Andy Stott- Dark Details

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BBR008 A3 - Unison Yellow

Nadia Struiwigh is an electronic music DJ & producer from Rotterdam, Netherlands.

Sitting somewhere between Biosphere and Boards of Canada, Struiwigh's refined downtempo electronica takes you on a journey full of synthesized soundscapes that flirt with ambient techno.

Awash with melody and warm electronics, Lenticular is an expertly crafted piece from an artist who has found her sound and is now effortlessly outputting inspiring compositions.

Reminiscent of Warp's Artificial Intelligence series, this is electronic listening music for quiet nights and club drowsy dawns.

Lenticular

Extraterrestrial

Full Premiere: http://www.wearesoundspace.com/premiere-group-rhoda-trespass
Submit Your Repost: http://www.wearesoundspace.com/submit-your-repost

Spotify: goo.gl/phNY5q
YouTube: goo.gl/MlPo8d
Facebook: goo.gl/WGjgHO
Twitter: goo.gl/QJgbtz
SoundCloud: @wearesoundspace

Group Rhoda
https://soundcloud.com/group_rhoda
https://www.facebook.com/GroupRhoda

Dark Entries
https://soundcloud.com/darkentriesrecords
https://www.facebook.com/DarkEntriesRecords

Wilderless

Full Premiere

Premiere: Group Rhoda - Trespass

Mastered by Brendan Zacharias at Cirrus Audio

Balaban - Religious Service

Killin's Ürcos - In Orbitae (Ylia remix)
https://settheoryrecords.bandcamp.com/album/m25

Killin's Ürcos - In Orbitae (Ylia Remix)

On ‘Redeux’ ‘Penelope Two’s’ themes of life and death and of hope and dismay are still prevalent, being brought to the surface in a myriad of ways.  

On this SoundCloud stream, Throbbing Gristle’s Cosey Fanni Tutti’s dystopian, avant-garde and jazz tinged electronics are deployed alongside her signature Cornet to flip the album single ‘Carry Me’.    

After the release of her sublime, critically acclaimed sophomore solo album ‘Penelope Two’, Penelope Trappes and Houndstooth are pleased to announce ‘Redeux’; an album of top-drawer reworks of tracks from ‘Penelope Two’, which showcase not only the intrinsic brilliance of Penelope’s composition and performances, but also her far-reaching and all-encompassing musical influences and significance. 

“There were no preconceived notions of how the reworks would work together, just total freedom. I’m absolutely in love with all of these! I never really thought I’d get the chance to collaborate with such an array of creative artists who have inspired me, but at this point, I’ve learned to never say never” explains Penelope. 

01. Burn On (Mogwai Rework)
02. Carry Me (Cosey Fanni Tutti Rework)
03. Maeve (JFDR Rework)
04. Farewell (Johnny Hostile Rework) 
05. Night Hive (Paul Corley Rework)
06. Nite Hive (Nik Colk Void Rework)
07. Connector (Aasthma Rework) 
08. Farewell (Throwing Snow Rework)
09. Kismet (Poppy Ackroyd Rework)
10. Burn On (Félicia Atkinson Rework)

Released June 7th 
Vinyl / digital
-------------------

Penelope signed to Houndstooth in 2018 and released her sophomore LP (and photo book) ‘Penelope Two’ in October 2018. The minimalist, ethereal album was built around field recordings, meditations, guitars, synth drones, piano and reverb, and deals with mortality, predestination and empathy. Previously known for her work in the electronic duo The Golden Filter”

Under the latter moniker the duo released albums with Brille, Vinyl Factory and Optimo that were praised by The FADER, Pitchfork, NME, Gorilla Vs Bear and Resident Advisor. Additional endeavours included sound-tracking short films and feature films and are currently releasing new material.

When not making music Penelope works on photography, video and performance art as part of a visual arts collective, Agnes Haus.

Redeux

Carry Me (Cosey Fanni Tutti Rework)

BUY / STREAM LP

Penelope Trappes - Carry Me (Cosey Fanni Tutti Rework)

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.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

selected by NCOL & Eva Porating

🎧

Alexander Goldscheider - Panáček Bomiňa a panenka Palele
Koehler - Haunted Diamond
Parris – Southeast Of tHe Mountain (Sam Kidel Remix)
Young Marco – Temple On A Road
Lum – Rosa
Thomas – Calango Fumando Palha (Lunar Version)
Androo - Slice Dub
The Horse He’s Sick – Larynx
Parris – Skeletal (OSVMVSM Remix)
Andrea Noce & David Kristian - So Far So Good
Golden Bug – Yama
Dharma – Light Rain
Megaphonim – Megaphon
Wolf Müeller - Der Vogel Aus Der Unterwelt
Karma de la Luna – Travel Without Moving
Sade – Make Some Room

🎧

https://soundcloud.com/n-c-o-l
https://soundcloud.com/eva-porating

Downloads

Our Residents in ... January 2020

Episode 21 of Chambre Noire radio show on https://soundcloud.com/n10-as, recorded by https://soundcloud.com/bunzinelli (May 2020)

Photo by Mirja de Vries

Andy Stott- Dark Details

Dovile Di

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