produced by @hadji-hajj
vocals by @chaams

Vertige II is the second compilation to be released on Abîme, gathering tracks from ten artists to explore the Vertige concept with a wider spectrum of intents.  

It features contributions from musicians all around the globe, each of them delivering an interpretation of this ambivalent sensation that could be equally seen as a positive or negative feeling if taken in its plurality of meanings.

Ranging from GIL’ dizzying textures in ‘Storm Petrel’ to the sweetness of Fauness’ guitars in ‘Am I ready’, Vertige II finds its coherence when seen as a progression, a back and forth between fear and love, with each track responding to the previous one by being its deforming mirror.

Vertige II puts the emphasis on vocal tracks, but again doesn’t limit itself to a one-sided approach, and that’s how Lil Asaf’s harsh Jordanian rap can be found coexisting with Flagalova’ anthemic pop and Ptwiggs’ shoegaze ‘Forever is not enough’. 

As the successor of our first compilation, this record can be seen as both a continuation and a rupture in comparison with it. The delicate sound palette of the original opus has exploded and expanded into an ecletic collection of pieces, sometimes frightening and overwhelming, and sometimes soothing and reassuring, as is the Vertige.

Hajj - Don't Follow Me I'm Falling (Ft. Chams)

"Folia" by @benedictemusic is the latest track from @causalchainclub 's upcoming various artist compilation out on the 4th of June

Read More: https://soulfeederweb.com/premieres/premiere-benedicte-folia/

[Premiere] Bénédicte - Folia

Olan Monk - Auto Life
Format: Digital (EP)
Cat. No: CANVAS011
Release Date: 1st October 2021

Watch the video for 'Fameless': https://youtu.be/-xndTe8uWrc

Pre-order Auto Life (EP): canvas-index.bandcamp.com/album/auto-life

‘A farewell to idolatry, where culture is absorbed into nature, like a body back into the fertile soil. Written as a 27 club survivor, lamenting the young dead, no longer young and celebrating the spectral presence of iconised peers. Reflexive and self-aware of the problem of over-identifying with the fictional performance of the solo act in various guises or archetypes: the rockstar or trapstar. Auto Life is a practical attempt at a weird re-hybridisation of otherwise seemingly divergent strands of popular music, conflating stylisations usually segregated by genre.

Auto Life was written as a collection of songs for eventual live performance. Recording music is absurd—an act in which you initially perform to no-one. The inclusion of a sample of crowd noise in ‘Fameless’ is the music studio equivalent of a laugh track being added to the soundtrack of a sitcom—unable to give up on disappearing horizons completely and imagining another context for performance in which an actual audience beyond the performer is present.

Autotune Punk—as a music of antagonism that resists from within, bending the lanes of a machine that flattens out the vocal performance to a given scale. I can still express feeling—even angst—but the machine doesn’t care. Refusing its own funeral, emulating the dead—it’s a Rock simulacrum. A renewably performed myth. I broke the spell. I just heard it as it was. The sacred framing of presence makes the pop idol always-already-dead by turning them into a symbol and an image—undead, un-ageing and endlessly reproducible within a commercialist visual culture.

The music which I would grow up listening to would later become a tool towards first facing, maybe later dismantling—or at least bending—the structures in which music was still being written, performed and recorded into existence. My emulation of and interest in pop—and popular—music is not in irony. I love this music—yet I question the context and conditions through which it has come to exist and continues to change shape. Opening up the horizon of pop to a new kind of strangeness, where the familiarity of the pop song disappears into blissful distortions and mixed signifiers towards a world in-between, otherwise unknown’.

— @olanmonk

Written, performed and recorded by Olan Monk

‘Bruised Fruit’ features an instrumental recording by Jam City, additional production and vocals written and performed by Elvin Brandhi
‘Burnout’ features an instrumental recording by Jam City

Tracks 01–07 mastered by Ali Najafi
Tracks 08 and 09 mastered by Jam City

Artwork by Ewa Awe

www.c-a-n-v-a-s.com

Auto Life

Olan Monk - Fameless

Ewa Awe - Spiderloop

Taken from Ludwig Wandinger's sophomore album 'Spiritual Decay' (G&P022), out September 2022

The name of many talents - Ludwig Wandinger - has been echoing in the experimental scene for quite some time. This comes as no surprise, as the already renowned Berlin based polymath channels his full-time effort partly into playing live drums, producing his and other people’s music and creating multidisciplinary visual art. Following multifaceted solo projects on labels Average Negative/Alpha Pup Records and Orange Milk Records, Gin&Platonic are delighted to present Ludwig's exceptional sophomore full-length album 'Spiritual Decay'.

Written & produced by Ludwig Wandinger (@ludwig-wandinger)
ludwigwandinger.com

Mastered by Rashad Becker

Photo by Sophie Klock

G&P022 💀

Spiritual Decay

Bandcamp

Ludwig Wandinger - In

Root (demo)

I TRIED TO TELL YA SOMETHIN' THRU THIS FUCKING PHONE (1st version demo)

Alternate unmastered remix for @epsilove
check out her EP and the remix we did with @Lastrackqlf 
https://soundcloud.com/dkmntl/dkmntl071-epsilove-psychic-venom

Epsilove - Sea Snakes (Hajj's schmirred pop version)

See here for more info: bit.ly/35sC9lO

Support AQNB with a monthly subscription to our Patreon: www.patreon.com/aqnb

Ivy, 'sa lina' (2020). Courtesy SPA Recordings, Cologne.

https://luttolento.bandcamp.com/album/legendo

BANDCAMP

HORNED HEART FEAT. KATARZYNA KARPOWICZ

buy / listen in full: www.janushoved.bandcamp.com/album/showing-you-things

Piag3t - Showing You Things

eponiatowska@hotmail.com
also @ratsection

Ewa Awe - Spiderloop

ewa awe

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