026. #fi2u # Noise On The Objects /28.09.2015

My playlist

HofJ ep. 6

ep.14

baskaru

ambien

Elektroniskt

Black-Body Radiation

OUT TODAY ACROSS ALL PLATFORMS

Preorder Breaka 003 here:
https://breakamusic.bandcamp.com/album/breaka-003

Breaka & Frazer Ray - The Loudest Woiioii Ever

Stories

Cloud

Only Love From Now On

Subtle Bodies

!!! These are stripped-down 192mp3 snippets of the original tracks!!!

Artist: V.A.
Title: Elaste Vol. 4
Cat No: CPT 439-1
Format: 2 LP / CD / Download
Release Date: 24th January 2014

TRACKLISTING: 

CD:
01. Charanjit Singh „Raga: Madhuvanti“
02. C Cat Trance „Shake The Mind“
03. Cybotron „Mumbo Jumbo“
04. Rinder & Lewis „Gluttony (Dompteur Mooner Edit)“
05. Man Friday „ Love Honey, Love Heartache (Larry Levan's Original
Unreleased Garage Demo Mix)"
06. Barbara Norris „Heavy Hitter (Dompteur Mooner Edit)“
07. Change „The End (LP Version)“
08. Gino Soccio „Remember (LP Version)“
09. NAD „Distant Drums“
10. Equip „XXXO“
11. Sandée „Notice Me (Notice The House Mix)“
12. Disco D „Beat It“
13. Dopplereffekt „Infophysix“

VINYL:
A1: Charanjit Singh „Raga: Madhuvanti“ 
A2: C Cat Trance „Shake The Mind“ 
A3: Disco D „Beat It“
B1: Cybotron „Mumbo Jumbo“
B2: Rinder & Lewis „Gluttony (Dompteur Mooner Edit)“ 
C1: Barbara Norris „Heavy Hitter (Dompteur Mooner Edit)“ 
C2: Tambien „Quedarte“ (Vinyl Only Bonus Track)
D1: Equip „XXXO“
D2: NAD „Distant Drums“
D3: Dopplereffekt „Infophysix“

Info:
Welcome to the fourth chapter of the ELASTE series!
In this compilation I am progressing a style I am inaugurating: Vintage Futurism.

The best metaphor for this genre is Charanjit Singh's 1982 album Ten Ragas to a Disco Beat in which he created a sound which mirrors, but more importantly pre-dates, the first acid house record by five years. It is no novelty record, but truly capturing the hypnotic potential of acid/house music. It became my key track for Elaste Volume 4.
Previous incarnations of Elaste have aimed to catch the spirit of the late 70’s Italian Cosmic Discotheque, a place where the history of DJing was rewritten within this microcosm. For this latest instalment I was most intrigued by weird of-the-time (or ‘out-of’ as the case turned out to be) electronic disco, a vast genre!

Bringing together those progressive avant-garde tracks that were expanding the genres of house, disco, acid, new wave; and ultimately use Elaste as a vehicle to highlight those tracks that were ahead of their time. These legendary works ranges from 1978 to 1996, a wide spectrum of musical history, in which some of the older tracks may sound modern, and newer ones sound may sound vintage.

Many of these authentic back-to-the-aural-future moments were initial sparks for whole genres - Larry Heard ́s Disco-D alias happened just before house music. Greg Wilson’s 1984 project Equip was produced for a UK Electro compilation, but never made the LP, because it sounded simply too futuristic. Michael Rinder ́s Gluttony can’t be called Disco any more, not even Post-Disco.

For Elaste Vol. 4 we have built Vintage Futurism as a home for these ultramodern mavericks.

About Dompteur Mooner
Mooner stepped into the limelight as part of Zombie Nation, whose 1999 smash hit 'Kernkraft 400' was signed to DJ Hell's Gigolo label and earned worldwide chart success. As one of the most knowledgeable experts in obscure vintage electronic music, Mooner however decided to do things a little less obvious from that point on: He left Zombie Nation and founded Erkrankung durch Musique, a label dedicated to releasing left-field electronica, from techno to experimental pop, old and new.

