SIL на ВРАГ! Трек "СVC"
Парень фром Sakskøbing рекордс и Deficit
more go - https://soundcloud.com/silskkbrec

ПЭ№54 - SIL

For Oleg Azelitskiy, known as DJ Slon, the nineties and the first half of the aughts were an era of “firsts”. First squat parties on the banks of the Obvodny Canal and more legitimate ones at Tunnel, first proper techno club in Russia. First DJ sets, first vinyl records in his collection, first radio shows at Port FM. He is a true veteran of the Russian techno movement, who carried his love for the genre through three decades and inspired more than one generation of musicians. Album №1 is the first edition of his music on vinyl. It comprises the music that Azelitskiy made during 1995 – 2005, except for the track My 40th Vesna, produced in 2010.

Azelitskiy’s love for techno was born out of contradictions. Thanks to the Soviet synth band Zodiac and the French pioneer Jean-Michel Jarre, he had loved electronic music since his childhood. When he grew up, he got into the dark, introspective pieces by Einstürzende Neubauten and Bauhaus. Not only does the wide-ranging palette on Album №1 reflect its creator’s taste, it echoes the changing times of the Russian nineties. It was the time when confrontations with criminals were inseparable from the parties and get-togethers bustling with local artists.

His affection for various genres led to many monikers and projects, all represented here on Album №1. He recorded most of his music as DJ Slon. Then there was a project Zhutkiy Lazer (Scary Laser), where Azelitskiy made music that was more experimental but still techno-oriented, with the occasional help of his friend Aleksey Gaponenko (Lazer became a proper solo project of DJ Slon in 1999). There are also tracks under the aliases Mass Fatality, which combined techno and synth-pop, and Razrushiteli Mozgovych Uliev (Brain Hive’ Destroyers), with its more direct tight techno tracks.

The music of DJ Slon sounds fresher and more alive on Album №1 than ever before. Noticeably, this record, first and foremost, is dance music. As a voice on one of the album tracks boldly states, we came to dance.

GAR004: DJ Slon и Жуткий Лазер "Album №1"


Side 1
A1: Jenny (6:27)
A2: Dance In The Shadow (6:15)
A3: Bassline On Rimsky-Korsakov (4:03)

Side 2
B1: We Came To Dance (3:42)
B2: Vesna (3:24)
B3: Disturbance (4:28)
B4: Palahuni (5:17)

Side 3
C1: Pop (5:29)
C2: My 40th Vesna (5:36)
C3: Lunatic (5:09)

Side 4
D1: RMU 02 (7:49)
D2: Z80 (4:12)

Music – O. Azelitskiy
Tracks "Jenny" and "Z80" were recorded together with A. Gaponenko
Mastering – Flaty
Text – A. Makarskiy
Executive Producer – I. Zaynetdinov
Photo from the personal archive of O. Azelitskiy

© «ГОСТ АРХИВ», Moscow, Russia, 2022

GAR004: DJ Slon и Жуткий Лазер "Album №1"

Manipulations of Tassilo Vanhöfen

TESTFM )) Bandcamp

TESTFM X ПЭУ w/ Hipushit

Socoda (Single 2023)

mixed and mastered w/ Alexey Litovchenko 
144 rec.

Socoda

This short text is written to tell you about a new record on the waves of Right.FM made by the Saratov artist, musician and DJ Camin' and uncover a little about the author.

In 2015, inspired by the activities of the NII club and the Gost Zvuk label, Vikenty together with the Total Resistance creative community team began organizing events in his hometown and inviting artists from different cities of Russia. While the parties were held, Camin' wrote a lot of music and released it on various cool labels like Kazan's Get Busy, British Opal Tapes and Cong Burn, Odessa's Sistema and New York's Dirty Tapes. The music has depth and groove.

Vikentiy's DJ sets always share a link, some resemblance with his own music, and this does not depend on the genres he uses. A blend of ambient, IDM, dub and breaks awaits us on the link, and we will gladly press play.

-

Этот ĸоротĸий теĸст написан, чтобы рассĸазать вам о о новой записи саратовсĸого художниĸа, музыĸанта и диджея Camin’ и немного о самом авторе — на волнах Right.FM.

В 2015 году, вдохновившись делами ĸлуба НИИ и лейбла ГОСТ Звуĸ, Виĸентий вместе с ĸомандой творчесĸого ĸоммьюнити Total Resistance начал делать мероприятия в родном Саратове и приглашать туда артистов из разных городов России. Поĸа делались вечеринĸи, Camin’ написал много музыĸи и издал её на разных ĸлассных лейблах вроде ĸазансĸого Get Busy, британсĸих Opal Tapes и Cong Burn, одессĸой Системе и нью-йорĸсĸих Dirty Tapes. Музыĸа отличается глубиной и грувом.

В диджей-сетах Виĸентия всегда ощущается сходство с собственной музыĸой и это не зависит от используемых им жанров. По ссылĸе нас ждёт смесь из эмбиента, idm, даба и брейĸов, и мы с удовольствием нажимаем на плей.

