Nous avons la chance de vous présenter un mix concocté par SEPL dans le cadre de notre série de mix maison.

Lien vers l'entrevue: https://www.mesenceintesfontdefaut.com/2021/05/13/mix-sepl/

Tracklist:
@belong_music - I Never Lose. Never Really
@cezargapik - #0466
Final - Failure (Outtake from 3)
@yannnovak - Accumulation
Cody Drasser - No Longer Exists
@lustmord - Eon
Thomas K÷ner - EXTENSION (Attack)
Stephan Mathieu - Telstar
DEF - ETHILOCHROME
@lawrence-english - The Liquid Casket
@deathprodofficial - DISAPPEARANCE / REAPPEARANCE
@cadlag - + (Excerpt)

[Mix] SEPL

Stroboscopic Artefacts is proud to present the debut album of Malaysian born Bangkok based artist Wanton Witch.

Born in an isolated community of Borneo Island in 1993 Wanton Witch is a DJ and producer with a hyper-sensitive connection and approach to sound through performance. Coming of age in the relative isolation of island life, it wasn’t until relocating to Bangkok that she was able to access the different communities of musical genres that she would later travel between. With an early taste for trap and hip hop, she began working in the deconstructed club and techno scene where she found her musical voice, beginning her DJ career in 2018. Wanton is also a cofounder and original member of Queer underground creative collective ‘Non Non Non’ that has become a Bangkok nightlife staple.

Being an “outsider” musician and producer with no formal training, it was the fortuitous crossing of paths online that has sparked the creative collaboration between Wanton and label owner and creative director Lucy. Last year Stroboscopic Artefacts celebrated ten years established between experimental and dance floor spectres and this is the first record the label is releasing after one year break, marking the launch of a new chapter for the imprint. It is with releases like the eponymous debut album from Wanton Witch and the support given to emerging artists like her that the imprint continues to forge pathways within the industry.

Featuring 11 tracks, these recordings are the first body of work from the Bangkok producer, and include many different snapshots of electronic music genres from IDM and experimental to hardcore and rave, using caustic electronics to deconstruct traditional track conventions. This collection of cuts read more as a complete soundscape, like listening to a live set. The phrenetic jump from genre to genre, the mixing of diverse sound textures and landscapes reflect Wanton Witch’s own experience navigating a hostile world as a Queer trans woman in Malaysia. The intense energy with which each track is cut together reminds the listener of the nostalgia of mixtapes and a time in life when identity is being constructed.

Wanton Witch has created an album which feels like a reflection of the aggregation that already exists within musical internet sub-cultures and communities. A place where many diverse and contrasting sound palettes, textures, and structures can fit together to create a new different, Queer way of seeing the world.

Following up on Wanton’s LP, label head Lucy will also present an actual full length album named ‘Lucy Plays Wanton Witch’ featuring re-interpretations of the original material in a whole new body of work. This upcoming follow up release will not represent a mere remix edition, but a recreation from scratch and the rebirth of “one into another” so to say. Expect the quintessential Lucy treatment.

All tracks written & produced by Wanton Witch
SALP009 – All rights reserved
℗ & © Stroboscopic Artefacts 2021

Wanton Witch

Preorder

Wanton Witch - "Wanton Witch" [SALP009]

Listen back to Phase's mix for René LaVice on BBC Radio 1 celebrating the release of his debut album 🔊

bfan.link/shoretoshorealbum

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'Shore To Shore' album

Phase - BBC Radio 1 Mix - May 2022

Function lays down the Sandwell District style on this week's RA podcast.

RA.177 Sandwell District

Whereas many electronic producers aim at being the most prolific in their genre, or the most extreme, Lucy and Rrose have wisely chosen to be the most consistently curiosity-provoking representatives of their craft. Their decision to team up as a production duo for the newest Stroboscopic Artefacts EP may have seemed inevitable, given their shared responsibility for shifting techno’s focus towards the facilitation of profound psycho-acoustic effects. And yet, even those who saw this coming will still be in for a wild ride.
Lucy’s skill as a studio technician - displayed capably over his trilogy of full-length albums - has always been enhanced by his skill as a storyteller and as an artist with reverence towards myths and the pull of the unknown. This sonic personality is a perfect complement to the scientific severity of Rrose, for whom the electronic pulse beat and subsonic massage permit entry to a febrile psychic landscape whose contents are never entirely what the individual listener might expect or be prepared for.
As with both of the artists’ solo offerings, these recordings feel as much like the branching off point for new creative acts rather than as objects to be passively enjoyed. As such, the opening “Chloroform” is a somewhat ironic title for a piece that is anything but anesthetic: at high volumes, its monstrous low-end surge and prickly, scintillating sonic ephemera are very likely to bring attention to otherwise imperceptible phenomena. “Peeling” continues in this style with a more urgent tempo, developing its own cascade of sensory impressions from seemingly unstable deep-bass loops, injections of intentional surface noise, and pitch-shifted / harmonizer-effected phantom phrases.
“Stained Glass,” maybe the most straight-ahead piece on the record, is still a potent distortion of the mundane primed with shivering bell tones, tamed feedback and hints of speaker cones fraying. The climactic “Foil Gardens” is an elegant study in harmonics whose time-dissolving ability nods to the works of composers like Charlemagne Palestine or Eliane Radigue, without being a pure homage to either. The undertow of distortion beneath the glistening tone waves, in particular, provides a distinct update to the legacy of so-called tonal ‘minimalism’.
The end result here is a record that feels uncannily lifelike: an organism that always seems on the verge of a heuristic breakthrough, and whose full potential may not even be known by its creators.