He also a highly regarded DJ, known for his unmatched record collection and bootleg edits, such as his „Girls Girls Girls“ Ep that combined great 80s girl bands as extented edits, or „Greatest Hits“, an hommage to dance – orientaed Rock music.

Mooner just finished his fourth chapter of „Elaste“, a compilation series for Compost Records that started the Cosmic Disco hype.


www.compost-rec.com
www.facebook.com/compostrecords
www.myspace.com/djmooner 
www.myspace.com/loveincm 
www.mooner-industries.de 
www.hartofnoise.com 
www.erkrankung.net

Sandée „Notice Me (Notice The House Mix)“

Taken from the album 'Toxic Cosmopolitanism' released as LP / Download

Kassel Jaeger 'Exposure Scales — Sunlight' (eMEGO 183)

The SYNTHI AKS is a legendary machine. Manufactured by Electronic Music Studios in 1971, this portable modular synthesizer was extremely flexible. Not a keyboard synth like what Moog was doing at the time, this was a generative music machine with a matrix patch panel. Think Max/MSP in analog terms. Except that being analog, it wasn't entirely stable and, thus, had an organic quality that is still valued today.

Music from the SYNTHI is a new endeavour for Yoshio Machida, a consistently surprising sound and visual artist who, among other feats, has released an acclaimed series of sound collage albums (Hypernatural), albums of improvisations on steelpan drums, and records with the bands miimo and Ohanami. This new solo album arrives almost four years after his previous one The Spirit of Beauty (a slow-evolving piece combining instruments, field recordings and electronics), and six years after his Baskaru debut Hypernatural #3.

Music from the SYNTHI consists in 13 pieces. Most of them are quirky and playful. "SYNTHI n° 30" has a longing quality you would never expect from a synthesizer. And all of them are 100% SYNTHI. "I simply recorded the repeating patterns and mixed 3 to 5 patterns per piece, without any editing or effects," explains Machida. I wanted to record rich obscure improvisations as performed by the SYNTHI. Every modulation, reverb, effect like delay, and glitch sound is produced inside the SYNTHI."

Yoshio Machida - SYNTHI n°23

when a riveting moment captures the feeling of ataraxia: 

Voyage/Lightyears (demo) produced by me 

Voyage/Lightyears (demo)

Please message or email myself or management if you would like this track to be removed for copyright reasons. This Track is NOT monitized and is shared for entertainment purposes only.
Contact: blacktrafficmusic19@gmail.com or rebootagencybookings@gmail.com

Skream & Jackmaster – The Attention Deficit Track (Black Traffic Edit)

Brian Reitzell - organ, drum machine, drums, mellotron
Kevin Shields - organ
Dave Palmer - synthesizer, mellotron
Roger J. Manning Jr. - organ
Tim Young - guitar

Taken from the album 'Auto Music', out now on Smalltown Supersound
www.smalltownsupersound.com

You can buy the album here: 
iTUNES: http://georiot.co/14BQ
ROUGH TRADE: http://www.roughtrade.com/albums/81896
AMAZON: http://www.amazon.co.uk/s/ref=sr_nr_n_0?rh=n%3A229816%2Ck%3Areitzell+auto&keywords=reitzell+auto&ie=UTF8&qid=1396508788&rnid=1642204031
BOOMKAT: http://boomkat.com/vinyl/968429-brian-reitzell-auto-music
http://boomkat.com/cds/968428-brian-reitzell-auto-music
NORMANS https://www.normanrecords.com/records/146323-brian-reitzell-auto-music-
RECORD STORE: http://bit.ly/1ijq6qG

Brian Reitzell - Last Summer

"Edinburgh producer Dansa steps up with a set of tried-and-tested club wreckers to mark the debut solo release on the Palidrone label.

Drawn from a myriad of influences without attaching to one specific style, on ‘Kill The Body And The Head Will Die’ Dansa blends propulsive drum patterns with gritty bass murk and explosive sound design, resulting in three hefty club workouts made for maximum dancefloor impact."

