Daniel Avery - Magic   Memory [a playlist]

Playlist converted by Soundiiz from another music platform ! https://soundiiz.com

Lionelectrochill

Fisershuff

New Electronic Music

Deep Tech

Blue 05

Time

Other

Recorded at Secret Twitchdance, 1984
Romulus Cœurque: rhythms, dub treatments | Porn Flake: synths, dub treatments

Out on "Prototech" 2x12"EP, a joint release of Dark Entries (DE-179) and Serendip Lab (SERLP007).
http://www.darkentriesrecords.com/store/vinyl/hypnobeat-prototech-2xlp/#tab-description
http://www.serendip-lab.org/label/releases/hypnobeat-prototech-serlp007

Driven by the common DIY-attitude, James Dean Brown founded Hypnobeat with Pietro Insipido in 1983. Making noise with a Boss DR-55 rhythm machine, 2nd hand gear and household utensils, it was not before JDB’s encounter with Victor Sol and Tobias Freund a year later that Hypnobeat became a proper, fully electronic outfit.

The main goal was to follow a "neo-tribal" approach by reducing electronics to the hypnotic rhythm core. Affected by the emotional impact of polyrhythmic energy, the collective's live sets were often based on machine improvisations. In the studio, machine expert Victor Sol was the one who shifted the Hypnobeat sound to the desired level of technological sophistication.

Apart from a TB-303, the wide range of analog studio/live gear included up to six synchronized rhythm machines – always with a focus on the inimitable sound of the Roland TR-808. Accordingly, Hypnobeat conceived an early form of contemporary club music, somewhere within the scope of classical Electro Funk and prototype Techno, and with a proto-Acid flavour – on "the front-line of sonic innovation before Techno was even a thing."

In 1996, evolving from Hypnobeat, James Dean Brown formed Narcotic Syntax, a project he boosted together with Yapacc in 2003, with releases on Perlon, WIR and Prospector.

And after all, Hypnobeat retransformed from Narcotic Syntax. What was supposed to be a one-off solo live appearance by James Dean Brown at Serendip Festival, Paris in 2012 became the exciting new evolution of Hypnobeat with Helena Hauff joining the project a year later.

The duo's live performances are completely based on improvisation, exhausting the power of an untamed Roland horde which is unique on stage: 1 x TR-707 + 3 x TR-808 + 2x TB-303 + a formidable array of effects = provocative percussion, voodoo passion, tribal ecstasy, hypnodelic temptation, psycho-exotic magic, universal resonance, and a quantum of danger under a crypto-bohemian approach.

Hypnoweb
http://www.hypnobeat.net
Booking
hypnobeat@hypnobeat.net

Past live shows:
•	Festival Serendip, Paris
•	CTM, Berghain, Berlin
•	Grundlos Glücklich, ://about blank, Berlin
•	Les Siestes Électroniques, Toulouse
•	Écoutes au Vert, Motel Campo, Geneva
•	Insomnia, Tromsø, Norway
•	Bleak Future, Petit Bain, Paris
•	SAVE, Moscow
•	Intonal, Malmö, Sweden
•	Rural, Mountain Park Tsunan, Niigata, Japan
•	Krake, Urban Spree, Berlin
•	Arma Labelnight, OHM, Berlin
•	Atonal, Berlin
•	Kaiku, Helsinki
•	Boiler Room, Vienna
•	Dark Entries, Säule/Berghain, Berlin (JDB solo)
•	Mmodemmnight, Frankfurt a.M. (JDB solo)
•	Arma X, Funkhaus, Berlin (JDB solo)

Hypnobeat features:

The whole story
https://www.electronicbeats.net/frankfurt-diy-history
Techno Cadeau (08/2017)
https://web.archive.org/web/20220625101310/https://technocadeau.fr
Resident Advisor (01/2015)
http://www.residentadvisor.net/feature.aspx?2359

Hypnoweb
http://www.hypnobeat.net

Interview with Early Reflections, Paris (03/2023)
https://early-reflections.com/mixes/james-dean-brown

Interview with Fabric. London (03/2013)
www.fabriclondon.com/blog/view/in-conversation-with-james-dean-brown

www.empire-of-passion.com

Hypnobeat - The Arumbaya Fetish (1984)

Moon Safari

Sexy Boy

Dummy

Mysterons

Aquemini

Digital: 
https://marcoshuttle.bandcamp.com/album/flauto-sintetico

Vinyl:
https://clone.nl/item40762.html

Dozzy and Neel's exciting new label Spazio Disponibile serves up a third release this summer, with the latest one coming from Italian Marco Shuttle. The techno stylist and Eerie boss serves up three tracks that continue to mark out his heady and hypnotic aesthetic. 

