WL//WH - FEBRUARY 2021 \\ Post Punk/ Coldwave/ Darkwave/ SynthPop/ Minimal Synth

https://whitelight-whiteheat.com/playlist/wl-wh-weekly-post-punk-darkwave-dark-synth-tips-09-21/

WL//WH - FEBRUARY 2021 \\ Post Punk/ Coldwave/ Darkwave/ SynthPop/ Minimal Synth

New playlist time and once again we’re jetting all over the globe, with artists hailing from Poland, Australia, Spain, Italy, Israel and beyond. Listen to the selection and follow us on our website, Mixcloud, and Spotify for more music.

www.twistedsoulmusic.org
www.mixcloud.com/twistedsoulmusic
www.spotify:user:twistedsoulmusic

Today's Sounds Of The Universe

2021-01

Oz Echoes peels away another layer of Australia’s ‘80s DIY hive mind. The Oz Waves successor exposes a deeper circuit of micro-run cassettes, community radio archives and irrationally abandoned studio sessions, as Steele Bonus sequences a 10-track compendium of drone pop, psyche-electronics and agitated tape cut-ups.

From the Sydney cassette network, The Horse He's Sick returns with an industrial car crash, alongside Wrong Kind of Stone Age’s pagan cacophony and primal riddims. M Squared dynamo Patrick Gibson appears in both Height/Dismay and Mr Knott, his respective studio-as-an-instrument collaborations with Dru Jones (Scattered Order) and ex-Slugfucker Gordon Renouf - the former’s worn out apparition hails from an instantly deleted 1981 7”, while Mr Knott entrust one of the compilation’s five previously unreleased tracks.

Matt Mawson represents Brisbane music media-printed matter collective ZIP, as Adelaide’s Three D Radio grants access to their vaults of live-to-air recordings and aspiring demo submissions, rescuing the slap-happy punk-funk of The Frenzied Bricks and Jandy Rainbow’s prodigious beginnings in Les Trois Etrangers and Aeroplane Footsteps. Synchronously in Melbourne, Ash Wednesday (Karen Marks, The Metronomes) leads Modern Jazz’ improvised proto-techno and EBM pioneers Shanghai Au Go-Go home record their sardonic synth-wave.

A cherry-picked cast of unusual suspects, Oz Echoes’ unfamed artist and non-band narratives are detailed by track-by-track liner notes with rarely published archival visions and artwork from Video Synth, prompting further rabbit hole ventures into this golden era of creative risk-taking and instant action.

V/A - Oz Echoes (ES018) OUT NOW

Bedbug - Palov Ft Ang.Angelides

Oz Echoes: DIY Cassettes and Archives 1980-1989

A5 Aeroplane Footsteps - Arabia 3:13 (ES018)

A4 Mr Knott - Poor Galileo (He Has Gone Mad)3:47 (ES018)

A2 The Frenzied Bricks - Vicious Circle 3:30 (ES018)

A1 Height/Dismay - Mother's Footsteps 3:13 (ES018)

The lyrics and melody were written by Nalini Blossom. Vocals by Nalini Blossom. Recorded and produced by Mose.

https://soundcloud.com/naliniblossom

Medicine Women

Mose & Nalini Blossom - Prophecy

MUSIC VIDEO: https://youtu.be/twpLyDgvPk4

Be in the way 
It's electric shock
Remember the time 
You knew it would work
You've been a dirty little liar
It's mine now.
You live a dirty little life
You will never be mine now

I won 
This game
You called
Drying up
I saw the same
It broke him
That man

You lose in me
You're running away

When you touch me
I feel like I'm dying now
When you touch me 
It's like the world disappears now

It's like overload of life 
And that's the way that I like it
It's like the fire in me 
Get's you over the wire

I let you dream for years,
You dream about your dream
But what about me
What about my dreams

I won 
This game
You called
Drying up
I saw the same
It broke him
That man

You lose in me

___________________

Amiture is a New York City musician and filmmaker. Having grown up in the American South, his story begins in the heavy, humid air of Virginia and finds itself now in the vaporized bodily aether of the New York dance floor. This perspective is conveyed in his music with a certain darkness, narrative patience, and indeterminacy. Images of love, loss, and desire puncture the danceable rhythms and lend an emotional consistency that carries the listener through his debut record, The Beach.