Lucy / Rrose 'The Lotus Eaters' [SA028]

How do I solve not wanting PCMS to focus on my material alone? Start another catalogue series.

[PCMSNT001] Nic TVG - She Looks for Ghosts 2010

https://pineconemoonshine.bandcamp.com/album/pcmsnt011-california

The title track, California, is Drum and Bass built from surf music and outdoor field recordings. The drum samples are coarse and muted, damaged from dust and scratches on the source recordings. The harmony drifts into being quite discordant at times but the overarching tone mixed with rolling pattern of the drums keeps the track uplifting.

California

Pinecone Moonshine Vinyl 020
https://pineconemoonshine.bandcamp.com/album/pcmsv020-pcms056-beginning-with-the-drums
Beginning with the Drums

[A1] Greenleaf - Seventeen 
[A2] Greenleaf and RTP - Noise93 
[B1] Profane - Far Side 
[B2] 6Blocc - Lunatik 
[B3] Jaskin - The Drag

Digital masters by Macc. 
Vinyl Mastering by Bea at Ten Eight Seven. 
Artwork by Scratch and Line.

Beginning with the Drums 12"

.... series: microphonics .... | www.cezarygapik.wordpress.com  ||  
.... photo by Amargot | http://www.flickr.com/photos/amargot

Cezary Gapik - Microphonics No. 04 [#0542]

For the full track listing click here: https://bleep.com/features/bleep-mix-94--lucy

Stroboscopic Artefacts have recently put out an EP looking back on four pivotal tracks from the imprint's catalogue from the likes of Donato Dozzy, Caterina Barbieri, Lucy & Ben Klock and Xhin - all receiving updated 2020 reworkings by founding label boss Luca Mortellaro AKA @Lucy. To celebrate this release he has put together a mix featuring classics that never grow old from the likes of Joey Beltram as well as recent tracks from Antigone (recently featured in the Bleep album of the week locus error on Trip), Randomer on his own recently launched Headstrong label, Special Request from his recent Zero Fucks and even Travis Scott & Drake. Enjoy.

Bleep Mix #94 - Lucy

0920_14_monday

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“Abstract Depressionism” is how Polish musician Cezary Gapik pegs his own aesthetic, which is mostly an apt description. The blessed out vapour trail of his “Uncertainty [#0522]” is a considerable detour from miserabilism, adopting much more of an angelic feel with the same stratospheric arcs of sinewy digital smear heard throughout Kompakt’s seminal Pop Ambient series. Here, snow-blindingly bright tones stream alongside tidal washes of white noise and a tumbling filigree of airborne sonic dust. ...” - <a href="http://www.thewire.co.uk/issues/337/"target="_blank">Jim Haynes / THE WIRE #337 | March 2012</a>

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" ...  “Vanishing” is an EP, released by Entropy Records, that consists of two lethargic compositions. The first work #0476 [Vanishing] is full of abstract ambient sounds which float into higher dimensional space. After monotonic blend into prolific wholeness, sublime sounding evokes cathedral feeling. By progressively absorbing sine curves, Cezary constructs synthetic sound plenitude. Subtle disharmonized rotational surroundings prove his musical maturity. ..." - <a href="http://secretthirteen.org/cezary-gapik-contrast-i-vanishing/" rel="nofollow" target="_blank">Justinas Mikulskis / Secret Thirteen</a>

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"... Marking his first publication on wax, ‘Contrast’ is a suitable title, since both sides of the vinyl showcase two opposing aesthetics. “#0473 [Tremor]” is a controlled torrent of pressurised noise that expands from a metallic rumble up to a searing blast of distorted electronics. Gapik’s noise begins to burn out, with smouldering embers and ashen grit trailing upon growling tones. Where this side matches the intensity of an early Emaciator or some of Daniel Menche’s more electronic releases, the B side is an entirely contemplative affair, as muffled tones ropple and shimmer out of nocturnal shadows into bioluminescent blooms. ..." - <a href="http://www.thewire.co.uk/issues/325/"target="_blank">Jim Haynes / THE WIRE #325 | March 2011</a>

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“... Working shades of Kevin Drumm’s monolithic minimalism just past the twenty-minute mark ‘#0473 [Tremor]’ underpins layers of subtly shifting tones with a viscous low-end throb that relentlessly burrows its way inside your frontal lobes. Changing track with the aptly titled ‘#0458 [Drowsiness]’ things settle into a ghostly drift as hazy narcotic vapours and muffled glitches simultaneously seep from the grooves, lingering long and sleepy like Oval or Aphex Twin at their most ambient and ethereal. ...” - <a href="http://rock-a-rolla.com/main/?p=1605"target="_blank">Rock-A-Rolla #30 | February/March 2011</a>