Dansa
Soundcloud: https://soundcloud.com/dansa_eh
Instagram: https://www.instagram.com/dansa_eh/

Palidrone
Soundcloud: https://soundcloud.com/palidrone
Facebook: https://www.facebook.com/palidrone
Instagram: https://www.instagram.com/p/Co9fKb_AoRk/

PREMIERE: Dansa - Forceps (Palidrone)

sometimes i just want to have fun and experiment on the modular with well-known themes. today i wanted to do a bit of the classic "buchla bongo"... at least use my make noise optomix to create some wood-like percussion.

the main sound is an intellijel shapeshifter being FM'd by a dixie sine wave. it goes into the make noise optomix which is being struck by a function trigger. various LFOs modulate the rate.

i decided to throw in another sound on the 2nd channel of the optomix and went for the e350 oscillator and threw an LFO on the pitch.

i really like the percussive and wooden textures you can get out of FM sounds and the optomix. how i'd use them in my own productions, i don't know yet... but it's fun to play around.

i find with modular synthesis that i need to have a rough idea going in of what i want to do. sure, it can change from there, drastically, but at least having an idea.. because you are, after all, building something from the ground up.

it's quite the opposite of a standard subtractive synthesizer where there's already a sound there to start.

part of the goal of this studio diary is to simply explore ideas.. to see if i can do them and maybe later figure out how, if ever, they'd fit into my compositions.

oct 23, 2014 (woody modular)

The A side of free jazz monster MATS GUSTAFSSON's new solo  7" for iDEAL, ltd to 200 copies on tasty transparent vinyl. Recorded live at a table in front of an audience of five at Stockholm's Bar Brooklyn a few years ago. There were some people at the bar too. True free jazz lap dance, man.

MATS GUSTAFSSON - LAP DANCE (iDEAL119 7")

Quetta

When you saw those two names – Achim Wollscheid and Bernhard Schreiner – side by side on a piece of paper, you probably thought "Of course, this collaboration makes so much sense!" Unless you went "Who?"

True, Wollscheid and Schreiner are not what you would call household names of the experimental music scene. Although the former gained serious "street" credit on the Industrial scene in the '80s with his moniker S.B.O.T.H.I. and his collaborations with P16.D4. Wollscheid also cofounded the influential production company/label Selektion. And in the '90s and early 2000s he published a string of brilliant albums of computer music and avant-garde electronics on Selektion and Ritornell. For the past ten years, however, he has released very little music, focusing instead on sound art installations.

Schreiner is a photographer, filmmaker, installation artist, and musician. Like Wollscheid, he presents many more exhibitions than he releases records, and his work in both realms shows strong affinities with the Selektion man.

Calibrated Contingency consists in a continuous 47-minute live performance recorded in Graz in 2011. Both artists are using a computer and minimal external input devices (a boundary microphone, an induction coil, a radio). At the performance, each had a pair of stereo speakers, and all four speakers were arranged in a single line. This CD presents a stereo mix of that performance. And what a performance it is: a complex fabric of mangled frequencies, raw electricity, odd sounds, clips and glitches, woven loosely, with silent holes here and there. Dizzying and otherworldly...

...but isn't that what the sound of our world should sound like?

Achim Wollscheid & Bernhard Schreiner - Calibrated Contingency (excerpt)

Achlys

Walking Void

Simon Whetham is an acute listener, a field recorder, a thinker, a globetrotter, and a mobilizer. However, he is also a sonic cook. Wherever he goes, he picks up sounds and atmospheres as if they were exotic ingredients. And for "What Matters Is That It Matters", he made us a stew, slowly simmered until all the flavours come through.

"What Matters Is That It Matters", Whetham's first album for Baskaru, is slow music. And slow music deserves to be taken in slowly – you don't wolf comfort food down, you savour it, relishing its complexity, absorbing its warmth. Unlike most of Whetham's previous works, this album is not focused on a specific geographical location. As if the artist had given himself free reign. The resulting music has a career-encompassing feel, as Whetham touches base with pure field recordings, elongated instrumental textures, and treated snippets of melodies (piano, banjo). "What Matters Is That It Matters" provides an incredibly rich listening experience, pairing relevant esthetical concerns and listening enjoyment.

Englishman Simon Whetham has been exploring the art of composing with field recordings and found sounds for a decade, a period during which he released music on labels such as Crónica, Entr'acte, Helen Scarsdale Agency, and Line. He is perhaps best known for "Active Crossover," a workshop/collaboration/installation project with which he is travelling the world.

