Taken from SBKT041: NET GALA - 신파 SHINPA
Release Date: 25th June 2021

Written, Produced by NET GALA
Mixed by Kim Kate
Mastered by Raphael Valensi
Cover by Kynan Puru-Watt
Photo by Bakya

A regular at Seoul’s ‘Cakeshop’ and member of LGBTQ collective Shade Seoul, NET GALA’s SVBKVLT debut is named after Shinpageuk (신파극), a form of theatre from 20th century Korea. In contemporary context, Shinpa is a synonym for ‘tears and overwhelming emotions,’ but when it was first introduced to Korea, Shinpa was used to express progressive political views, cover social issues, and later the melodramatic domestic tragedies. There is a vast gap between the past and current context of Shinpa, and as such there has been a lot of mistranslation or misconception between the two.

After their first EP [re:FLEX*ion] (NBDKNW – 2019), NET GALA spent time researching Shinpa, finding parallels between the work they were making and the traditional theater style. The emotional, dramatic nature of Shinpa echoed the exaggerated affection of ‘pop’ – in which NET GALA searches for the impact on one’s own narrative and emotion. The ‘mistranslation’ applied to the terms history is reflected in the changing course between the two EPs – how one can reinterpret or warp one ‘lost’ cultural concept into another.

From the stretched-out ‘The Ha Dance’ sample combined with traditional Korean percussion and 808s on ‘Shpiral’, to the sample of a Korean lesbian protester struggling to claim her existence through the blasting drums on Dodomzit, ‘신파 SHINPA’ is NET GALA’s interpretation of the Shinpageuk. The EP is packaged with remixes from Amazondotcom, ZULI and Menzi further reinterpreting the original work.

신파 SHINPA

NET GALA - Reclaim It (ZULI's Shifting Weight at the Club Remix)

hemera’s escape

Pulsiones narra la lucha constante entre tres entidades: una mala, una buena y una tercera que contiene aspectos de ambas. Estas tres entidades exigen su lugar, pero ninguna pierde; todas predominan. Incluso, parece que ninguna desea ganar y simplemente permanecen en un duelo constante.

El pasado, presente y futuro se manifiestan en cada uno de estos enfrentamientos, creando ramificaciones con sucesos que no pertenecen a ninguno de esos tiempos. Estos eventos se alteran y se vuelven difusos en la mente, como si hubieran ocurrido innumerables veces, pero también ninguna. Te hacen cuestionar qué está bien y qué está mal. Te llevan a pensar que eres un problema al no tener control sobre todo eso, lo que hace que no percibas nada a tu alrededor, que no lo disfrutes, no lo respetes, no lo valores.

Pulsiones es un bucle infinito. A veces empieza bien y termina mal, otras veces empieza mal y termina bien, y rara vez se queda inmóvil. Cuando eso pasa, es lo peor, porque nada se siente, nada avanza, nada retrocede; estás en un vacío infinito. En ese momento de estaticidad, el vacío permite que ya no sientas ni el bien ni el mal; ya no sientas el agua ni el fuego; ya no sientas nada. De repente, en ese vacío surgen duelos. ¿El vencedor es Tánatos? ¿El vencedor es Eros? En realidad, ninguno; ellos solo son una confusión constante en la mente de quien los porta.

A pesar de todo esto, nada está mal. Solo es cuestión de sentarte y hablar con estas 'pulsiones', hacerles ver que todas habitan el mismo cuerpo y que se necesitan para conservar su existencia. Entonces, esa espesa neblina se disipa y ves.

Arte: Gabriel O´Shea

Pulsiones

Pulsión de Muerte (Tánatos)

El irreal Veintiuno - Pulsión De Muerte (Tánatos)

Entrañas - Caverna
Label: Infinite Machine
CAT#: IM114
Format: Digital
Release Date: September 27th, 2024

Tracklist:
1. Indignado
2. Ajicito
3. Diclofenaco
4. Cruces
5. Cascada
6. Coscacho
7. Tigrillo (ft. Buena Tarde)
8. Nauseas
9. Toque De Queda (ft. Ene Ese)
10. Chivo
11. Muerto a Puntapiés (ft. Carlos Pabón)
12. Caverna

Ecuadorian producer Daniel Gachet “Entrañas” presents his debut full album Caverna on Infinite Machine. The project explores an amalgam of polyrhythms found in traditional Ecuadorian music such as bomba and albazo, blending them with jagged atmospheres of uk bass and grime. Through deliberate sound design, Entrañas seeks to place the listener within the unpredictable ecosystem of the city of Quito and its surroundings.

