[BM113] PASQUA PANCRAZI - Flair (Original Mix)

Agbogho Mmuo - Maiden Spirits
Area / 2017, cassette compilation, limited edition.

Agbogho

Agnes Aves (Lyl Radio) mix for Berceuse Heroique

@chaperonetechno is often the only thing that will calm me after a long day on Wall Street. Well now the most beautiful man on our label is back with some heavy rippers for the Love Boat nightmare that you're––strangely enough––very much enjoying. Bliss is a lazy word but you can have it. 

Originally released on Crisis Urbana, reissued 2018 on AHT.

Chaperone - Greeting Ships By Night (AHTR001)

https://33103402.bandcamp.com/track/131cassa

131cassa

More info - http://loose-lips.co.uk/blog/saaad-the-western-promise-nahal004
@nahalrecordings @saaadnotes

Orbs And Channels (2018 Reissue)

Western Promise

Pre-order

PREMIERE: Saåad - The Western Promise (NAHAL004)

Karamika - a studio creation from George Thompson (Black Merlin) and Gordon Pohl AKA Dussuldorfs engineer supreme(Musiccargo / Kunstkopf / The Isolators…). This their second long player is a record full of mind games. Sounds leak from fractal-like holes, and are sedately trodden back into the cosmic fabric of the album. The noise of post cruise carpet.

Release: 25.04.2019
Distributed by Rush Hour Distribution

B1.TON 2.3

BUY VINYL: http://www.darkentriesrecords.com/store/vinyl/lp/various-artists-tens-across-the-board/
Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased. The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of  “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval.
On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell. All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown.  For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

Tens Across The Board

Lena Platonos - Μια Γάτα Σας Περιμένει Στη Γωνία

Renée van Trier is a transdisciplinary artist that mourns the loss of the comfort of disconnected life. Her songs will soothe our anxieties, heal our torments and make us smile for weeks.
The sixth CAF? release is skipping between genres such as songwriting, punk, breakcore, jungle, hardcore and parody. Have fun!
9 mixes vinyl record out February 28th, buy here: https://unptitcaf.bandcamp.com/album/something-of-what-weve-lost-006caf

https://soundcloud.com/vantrier
https://soundcloud.com/caf_rec

SOMETHING IS WRONG WITH ME

Listen On YouTube

PREMIERE #836 | Renée van Trier - SOMETHING IS WRONG WITH ME (PUNK) [CAF?] 2020

Fantastic Twins - Shake It
Sascha Funke - Robur 
Boot & Tax - Comprendes
Charlie Megira & The Hefker Girl - Direct Exercise No. 1 
Gong Gong Gong 工工工 - 喂喂喂  
Shonen Knife - Parrot Polynesia
Carmen - Schlaraffenland
Onyx - Call Of The Wild
Vam Cyborg - El Valle De Los Dioses
Terminus B - Robot Dynastie
L.F.T. - Geister Fabrik 
Group A - Suffocated
Jensen Interceptor & Assembler Code - Natural Control 
Panther Modern - Creep
D.A.F. - Sato Sato (Westbam Remix) 
Chris and Cosey - Paralleladrill

Marouchka - Paralleladrills

Out on August 7th, 2020. Available at https://shop.tapeterecords.com/new/conrad-schnitzler-frank-bretschneider-construct.html

About the Con-Struct series
Conrad Schnitzler liked to embark on daily excursions through the sonic diversity of his synthesizers. Finding exceptional sounds with great regularity, he preserved them for use in combination with each other in subsequent live performances. He thus amassed a vast sound archive of his discoveries over time. When the m=min- imal label in Berlin reissued two Conrad Schnitzler al- bums at the outset of the 2010 decade, label honcho Jens Strüver was granted access to this audio library.
Strüver came up with the idea of con-structing new compositions, not remixes, from the archived material. On completion of the first Con-Struct album, he decided to develop the concept into a series, with different electronic musicians invited into Schnitzler’s unique world of sound.

Bretschneider on his Con-Structions
I read the name Conrad Schnitzler for the first time in the arti- cle about Tangerine Dream in the Rowohlt Rock Lexicon from 1973 (back then, at 17 in the GDR, an indispensable guide). The first time I heard his music was only in 1980, when his wave track “Auf dem Schwarzen Kanal” was played on the ra- dio, an RCA 12“ Super Sound Single in disco remix. Then the man was gone and stayed under the radar again, in spite of his almost inflationary number of releases. Maybe his mate- rial was too obscure or his approach too radical to be noticed by the general public. It wasn‘t until 1988 that I heard from Schnitzler again, a tape on Jörg Thomasius‘ East Berlin Kröten Kassetten label. And again almost 10 years later his Plate Lunch CDs “Rot” and “00/106”. But it was all too rough and raw for me, both in terms of sound and organization, kind of mechanically and not really cool. Only after I heard Wolfgang Seidel at the NBI around 2002 with one of his tape concerts, I came slowly closer.
Schnitzler‘s early role as co-founder of two influential bands is one reason for the ongoing reception. Another is his con- sequence as an artist. “I‘m not interested in having publicity or a public feedback” he declared in an 1996 interview. It remains an open question whether one has to completely refuse to do so. But I was always fascinated by this almost extinct way of being an artist in its full independence. Just as I feel connected, as a self- taught person and as someone who prefers to look forward instead of looking back: “I don‘t want nostalgia.” After all it was Jens Strüver who inspired me to work with Conrad Schnitzer‘s material.
I had the idea of flowing music in which patterns develop, shift, dissolve and finally reorganize. A modular system seemed the most suitable to connect Schnitzler‘s world with my own by triggering and modulating his sounds via a sampling module and supplementing them with my own. Perhaps I have not always succeeded in merging both worlds congenially, sometimes they orbit, sometimes they collide, but they never stand still. As Conrad Schnitzler says in his „Context“ manifesto: “The sounds don‘t come to stay.”

Marouchka - Paralleladrills

Fruit of The Loop

Recent comments

Julie Guiches

jessevanwinden

Grégoire Bruno

Jidobaggio

Related tracks