@camin-mraz-1

right.cast — Camin'

What is the sound of the Russian dub? There is a storied history of attempts to adapt roots music to Russian soil, but most of them can be attributed to reggae (the so-called ‘northern’ variety) rather than dub. Gost has a history with the town of Smolensk. It’s home to Gamayun, whose great album Filterealism was released on our label last year. Now Anton, one of Gamayun’s members, presents his new duo Dubovaya Kolesnitsa (The Oaken Chariot). In his words, it has no connection to his other band at all and is an attempt to go back to the roots of a genre that doesn’t truly exist.

The Russian word for oak, ‘dub,’ looks exactly like the genre, and the chariot emerged from the name for the group’s jams – ‘telega’ – which can be translated as a cart. All the music here is the result of live improvisations: no samples, just instruments (notably Vasiliy Shilov's bass). These recordings have been slightly edited, and even the almost indecipherable texts are freestyle. There’s no place for real riddims in Russian dub: sometimes this record sounds like something akin to dub variations on underground Russian hip hop (and we mean that in the best possible way).

We should also remember that dub and reggae (and hip hop as well) all started as the voice of people. The voice of those who are always in the minority and try not to be silent. The most prominent dub producers and reggae performers were against hierarchy, imperialism, and colonialism — and their music was born out of the desire to protest against it. As Anton puts it, Oaken Chariot, the “Russian mutation of dub,” is an attempt of voicing the concern. And he links this attempt to a historic Russian tradition of Foolishness for Christ, also known as yurodstvo. The “fool” in question is not naïve at all; he’s trying to seem lunatic on purpose. For Anton, the music of Oaken Chariot is a rebellion with a cut-off tongue. Here, illegible speech, full of inarticulate sounds, is a sign of the inability of the statement. But this inability represents a statement itself that is inevitable.

Yet, the music of Oaken Chariot is genuinely fun, free, and mesmerizing (like the happenings of holy “fools”), but we could also approach it more conceptually. Theoretician Michael E. Veal describes dub as a ‘postsong’, taking the form of “linguistic, formal and symbolic indeterminacy.” The duo’s faintly eerie compositions call back to the notion of musical hauntology. There is an attempt, without any direct references, to reconstruct the feeling of something that was never there at all. A little nostalgic and very forward-thinking at the same time, the music of Oaken Chariot is best described in its own words. In the opening track, a voice can be heard saying “eto delo v lob,” which means something like “it’s a straight-on thing.” This is very direct, almost in the vein of folk music. This is a great – and, it must be said, successful – experiment in searching for the soul of Russian dub. Simple as that.

GOST018 Oaken Chariot "Biznes Time"

Side 1

A1: They are looking at us from above
A2: BIZNES TIME 08:39
A3: Free Poetry 01:51

Side 2
B1: Splendor of Wasteland
B2: Purer Than Love
B3: Volchok
B4: Random Regularities

Music and recording — Anton Dvoenko, Vasiliy Shilov
Mix — Anton Dvoenko
Mastering — @poducedbyflaty
Executive producer — Ildar Zaynetdinov
Cover – Eduard Kulemin "Field" 1988

12" LP full-color sleeve.
October 7, 2022

© «ГОСТ ЗВУК»

GOST018: Дубовая Колесница "Biznes Time"

Blast (ver.2)

demo_0

peregrine falcon

V/A - Omnia Vanitas EP

Written and produced by Honealöme @honealome / Kuzma Palkin / Solotape @enceence / Hajj @hadji-hajj / Buttechno @buttechno / 2Beast (6Beam + Deathface)@dosbeast210 , Ko$te @koste_music, Hexmane @hexmane

Format: 12inch vinyl/ Digital
Cat. No: LLC05
Release Date: November 26th 2020

A1 - Honealöme - QLLC1312
A2 - Kuzma Palkin - Fordyzm (ft. MC Supreme Cam Vocal)
A3 - Solotape - LFJ2

B1 - Hajj - Tru Man Cry
B2 - Buttechno - y-x4-rec
B3 - 2Beast - Purgatory ft. Ko$te (prod. Hexmane)

Omnia Vanitas – the newest compilation from the emerging France-based label Lowlife Cartel – explores musical horizons from jungle to rap and combines dance music with an experimental approach. 
Honeälome (ABCD) opens the EP with a catchy saturated beat layered with distorted vocals. 
Kuzma Palkin (Gost Zvuk, Wicked Bass), also known as Kausto, features his minimal production with the immersive rap flow of MC Suprem Cam. Solotape (Low Income $quad) ends Side A with a heavily deconstructed experimental sound, oscillating between techno and an analogue lofi vibe. 
Side B kicks off with the invention of emo jungle – "Tru man cry", by Hajj (Dawn, BFDM), a cutting-edge jungle-leaning track mixed with a detached vocal sample in the background. 
"y-x4-rec", by Buttechno (Rassvet), is a more grounded ambient track with a focus on texture, but without sacrificing the dystopian, singular productions of this artist. 
"Purgatory", by the rapper duo 2Beast featured by Ko$te, on canadian producer Hexmane's beat, closes the EP on a dark Memphis rap vibe. 
Once again, the newest compilation represents a solid roster of emerging, genre pushing artists and some of the biggest cats in the game.

Design by Studio Jimbo 

Mastering by Studio Martyrs

© Lowlife Cartel 2020

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XAH

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