Amiture is pleased in conjuring a sonic world that can appear veiled—and even playfully illegible. His character is that of a narrator condemned to give form to a series of events that may bear no meaning in their association, but all of which are packed tight with emotion, interest, and memory. He keeps his own dignity by taunting the listener, but only a little bit. The Beach pursues this meandering expressivity with grace.

In his prior musical work, Amiture used his given name, Jack Whitescarver. Under this name, he spent about two years touring the music that would become The Beach along with his older catalog of sparse, experimental, and sometimes humorous music. The songs that make up Amiture’s debut took their form in front of live audiences that placed what-would-become-Amiture’s music in the worlds of acts like Pelada, Kedr Livansky, and Minimal Violence.

Listening to the music & lyrics of The Beach is like using a fading flashlight to illuminate a cave—where one is unsure of whether they are on their way out or if they are just getting deeper. This journey, however, is reprised and explored with club beats, pop melodies, and a production fidelity that couples creative ambition and spatial darkness in ways not unlike the baroque pop masterpieces of late 1960s Scott Walker. The Beach can be a pop album or it can be a broody meditation—this choice is up to the listener.

The music of Amiture also have a filmic quality to them, one that adds a VHS sheen to the diaristic aura of this body of songs. The tracks “Touch,” “The Beach,” and “Let’s Talk" display this characteristic best. On “The Beach,” Amiture sings, “And I’m staring out that window out at the sea—There I see the rare reflection of you and me—The dog is racing down from the other side of the hill.” It is in the simultaneity of feeling and image that Amiture’s music feels born of a cinematic instinct—nothing is explained but everything is on display.

Amiture’s sound exists in the vast in-betweens of Kate Bush and Suicide, or Throbbing Gristle and Prince. It nods to contemporary club, dance, & sound music while paying homage to melody and lyricism. The Beach, however, is not an attempt at staking a flag in some unknown sonic universe, either. The textures, lyrics, and imagery are indeed referential, but they aim to be so in such a way that deepens the listener’s aesthetic & emotional understanding of said references. This is an album that unearths the roots systems of meaning of seemingly familiar plant life—but these revealed limbs may leave more questions than they give answers. The Beach is a reminder that even universal feelings can appear more alien than familiar under close inspection.

The Beach

Touch

An albatross can travel thousands of miles using minimal effort, soaring along wind currents, rising and diving without ever flapping its wings. The albatross is a symbol of perfect, effortless symbiosis with nature. The name albatross is derived from the Latin for white, albus, and from the Arabic for a diver, Alcatraz. Like the albatross’ name, the music of RP is multicultural in its origin, merging numerous traditions to create something entirely new with the participation of the legendary Grammy awarded Bulgarian pianist Milcho Leviev and a relative music documentary about this beautiful collaboration is expected to be screened during 2020.

Violin: Marios Podaras
Melodica: Milcho Leviev
Duduk, Baritone, bagpipes &
Soprano Sax: Sokratis Votskos
Baglama, Charango, Tzouras,
Ukulele: Theodoros Koumartzis
Acoustic Guitar: Linos Tzelos
Double Bass: Danis Koumartzis
Percussions: Nikos Varelas

Recordings were made at
Aristotle University of Thessaloniki
Recording Studios & Analogio Music Studio
Production by Reggetiko Project
Mix & Mastering by Linos Tzelos
Cover design by Dimitris Ikonomou
Layout design by Nikolaos Koumartzis

Lotzes

For the second single of ‘Barricade’, Matthew Hayes and Charlie Perry are joined by the formidable Allysha Joy.  Well versed in poetry and performance, Allysha Joy lends her husky, spoken vocals and potent lyricism to ‘I Can Hear You’. Her unique musicianship and killer vocals have garnered legions of attentive fans the world over, both as a solo artist and as part of the acclaimed 30/70 Collective. Allysha Joy is an artist that presents a palette of intricate grace and optimism, whilst unafraid of adding uncomfortable truths. 