Simon Whetham - You Can't Escape The Past

Want more ambient releases? Join the newsletter: http://bit.ly/TheAmbientZoneM​
...............................................................................................

"British ambient band Marconi Union has drummed up the world's most relaxing song: Weightless is 8 mins 10 sec. of aural bliss" - Time Magazine, Best Inventions of the Year. 

"An excellent compilation from the always interesting Just Music" - The Sunday Times

"The Ambient Zone is an album that feels like the world is peeling away, layer by layer, into multi-colored panoramas, just for you" - Echoes (CD of The Month)

The Ambient Zone is a beautiful journey into ambient and electronica inspired by universal themes of calmness, purity, relaxation and enrichment where Weightless is coupled with some exclusive first releases and other blissfully ambient tracks from Just Music artists and alumni.

Created instinctively and intuitively by Marconi Union, Weightless has been claimed to have therapeutic properties in the way the track almost appears to have a heartbeat running through it which slows down very gently throughout the piece, encouraging a deep sense of relaxation in the body, It's use of specific rhythms, beep bass tones, frequencies and intervals induce an almost trance like state in the listener.

"The Ambient Zone is an album that just screams (albeit quietly) of pure class" - Fluid Nation.

Weightless (Ambient Transmission Vol. 2)

Weightless Part 1

Buy the album

Marconi Union - Weightless

"Relational listening provides a systemic framework through which artists and other concerned practitioners can explore the conditions of their listening, specifically in the context of the desire to transmit those listenings", writes Lawrence English in an essay entitled Relational Listening: The Politics of Perception. He describes relational listening as a creative process intended to make one's listening audible to an audience.

In the case of "Approaching Nothing", English's concept of relational listening also puts the listener in relation with a founding work in the field of phonography (or field recording): Luc Ferrari's "Presque Rien n° 1" [Almost Nothing #1]. Ferrari recorded the material for this piece in 1967 in Vela Luka, Yugoslavia (now in Croatia), in the middle of summer. English takes us back to that town in 2013 just as fall creeps in, picking up (to an extent) where Ferrari had left us and, like Ferrari, English limits his post-recording interventions to editing and juxtapositions.

And thus "Approaching Nothing" both approaches Ferrari's idea and serves as a stellar relational listening case study. The 30-minute piece delivers many audio puzzles, twists, and surprises, with a pacing that makes it easy to relate to.

Lawrence English is a world-famous composer, electronician, sound installation artist, record producer, and record label manager living in Australia. His works often explore the nature of perception. He has released solo albums on highly valued imprints like Crónica, Important, Line, Sirr, Touch, 12k, and his own label ROOM40. "Approaching Nothing" is his third album on Baskaru.

Lawrence English - Approaching Nothing (excerpt)

Pulsating, roaring techno with venom running through its veins is on the menu for this one and if you don't hear it rumbling the walls of Berghain anytime soon then it means the selector's aren't doing it right. 

The 'No Feeling Is Final' EP will be released on March 31 via Dame-Music

No Feeling Is Final 

More exclusive music

Premiere: Bloody Mary 'Knockout'

The split EP ‘Transmitting Coordinates’ comprises the efforts of Uun, whose roots lay in Kansas (USA), and Argentina’s Vladw – the former a familiar face, the latter a newcomer to the label. While the physical distance between their home bases couldn’t have been much bigger, their visions of techno and the mature sound it results in in both their tracks, are about as close as it gets. The similarities in this piece of present-day techno go beyond repetitiveness: both artists exceed at the use of glitchy tops blended with tight low ends, and letting those evolve so gradually that it nearly goes unnoticed. It results in these four solid cuts that need nothing but their comprehensive grooves to stay fascinating. One can only hope that somewhere in the future, the work of Uun and Vladw will find its way to many more EP’s like these.

