Remixed by Four Tet

Quiet Voices "Quiet Voices Of The Ether (Grainy Mix)" (with Hélène Vogelsinger & Wild Anima)

The Field - Mobilia

Behind The Mask is a whooole concept, a part of my life. 

See U Again

This Track comes in a chilling moody Vibe.A Deep baseline covered by a satisfying arp.

feed my Soul

Tract

Shura - Touch (Four Tet Remix)

Melody Day

Melody Day (Four Tet Remix)

Leaves Eclipse the Light

The Motion Makes Me Last (Four Tet Remix)

Four Tet remix

TODD TERJE - Jungelknugen (Four Tet remix)

A Violent Noise (Four Tet Remix)

the xx a violent noise four tet remix

Uploaded for promotional purposes only, check the buy link to support Luke Vibert

Luke Vibert - Breakbeat Metal Music

Music for the Motion Picture Victoria

In the Parking Garage

Ultraísta Remixes

Smalltalk (Four Tet Remix)

Purchase: bit.ly/3oh8DpK
Catalog #: GN59
January 22, 2021
CASS+DIGI

Ever the aural adventurer, Carmen Villain has long traversed a boundless array of sounds, deftly moving from art nouveau pop to fog-laden avant-dub. Yet at every artistic turn, the Norwegian-Mexican’s chameleon-like charm seldom loses its alluring, organic beauty. Fresh off her contribution to 2020’s A Little Night Music… compilation, Carmen joins Geographic North’s Sketch for Winter series for its 9th installment. Perlita, named after Carmen’s grandmother living in Puebla, Mexico, is a sweetly somber reflection on the ever-present cycle of and hibernation and reemergence.

The A side begins with “Everything Without a Shadow”, a wide-angled and windswept vista of expansive permafrost and still-glowing embers of a recently extinguished fire. A sign of life in an otherwise desolate place. “Two Halves Touching” continues to drift through the frigid scene, lightly pulsing underneath a muted but vibrant tundra until coming upon echoes of voices chanted into the snowdrift. “Light in Phases” follows the cue with hurried hesitance, uncovering a sonic slush of radiant zither, blurred voices, and calm resolution.

“Things That Are Solid” begins to thaw the B side, strolling through newly uncovered verdancy, welcoming murmurs peeking out of the snow. With “Molina”, any last remnants of Winter have disappeared, leaving only a solemn suite of piano motifs breaking ground like seedlings bursting to life. With help from Johanna Scheie Orellana on flute and alt-flute, the album’s closer “Aqua Azul'' floats along with unencumbered motion like a happy stone skating across a tranquil pond.

Carmen Villain - "Agua Azul"

Rheinzand releases their amazing self-titled debut album 'Rheinzand' on Music For Dreams. Available in all digital stores: music-for-dreams.lnk.to/rheinzandFA

After much anticipation, our Belgian disco diamonds Rheinzand present their debut full-length album. On their self-titled record, The Belgian trio wraps the human heart in synthetic threads of modular electronic disco. 9 songs writhing on timeless dancefloors, morphing in and out of shapes of luxuriant melody and vivid instrumentation.

The album is full of classic disco and electro sounds, wielded with imposing prowess by multi- instrumentalist Reinhard Vanbergen. It’s both an exploration of dance music’s electronic genealogy and the vintage cool that has defined its different eras. Still, an organic atmosphere pervades as the blend of real instrumentation fixes a sort of retro-futurism, imagining an alternative timeline that’s a bit more exciting, more sensuous and libidinal, maybe more human, too, than our current outlook.

We start the engines with Break of Dawn, a compelling beat rises from the basement and soon we’re submerged by the pulsing bassline. Dark sunglasses on, we cruise through the night, letting flashing city lights flow into unbroken torrents of color. Blind awakens us, a splash of handclaps in the face, vivid strings and Charlotte’s trademark slick vocals enter the stage. Tantalizing sunbeams power up circuits of electronic synths blipping and beeping away.

Later down the road, we hit the Latin part of town. Porque fits enchanting vocal spells in beautiful Spanish on playful flamenco rhythms. Fourteen Again is a throwback to early electro, playing around with knobs and buttons. An oscillating synth imagines new worlds of plastic

emotion. Still disco and still very cool, though. A constant velocity is sustained throughout the album by this recurring locomotive synth, trudging away beneath the action. Once in a while, we hear the deep, mighty, trembling voice of Mr. Rheinzand speaking to us in incantations. Someone’s pulling the strings here.

On Slippery People, the trio cover the Talking Heads classic in a characteristic procedure of bouncy funk. We’re swirled around by the delirious glasswork of You Don’t Know Me into the hypnagogic funk noir of Strange World. Drifting through the house of mirrors after the fourth mojito.

Obey collects all these threads in a full-bodied future classic disco anthem, before Queen of The Dawn wraps up the show with a sky-bound epic of operatic choirs and ceremonious drums that lands somewhere between Kate Bush’s Aerial and Peter Gabriel’s most bombastic.

Connect with Rheinzand:
FB: www.facebook.com/Rheinzand/
SC: @rheinzand
IG: www.instagram.com/rheinzand/?hl=da

Blind

Born and raised in Belo Horizonte, Brasil – based in Barcelona. 

DJ and sound designer Artur has been crafting immersive sonic experiences since 1998. Starting his career with a deep passion for Drum'n'Bass and Big Beats, his journey behind the decks has seen him evolve into a versatile artist who effortlessly blends a wide spectrum of genres. From electronic to global sounds, his sets are a rhythmic exploration of percussive textures and syncopated beats that reflect his rich musical background.

As a percussionist, Artur is deeply rooted in the traditions of samba and other Brazilian rhythms, which are integral to his creative process. His ability to seamlessly fuse these dynamic influences into his mixes sets him apart, offering an eclectic sound that’s both intricate and infectious. With over two decades of experience, he continues to innovate, delivering sets that transcend boundaries and connect with audiences on a primal level, driven by the universal language of rhythm.

The Motion Makes Me Last (Four Tet Remix)

Eluvium

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