“To have Allysha, one of the most prolific, talented and powerful musicians to come out of Melbourne, if not Australia, in the past five years, feature on the track is a real honour. Her grace and ease in the way she delivered her prose, sits perfectly against the rest of the record.” - Charlie Perry

Matthew Hayes and Charlie Perry come together to present Barricade, a record that instills hope and softness with a delicate balance of intricate bass guitar, electronic ambience and spoken word. The fusing of these elements imbues a sense of vulnerability, introspection and hopefulness throughout the entirety of the record, inspiring a calmness and beauty that emerges from amongst the ceaseless din of the world around us.

Hayes approached fellow musician and spoken word artist Charlie Perry at the beginning of 2020, to collaborate on some recordings originally written while on tour in Europe. The pair instantly hit it off and the idea to complete a record together was formed, not to be set back by the shutdown of the world almost immediately after. Hayes, caught in Europe mid-tour, based himself in the south of France, while Perry retreated to Australia’s southern coastline in the small beachside town of Fairhaven. This cross continental collaboration continued over many months as the world around them reeled from the results of the ongoing COVID-19 pandemic.

The album features other notable collaborations, such as the guest appearance of renowned saxophonist and JK Group bandleader Joshua Kelly on 'Introduction'; the one and only Allysha Joy delivers her unique talent with a soft yet powerful performance on 'I Can Hear You', and the versatile brilliance of Aarti Jadu shines in 'You Care I Know'.

As a whole, this record is a document of the power of creativity, community and hopefulness in a world that stands disjointed. It is a record that embraces rawness and vulnerability, and is executed with a sophisticated nuance and ease.

Matthew Hayes & Charlie Perry ‘Barricade’ out everywhere Friday, November 20.

https://private-eyes.bedroomsuckrecords.com/

PREMIERE: Matthew Hayes & Charlie Perry - I Can Hear You (feat. Allysha Joy)

Someone Is You (demo version - EP out now)

'Rice & Potatoes' is the first single taken from Webmoms' sophomore EP 'Lake Tape' out 2021 via X3i Music.

Stream everywhere: push.fm/ps/ricepotatoes
Official video is OUT NOW: https://youtu.be/eWjqadePXjE

Vocals written & performed by Sukie
Mixed, produced & written by Webmoms
Mastered by Refraq

Webmoms ft. Sukie - Rice & Potatoes

Early November

A special thanks to Marie from Grabyourface for her prompt collaboration and her majestic French vocals.  

Mix & Mastering: Joshua A. Pfeiffer

Waiting for a tragedy, 
Looping into anomy, 
A desert beyond recognition. 

Conquering, an iteration
Be divided, no salvation, 
Inward calling to descend. 

Insatiable hunger
Will tear us asunder
To prey and consume
Behold the doom. 

Combien de lunes peut-on attendre?
Combien de peaux doit-on comprendre?
Car la pierre te grignote,
Et l'écran te réconforte,
Combien de lunes peut-on attendre? 

How many nights will we live by
This game we didn't want to try? 
As the stone still devours
And a screen counts the hours
Combien de lunes peut-on attendre? 

Faces melting into one, 
No rest till this work is done, 
A self deceiving ecstasy. 

Power struggle, no completion
Abuse fosters repetition 
Pleasuring the unknown. 

The stone will end the chain, 
This loss is no one's gain, 
Be prey, be consumed, 
Be prey of whom? 

Combien de lunes peut-on attendre?
Combien de peaux doit-on comprendre?
Car la pierre te grignote,
Et l'écran te réconforte,
Combien de lunes peut-on attendre? 

How many nights will we live by
This game we didn't want to try? 
As the stone still devours
And a screen counts the hours
Combien de lunes peut-on attendre?

Spoken - from Herzkranzgefäß by Heiner Müller 

Gewitter im Gehirn  
(Storm in the brain) 
Blei in den Adern  
(Lead in the veins)

Was du nicht wissen wolltest, 
(What you didn't want to know)
Zeit ist Frist
(Time is a term)

Die Bäume auf der Heimfahrt
(The trees on the way home)
Schamlos grün
(Shamelessly green)

DOM-J (feat. Grabyourface)

Oz Echoes: DIY Cassettes and Archives 1980​-​1989 out March 26  http://bit.ly/OzEchoes

Oz Echoes peels away another layer of Australia’s ‘80s DIY hive mind. The Oz Waves successor exposes a deeper circuit of micro-run cassettes, community radio archives and irrationally abandoned studio sessions, as Steele Bonus sequences a 10-track compendium of drone pop, psyche-electronics and agitated tape cut-ups.