Uun
Facebook
https://www.facebook.com/uuntechno
Instagram
https://www.instagram.com/uunegodeath/
Soundcloud
https://soundcloud.com/uun
Resident Advisor
http://www.residentadvisor.net/DJ/UUN
Beatport
https://pro.beatport.com/artist/uun/332447

Vladw
 Facebook
 https://www.facebook.com/Vladwmusic
Soundcloud
 https://soundcloud.com/vladwmusic
Instagram
 https://www.instagram.com/vladwselectar/ 
Beatport 
https://www.beatport.com/artist/vladw/357958
 Resident Advisor
 https://www.residentadvisor.net/dj/vladw

Doctrine

Uun - Doctrine

After two years, Boston 168 is back with the follow up to their breakthrough EP, "Acid Morning".For this sophomore release on Enemy, the returns with 3 tracks of their signature take on acid techno. Carefully curated by Dustin Zahn, this moody and melancholic EP is a perfect fit for the twilight hours. This product was tested on humans. Our research on mind control adheres to guidelines adopted by the Council of Representatives of the American Psychological Association on August 1, 2012. GF, V, DF.

Interstellar

Camile From OHM Makes Me Feel Loved' Out Now -
Technicolour / Stream / Download: https://machinewoman.lnk.to/wlch

Taken from 'When Lobster Comes Home' released 25th August 2017 via Ninja Tune imprint Technicolour.

Follow Machine Woman -
Facebook: http://found.ee/mwom-fb
Twitter: http://found.ee/mwom-tw
Soundcloud: http://found.ee/mwom-sc
Spotify: http://found.ee/mwom-sp

When Lobster Comes Home [TCLR022]

Machine Woman - 'Camile From OHM Makes Me Feel Loved'

Murcof's debut album, "Martes". This is the original tracklist that was edited on the Mexican release by Static Discos on Frebruary 14th 2002.

Adjust

The Expanding Universe

Drums

It's always a daunting task reworking something from a musical inspiration, and none more so than the invincible force of Bjork and Arca. This edit is the musical version of drawing your favourite superhero when you were a kid. It's a little playful and scrappy and as much a display of affection to that idol than anything else

Please support the original and the album Utopia, it is incredible: https://shop.bjork.com

Björk - Arisen My Senses (Morgan Hislop Bootleg)

Cette composition a été conçue pour le festival "L’Espace du Son"—organisé à Bruxelles par le centre Musiques & Recherches, dirigé par Annette Vande Gorne. 

Il s’agissait de célébrer sous forme d’une guirlande sonore les 80 ans du compositeur François Bayle, ex-directeur du GRM.

La contribution de Michel Redolfi s’intitule “Happy Bird Day” et est un hommage à une des premières pièces de François Bayle, intitulée “L’oiseau chanteur”.

Ici on entendra également l'un des ces oiseaux ébouriffant de créativité, que Michel Redolfi a enregistré en 2000 au Kerala. L’oiseau est entouré d’une constellation de micro sons acoustiques (kalimba) et électroniques, mosaïque dans la mouvance des univers de l’ami François Bayle.

Redolfi - HAPPY BIRD DAY

* Read more: https://boltingbits.com/tambura-tikitaka-dazion-remix-kalahari-oyster-cult
* Watch on YouTube: https://youtu.be/seFZ8u6yxgU
* Order: http://bit.ly/30iEQAR

Munich. 1994. A group buck current trends with a ground-breaking release. Tikitaka by Tamburá left aside the techno of the time to focus on a the lesser known styles of afrobeat and tribal music. The result was three tracks that sail and soar on a primal energy, three works that whisk listeners away to exotic lands of wooden wind instruments, ritualistic vocals and, even, bag pipe majesty. For twenty five years this record has been an unattainable mystery, until now that is. Kalahari Oyster Cult have lovingly restored all three of the trailblazing original tracks alongside two very special remixes. Melbourne’s Tornado Wallace adds new layers of intensity as he cuts and reshapes melodies and beats to set any floor alight with this visionary remake. Dazion offers a very different interpretation. Focusing on vocals, this new talent accentuates the shamanic-like chants of Tikitaka, using them as a base from which throbbing synth lines grow as new depths are explored. An EP every bit as daring in 2019 as it was in 1994.

PREMIERE: Tambura - Tikitaka (Dazion Remix)

Present for the aknowledged Johan K. 
Released in 2003. Edition of two.
Four turntables and a mixer.


06 nocturne

Sluimer

Terloops

Baskaru is a French record label dealing with experimental electronic music and sound art.