In this record Entrañas searches for a sound that conveys both the infrastructural chaos he experiences currently in his home city, while also reflecting the hauntingly beautiful and seemingly perpetual terrain just outside of Quito. Not far from the frequent and unpredictable power outages and city wide lockdowns which are now commonplace due to the ongoing narco wars, there is an Andean stratovolcano visible from many parts of Quito, including Entrañas own bedroom window. Ruco Pichincha stands nearly 5000m in height, attracting awe and curiosity of many who happen upon it, perhaps by way of its beauty as well as its innate potential for mass destruction. A particular location of interest for the artist, the mountain emits a kind of objectivity that is distinct from the urbanscape of human activity; it asserts itself, unobservant of the adjacent violence, trials and tribulations. Its very name–“Ruco” translated in English to "old" from the indigenous Quechua language–seems to reflect both its acquired reverence from native inhabitants of the region, as well as the relative incomprehensibility of such natural monuments.

On Caverna, references to Quito and its encompassing geography are apparent in ways that are direct at times, nuanced at others. “Toque de Queda” (trans. “lockdown”) was produced in real time during a city wide lockdown in which Entrañas and his collaborator Ene Ese were unable to leave an apartment for hours on end. The sheer apprehension of such a situation can perhaps be gleaned from the seething claps and non-melodic droning atmospheres that build, producing a tone of frustration and unease. Tracks like “Coscacho”, “Muerto A Puntapiés” and “Cruces” seem to take on a similarly minimal approach, focused on brooding heavy bass lines and relentless polyrhythms that become increasingly menacing as the tracks build. A listener might imagine these compositions to conjure the rumbling subterranean activity of Ruco Pichincha. As their names might imply, “Caverna” and “Cascada” take a different approach, building up shimmering soundscapes reminiscent of 90s new age. These ephemeral sequences seem to summon meditation on natural landscapes in a way that feels lighter and more optimistic, unveiling a softer vision.

In light of his prolific catalog, Entraña’s twelve-track work reaches into territory that feels both more personal and experimental–though these compositions are undoubtedly dance-floor ready. Caverna brings together anthems of leftfield club music with chambers of ambient reflection–both of which read as significant and distinct to the artist’s background and day-to-day experience in Quito. As the majestic and humbling mountainous surface of Ruco Pichincha might resemble, Caverna’s title track ends the record with a reminder; a gentle nod to the significance of such sacred wonders as places of refuge in our human experience; whether we can grasp them, or see them from our bedroom window.

Artwork by Benfika
Mastered by Fausto Mercier
Words by Sueuga

Entrañas Ft. Carlos Pabón - Muerto A Puntapiés

#emoclub #emotionalclub

❓ https://angelsgunclub.bandcamp.com/album/soulsick

Lurayana + Mistiica - Kinsnap

amphetamine milk

08 - Molejo - Sitra Ahra

cart, brugatto, hm hm - headless horsewoman 1

Crime Scene

Lanzamiento: Riddims
Track: Na'dura
Artist: @chiclosx

Riddims //>

RIDDIMS

Chiclosx - Na'dura

Ziyiz has sent a data file. The data was not properly encrypted, upon download you will only get sound. You may experience a high sound, this is a bug in the software. You may experience a low sound, this is a bug in the software. Please make sure you are running it in a clean state. The sound may not be correct.

Ziyiz - Attributes

General info /booking / press / rmx inquiries:
elirrealveintiuno@gmail.com

Proveniente del Estado de México, Bryan Dálvez se destaca como un artista polifacético, navegando sin esfuerzo por los ámbitos de la producción musical y el diseño visual. Bajo su proyecto musical actual, El Irreal Veintiuno, no solo consolida su presencia en el vibrante panorama de la música club, sino que también establece una estética provocadora y distintiva.

La exploración sonora de Bryan se sumerge en las complejidades de los ritmos periféricos, entrelazándolos con una perspectiva aguda y eufórica. Arraigado en los ritmos sincopados del tribal mexicano y los contagiosos patrones del dembow, su obra da un atrevido salto hacia los territorios del grime y hardcore, resultando en una fusión dinámica que cautiva al oyente.

La potencia de la creatividad de Bryan se extiende más allá del mero sonido, encapsulando una energía autobiográfica que trasciende las fronteras entre las influencias latinas y las expresiones contemporáneas. En este viaje artístico, busca no solo hibridar y reclamar, sino también evolucionar, presentando una narrativa que resuena con el latido pulsante de la diversidad cultural y la modernidad.

El irreal Veintiuno - Pulsión De Muerte (Tánatos)

El irreal Veintiuno

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