From the Sydney cassette network, The Horse He's Sick returns with an industrial car crash, alongside Wrong Kind of Stone Age’s pagan cacophony and primal riddims. M Squared dynamo Patrick Gibson appears in both Height/Dismay and Mr Knott, his respective studio-as-an-instrument collaborations with Dru Jones (Scattered Order) and ex-Slugfucker Gordon Renouf - the former’s worn out apparition hails from an instantly deleted 1981 7”, while Mr Knott entrust one of the compilation’s five previously unreleased tracks.

Matt Mawson represents Brisbane music media-printed matter collective ZIP, as Adelaide’s Three D Radio grants access to their vaults of live-to-air recordings and aspiring demo submissions, rescuing the slap-happy punk-funk of The Frenzied Bricks and Jandy Rainbow’s prodigious beginnings in Les Trois Etrangers and Aeroplane Footsteps. Synchronously in Melbourne, Ash Wednesday (Karen Marks, The Metronomes) leads Modern Jazz’ improvised proto-techno and EBM pioneers Shanghai Au Go-Go home record their sardonic synth-wave.

A cherry-picked cast of unusual suspects, Oz Echoes’ unfamed artist and non-band narratives are detailed by track-by-track liner notes with rarely published archival visions and artwork from Video Synth, prompting further rabbit hole ventures into this golden era of creative risk-taking and instant action.

Wrong Kind of Stone Age - Ravi Dubbi (ES018)

Forever And Never

DC Promo Tracks #733: "Game of Marginal Gains" by Andrew Tuttle, Padang Food Tigers is part of the release "A Cassowary Apart" on bedroom suck records @bedroomsuckrecords  

Buy Now: https://bedroomsuckrecords.com/product/a-cassowary-apart-lp 

Subscribe to our weekly email: http://dreamchimney.com/subscribe

DC Promo Tracks #733: Andrew Tuttle, Padang Food Tigers "Game of Marginal Gains"

MIMS is delighted to premiere "Green Leaves" by Milan-based producer, DayKoda, featuring the rhymes of  Block Mameli. 

"Green Leaves" is the first new track extracted from DayKoda's second full-length album 'PHYSIS', a meticulous beat-work that unravels through the jungle, steady and rhythmic with its shred light drums and jaunty samples.

'PHYSIS' is due to drop on March 11 on Beat Machine Records, and will also feature "My Abstract Monkey", a collaboration with our recent crucial material pick, Robohands, that came out later year. Plus a brand new remix by Ishmael Ensemble. 

Born in Brescia and now based in Milan, under his moniker DayKoda, Andrea Gamba has been gradually building a reputation for his blend of electronic and experimental slow-mo beat, inspired by Bonobo, Shigeto, Shlohmo and Teebs.

Pre-Order

Exclusive Premiere: DayKoda ft. Block Mameli "Green Leaves" (Forthcoming on Beat Machine)

Resident Efficient Space archivist Steele Bonus excavates proto-techno from '80s synth-pop outfit Modern Jazz.

'Oz Echoes: DIY Cassettes and Archives 1980-1989' is out March 26th on Efficient Space.

Pre-order: bit.ly/2NzfKgj

@efficientspace

Premiere: Modern Jazz - Zoom Dub [Efficient Space]

We are excited to welcome back a true ambassador of House Music to our roster.

Keegs Bantom returns with an emotive, seductive EP that pulls gently on the heart strings and digs deep into the soul, also featuring the talented flavours of MVRREN.

Presenting “Beautiful to Love, Dangerous to Trust”

linktr.ee/roundrobinrecordings

DHSA Premiere: Keegs Bantom - One Day (Original Mix)

Label run by @noise-in-my-head

Distribution queries:

Australia | info@noiseinmyhead.com.au
Rest of the World | www.wordandsound.de