Out on February 12th

Release page: http://dronarivm.com/2016/01/25/rezo-glonti-budapest/

Budapest, the second album from Georgian producer, Rezo Glonti, is a lush record of essence and space. Named after the street in Tbilisi where the artist writes and records, Glonti’s latest offering utilises electric guitar, analogue and digital synths, modular set-up, guitar effects and cassette field recordings to create a hypnotic ether. Sweeps of synth punctuated by jolts of guitar, background whispers, smothered rhythms or key lines make for a revelatory listen. Subtle surprises surface; tape scratch, noises from a distant factory, aural flashbacks of an acid rave some time ago. The use of percussion on the album provides a pulse to steer through uncertain terrains; illusory or concrete. Budapest sprawls and is also adrift in a cohesive flux. The album’s attention to detail makes perceptions feel heightened and indistinct at the same time. Blissful and brooding sounds intertwine, at times creating an intoxicating effect. Things take on slightly different shapes and colours; streets bend and appear in the wrong cities. 



Info/Credits:

All tracks recorded and produced by Rezo Glonti between 2013-2014 on Budapest St in Tbilisi, Georgia.

Mastered by Mark Kuykendall

Buy CD

Rezo Glonti - Budapest (Album preview)

This is the second track I recorded on a bed, in my hotel room, while on a trip to Leicester to perform at the first Dirty-Carter event. It's just me improvising using some of the gear and some sounds I would later use for the Dirty-Carter performance with some low level looping courtesy of my iPhone.

Equipment used:
a regular Kaossilator, a circuit-bent Kaossilator, two mini Kaoss pads, a Tom Bugs WOM micro synth, a Chimera BC8 micro synth, two Zoom PFX-9003 effects, a Boss DSD-2 sampler/delay, a Dirty-Carter E.S.G.I, an iPhone for loop playback, portable Edirol mixer and a Zoom H2 recorder. No laptops or desktop computers were used in the recording.

A photo of a set-up similar to what I used can be viewed here:
http://www.flickr.com/photos/chris_carter_/4555241028/in/set-72157623967404864/


Chris Carter - While Waiting

No More Dreams

1991 - No More Dreams I

BRIAN CASE - Ship Building

Site-specific composition developed the acoustics of Silo City's Marine A grain elevator in Buffalo, NY. Composition by Lea Bertucci. Performed by Lea Bertucci, Steve Baczkowski, Bill Sacks and Kyle Ohlsen. This project was developed as part of Squeaky Wheel Film & Media Art Center's Workspace Residency.

Terminus

A Warmer Welcome// a digital benefit in support of syrian refugee welfare // 110 Tracks // DL - 2016
https://www.discogs.com/Various-A-Warmer-Welcome/release/8140284

:Zoviet*France: - The White Sea

Juma - Selected Works (Excerpt 2)

Forthcoming on Akuphone (AKU1016)

feat: 
FUJI-YUKI - KIKI HITOMI - MIKADO KOKO - MIKI YUI 
KAKUSHIN NISHIHARA - KUUNATIC and KEIKO HIGUCHI.

DIGITAL  => JUNE, 14. 2019 
VINYL-CD  => JULY, 13. 2019

Seitō gathers Japanese female artists from various electronic and experimental music fields. Like the « Tokyo Flashback » series issued by P.S.F. in the early 1990s, this collection recorded between 2017 and 2019 exposes the richness of the contemporary Japanese underground music scene. The title refers to a cult feminist magazine printed in Japan in the 1910s. All tracks issued for the first time.

www.akuphone.com

AKU1016 // VA - Seitō: In the Beginning, Woman Was the Sun (Album preview)

Sea Urchin - Natal Uranus, Il Corpo Sotto La Sabbia (Single Edit)
From Commend 005: Sea Urchin and Aki Goto's Shirotento Orchestra - Natal Uranus, il corpo sotto la sabbia / Birthdays

Learn more here: https://smarturl.it/cmmnd005


Mastered by Jack Callahan.
Artwork by Aki Goto. 
Design by Will Work For Good.

Natal Uranus, il corpo sotto la sabbia / Birthdays

Sea Urchin - Natal Uranus, Il Corpo Sotto La Sabbia (Single Edit)

For our 25th release, we'll be revisiting the work of singular Japanese musician Minoru ‘Hoodoo’ Fushimi. In 1983, a young Minoru was working from his home studio in Japan’s Kanagawa prefecture and determined his first release would be an ode to Japan’s musical heritage. Minoru had noticed the younger generation become increasingly disillusioned with traditional Enka songs and decided to breathe new life into the sentimental ballads of old. The multi-talented artist laid down the beat using a TR-606 and played all the additional instruments himself. 

The resulting tracks are two mutations from the energetic style of the originals into much darker and abstract versions, albeit managing to maintain the passion and spirit of the Enka genre. Minoru utilised a number of vocal distortions to honour the original vibrato singing style, executing the tracks in a way that was more of a mesh between early punk squelching of the late 70’s and Troutman’s funk-fuelled voice-box of the early 80’s. In true Minoru style, his vision overshadowed the accessibility and ironically the tracks fell short of their appeal to the younger generation he was aiming to inspire, yet resulted in two timeless renditions.

Minoru Fushimi - Hone Made Aishite (Love Me To The Bone)

Although this was the personal account of Chris Carter it now also hosts Carter Tutti and Chris & Cosey tracks.

Throbbing Gristle tracks can be found on our Industrial Records Ltd. SoundCloud https://soundcloud.com/industrial-records

Chris Carter - While Waiting

CARTER TUTTI