgique Club
21.05.13 Hamburg (ger) - Nachtasyl
22.05.13 Bielefeld (ger) - Nummer Zu Platz
23.05.13 Hannover (ger) - Feinkost Lampe
24.05.13 München (ger) - Einstein
25.05.13 Geneva (ch) - La Graviere
26.05.13 Varano Borghi (it) - La Sauna Recording Studio
28.05.13 Bratislava (slovakia) - Atelier Babylon
29.05.13 Budapest (hun) - Akvárium Klub
30.05.13 Prag (cz) - Palac Akropolis
01.06.13 Gdansk (pl) - Club Zak
02.06.13 Warsaw (pl) - Cafe Kulturalna



Denovali Records is happy to announce the release of Greg Haines' new album WHERE WE WERE on cd, double vinyl and digital, as well as the release of 2006-2012, a collection of Greg's first three albums Slumber Tides, Until The Point of Hushed Support and Digressions as triple cd and 5 x vinyl collector's box in May 2013.


WHERE WE WERE [CD|2xLP|DIGITAL]

“WHERE WE WERE”, the new album from GREG HAINES, may come as a surprise upon first listen. The cascading strings that played such an important role in his prior work have disappeared, and in there place are intricate layers of tape-worn synthesizers. Any recordings of piano have been transformed and affected until their sound is at times barely recognizable. Moments of quiet, slowmoving textures can still be found, but they are nestled between upbeat, rhythmically-driven tracks that at times could even be considered for deployment on open-minded dancefloors. Although taking a year to complete, the nature of this record is born in its spontaneity and impulsiveness. The acoustic instruments such as piano, vibraphone and other percussion that found there way on to the album were not the result of months of composing - rather they were entirely improvised and often left completely unedited and raw. At first the idea was these rough tracks, full of noises and hiss, would later be re-recorded, but as the process drew on, it became clear that these kind of loose, half-thought moments were what defined the album - often “out-oftime” or “out-of-tune”, but always adding another dimension to the hazy, analog world of sound. This hand-crafted approach led to almost everything being constructed in the old-fashioned way; not with mouse-clicks, but with two hands moving dials and everything running to an aged tape machine.

This album is the result of one person sitting alone in a room and creating something entirely personal, without the frustrations of organising large-scale sessions for other players or the laborious work of preparing scores. In fact, the few scored moments that were written were later disregarded, with a whole string session with PETER BRODERICK ending up on the cutting-room floor (sorry, Peter!), along with endless hours of other material. What is left is the condensed diary of a year of exploring old tape delays, analog synths and percussion - some of which played by percussionist/composer SYTZE PRUIKSMA (a member, along with Haines, of THE ALVARET ENSEMBLE, whose debut album was released in December 2012 by Denovali Records), and some of which played and recorded in a midnight daze at Haines' studio in Berlin. Working in this way led to a whole host of other long-term influences feeding into the music that had never found an outlet before. The experiments in dub conducted by the likes of KING TUBBY or LEE PERRY and continued by the likes of RHYTHM & SOUND had a profound effect, as did the iconic work of TONY ALLEN and other African composers. The spaced-out soundscapes found on early TANGERINE DREAM and KLAUS SCHULTZE had always had a subtle influence on Greg's work, but now armed with an arsenal of dusty studio toys, those sounds became warmer, richer and more prominent.

The influences evoked here may at first appear at odds with Greg's previous work, but an affinity between the dense poly-rhythms of Africa and beyond have long been an influence for contemporary composers such as STEVE REICH, and their reach and importance on western music is undeniable. But now the lines have been blurred, and its impossible to say where one “style” or influence stops and another begins – something that was perhaps the only concept for this record. The symphonic synth crescendo of “So it Goes” would not have the same impact if it were not following the head-nodding drive of “Something Happened”. The delicate arpeggios of “Wake Mania Without End II” only exaggerate the unrelenting, rhythmical explosion of “Habenero”, and without starting with the intimate piano of “The Intruder”, the album's cavernous ending wouldn't feel so otherworldly. Its all in there or at least whats left of it after the hiss, the dirt and the degradation of the tape machine destroyed it, reworked it, and spat it back out fullyformed.

Mixed and mastered together with NILS FRAHM at his Durton Studio, Berlin.

Where We Were

Greg Haines - The Whole

This is the second idea I worked on with Kathrin deBoer for the Conditions Two EP, and an attempt to make something surreal. I tried to use her voice as an instrument in the track, rather than presenting it as a normal vocal at the forefront of the mix. I used lots of Max for Live fiddling’s to mangle up her vocals into all sorts of weird noises, and then picked out some of my favourites to use in the track. Most of the noises that aren’t the drums and main synths, so pretty much all the weird noises in the track, are made from Kathrin’s voice.



The overall feeling was something soft and organic, where in addition to the unpredictability and non-loopy manner of the vocal effects, the drums also follow a loose and slightly randomised pattern, with lots of shuffle to add to the free feeling. I thought the approach made it end up sounding a bit maddening and messy, and there was also a strong feeling of space in there with the main pads, so this combined with the surrealist approach lead me to the name ‘Falling Into Recursive Space’.

For Max Cooper mixes/free downloads:
soundcloud.com/max-cooper/sets/max-cooper-free-downloads

And music videos here:
www.youtube.com/user/maxbcooper

And for up to date info on all the goings on, you can join the mailing list on my site if you like:
www.maxcooper.net/

Buy on Beatport

Max Cooper Feat. Kathrin deBoer - Falling Into Recursive Space (clip)

The Slow Revolt is a great musician, with a great voice, so it was a pleasure to remix this track of his. I tried to enhance the vibe of the original rather than force it into any sort of club format. I just added some new chords by granularising the guitar and layering it up, and focused on making some interesting effects with the vocals and my usual weird noises before finally introducing new bass and strings later to try and bring everything to a peak. I hope you like it!

Available from:
Boomkat http://bit.ly/10OaO6X
iTunes http://bit.ly/17tGtND
Juno http://bit.ly/16etHmB
Beatport: http://www.beatport.com/release/doldrums/1093992

The Slow Revolt - This Dark Matter - Max Cooper Remix (clip)

Anina Eleonora & 
www.soundcloud.com/kryshe

contact:
aecho@gmx.de

ÆCHO - Magnetism

ÆCHO

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