Dopefist and chromatic shared a tracks MIDI from a jam back in the day. I reworked it and added my own percussion.

SmokeSpot (dopefist/kuromatic) redux

WeMe0076  2LP Gatefold
Special limited (Pink Panther vinyl ! only on this website!)
https://wemerecords.com

WeMe076 Ceephax "FSK005+ Acid Quakers 100"  B1 "Essex Rubicon"

A full length album with ten times stunning and bombastic acid invented by an impressive list of madmen: Ceephax, Luke Vibert, EOD, D'Arcangelo, Kettel, JTC, DB, Anders Ilar, Chris Moss Acid and Ardisson. All tunes are drenched in high quality acid; some come in a hybrid, melodic IDM form, while others are pretty nostalgic and full of ecstacy. Still another bunch of songs are rough, uncompromising and truly from the sewer. A massive compilation, far away from reality and designed for a big night of hedonistic mayhem. Comes with an amazing psychedelic cover that's synthetic and organic at the same time! Check it out!

DB - Orisphee

Taken from the album 'Behold' released as LP and Download

Oren Ambarchi & Jim O'Rourke: 'Behold A (exceprt)' (EMEGO 176)

Letha (Long play)

Buy on bandcamp

Kazamayé - Letha (Long play)

Superpulse Suite (Single Version)

Kettel - Cardinal Baby. Taken from Wingtip, Clone Dub 013

We warmly welcome back Kettel who makes his return to Clone/DUB records since his debut Cenny Crush 15 years ago (which was followed by the brilliant Whisper Me Wishes in 2007). After a hiatus of 3 years since his last release Kettel is releasing his new album on Clone Records. The talented musician has been busy with producing music for computer games and commercials, but is now offering a fine selection of pieces he has made in the last couple years with this full length in mind. The result is a playful, inspiring, eclectic, delicate, melodic, well-balanced and brilliantly produced album fuzzing elements of electronica, classical music, jazz and techno stirred into flawless, memorable compositions. As a 90's kid Kettel has always been inspired by the early electronica pioneers (whose names don't even need to be mentioned... everyone knows who we're talking about right?), and on this album too you can hear some of the aesthetics of those late 90's productions, but adopted into Kettel's unique world of confident rhythms and melodies filled with expression. The music on this record has a lyrical quality to it and is so expertly written that it does not strictly depend on it's electronical environment: these compositions would still stand firm performed on whatever combination of instruments. Another lovely and magical release by Kettel thats spreading good vibes from the first to the last second!

2x LP / CD out on 07-03-2016
LP: clone.nl/item38808.html
CD: clone.nl/item38821.html

Kettel - Cardinal Baby

Futur

Leaving Records presents: Shared Waves (ltd CS + DL)
Reworkings of songs from the album Sharing Waves by Cool Maritime out world wide June 1st 2018.
Features remixes from Kaitlyn Aurelia Smith, Dntel, Carlos Niño, Matthewdavid, and Tomutonttu.

http://www.leavingrecords.com
http://www.coolmaritime.org

Cool Maritime - Climbing Up (Kaitlyn Aurelia Smith remix)

Delia Derbyshire - Sea

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

Kettel - Cardinal Baby

clone records