'Flusso Dinamico' opens up the EP with sevens minutes of brooding, streamlined and slick techno that is spooky and haunting. A gentle cacophony of big bells stomp over slick rubber drums and suck you deep into the groove. ‘Danza Cinetica’ is then darker and more intense but just as spacious and involving, with paranoid melodic daubs falling from above as suggestive little synth sounds bleep below. Lastly, 'Flauto Synthetico' is an adventurous 11 minute opus with slow, undulating drums forming a basis for experimental synth patterns, rugged phasing and distant bleeps to all colour the airwaves with a sense of late night and futuristic menace. It is music that is both cerebral yet visceral and fits in nicely with the MO of the Italian label so far.

A1.	Marco Shuttle - Flusso Dinamico
A2.	Marco Shuttle - Danza Cinetica
B1.	Marco Shuttle - Flauto Synthetico

Spazio003 - Marco Shuttle - Flauto Synthetico

Marco Shuttle - Thebe

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

You Can' T Stop Time

Mininga

WSDM008

Syzygy

Glitter

Glitter (Jon Hopkins Remix)

C O S M

C O S M (Daniel Avery Remix)

Hope Repeater

1nce Again

Last summer we started our sub-label DUAT Moving Pictures just to release movie scores and we started the project with the soundtrack of the Netflix movie "Kidnapping Stella" by Michael Kamm. The idea was, to get those cinematic songs remixed by various electronic music artists and release that interpretation on our mother techno label DUAT. This is the first chapter with great works by Vril, Anja Zaube, Amin Fallaha and R100, available on Vinyl and digital.

Michael Kamm - KS M01 MK180823 (Vril Remix)

Welcome to the Pleasure Dome

Paraphilic Love Map

Dropping more than 2 years after his debut on the imprint, Tom VR’s latest & third record on ‘all my thoughts’ is a 3 track showcase of his evolving style of thoughtful club music. The Manchester-based producer, DJ & label-head introduces the EP with title-track ‘Acheless’ - which fuses arpeggios, visceral pads & glitched-out garage percussion into a euphoric club cut.

‘It Swims Here’, begins with twinkling synth lines before emerging as a hypnotic house track crafted for the final half-hour on the dance-floor with dreamy vocals and whispers weaved throughout. The fast-paced ‘Couldn’t Find The Words’ sets the mood for post-rave reminiscing, blending analog synth bleeps, dubby chords & breathy gasps into a tightly-wound introspective minimal track.

bandcamp

tom vr - acheless

'Push Power ( a 1 )', out now on Ninja Tune: https://actress.lnk.to/push-powerSo 

'Karma & Desire', out now on Ninja Tune: https://actress.lnk.to/karma-desireSo

Follow Actress -
Spotify: https://found.ee/actress-sp
Apple Music: https://found.ee/actress-am
Instagram: https://found.ee/actress-ig
Facebook: https://found.ee/actress-fb
Twitter: https://found.ee/actress-tw
Youtube: https://found.ee/actress-yt
Bandcamp: https://found.ee/actress-bc
Soundcloud: https://found.ee/actress-sc

Loveless / Angels Pharmacy

Angels Pharmacy (feat. Zsela)

Spectral Frequency

Void Control

'Star (A$AP Ferg Remix)', out now on Ninja Tune: https://machinedrum.lnk.to/star-rmxSo

Follow Machinedrum -
Spotify: https://found.ee/machinedrum-sp
Apple Music: https://found.ee/machinedrum-am
Instagram: https://found.ee/machinedrum-ig
TikTok: https://found.ee/machinedrum-tt
Facebook: https://found.ee/machinedrum-fb
Twitter: https://found.ee/machinedrum-tw
YouTube: https://found.ee/machinedrum-yt
Bandcamp: https://found.ee/machinedrum-bc
Soundcloud: https://found.ee/machinedrum-sc

Star (A$AP Ferg Remix)

Star (A$AP Ferg Remix) [feat. Mono/Poly]

Pessimist

Bloom

Sweater

Persistence of Memory - EP

Persistence of Memory, Pt. 1

Persistence of Memory, Pt. 1

Forest Drive West