Arcturus pt2.2

@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)

More rusty and hypnotic sounds are brought by DJ soFa and his newest compilation, Elsewhere LVI. Released on Emotional Response, the 4th compilation of SoFa’s series is meant to move us to the gloomier part of his 12 track travelogue.
Lamusa II and his track Artificiale moves organic sound waves accompanying them with rhythmic shady synth pads, turning our listening journey to somewhat uneasy, yet fascinating trip across the jungle of sleazy and meditative notes.  Elsewhere LVI will come out on Emotional Response.

Lamusa II - Artificiale

Release Date : 21 May 2019
Format :	Digital & Vinyl
Support & Buy : https://otiumrec.bandcamp.com/album/acts-of-intimacy
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Label on Facebook : https://www.facebook.com/otiumrec/
Label on Soundcloud :	https://soundcloud.com/otiumrec
	
Artist on Facebook - https://www.facebook.com/jeunegkanthor
Artist on Soundcloud - https://soundcloud.com/kanthor
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Description / Infos

We are glad to present you ‘Acts of Intimacy’, a 6 track compilation maxi (vinyl + digital), booklet, and large format prints release. Featuring Paulie Jan, Refracted, Asfa, Joseph, Kanthor and Vâyu, the creative process of each artist on the vinyl was guided by our multidisciplinary approach for this compilation. 

The booklet is made of Benoît Lefeuvre micro experiments photos shots taken trough a microscope lens, and Léa Moret-Bailly’s poem. We gave the artists a carte blanche around these artistic elements, to let them compose a musical creation in their very intimate way. 

‘Acts of Intimacy’ comes in a limited press of 200 numbered vinyls, 100 booklets, and 10 unique framed photo prints on fine art paper.

Support & Buy

Kanthor - En Immanence [Otium]

Forthcoming on Akuphone (AKU1016)

feat: 
FUJI-YUKI - KIKI HITOMI - MIKADO KOKO - MIKI YUI 
KAKUSHIN NISHIHARA - KUUNATIC and KEIKO HIGUCHI.

DIGITAL  => JUNE, 14. 2019 
VINYL-CD  => JULY, 13. 2019

Seitō gathers Japanese female artists from various electronic and experimental music fields. Like the « Tokyo Flashback » series issued by P.S.F. in the early 1990s, this collection recorded between 2017 and 2019 exposes the richness of the contemporary Japanese underground music scene. The title refers to a cult feminist magazine printed in Japan in the 1910s. All tracks issued for the first time.

www.akuphone.com

AKU1016 // VA - Seitō: In the Beginning, Woman Was the Sun (Album preview)

Svitlana Nainio and Oleksandr Yurchenko are musicians with a long history in the still-mysterious Kiev Underground. Nainio’s first group Cukor Bima Smert [Sugar, The White Death] were active in the late 80s before Nainio’s solo record was released in 1992. Her work centers around deconstructed, minimal treatments of Ukrainian folk music and the palette of Eastern European harmony and rhythm. Oleksandr Yurchenko, a longtime collaborator and a pivotal figure in the Kiev music scene, was instrumental in creating the Novaya Scena, a loose conglomerate of artists who encouraged eachother to excavate both the sounds of the west and Ukrainian tradition.  'Znayesh Yak? Rozkazhi' ('Know How? Tell Me') is the duo’s most fully realised collaboration, an enchanting, complete world informed by Yurchenko’s instrumentation and playfulness with form and how it frames Nainio’s otherworldly soprano, recalling Liz Fraser steeped in contrapuntal melody and hymnal improvisation …. Originally released in 1996, this is the debut release of Znayesh Yak? Roxkazhi outside of Ukraine and a follow up to Lisova Kolekciya, re-issued by Skire in 2017.
Recorded in an abandoned park in Kiev during a fertile period for artists and musicians following the collapse of the Soviet Union, 'Znayesh Yak? Rozkazhi' sees Nianio and Yurchenko combine Casio keyboard, hammered dulcimer, percussion, and Nainio's unmistakeable soprano vocalisations to create music sympathetic to the specific locations in which they chose to record. Yurchenko's contribution is perhaps more present on this recording than anything else we have heard from the duo. His percussive dulcimer playing provides the basis on which Nianio can weave delicate keyboard lines while playfully contorting her voice, shifting from a low register reminiscent of Nico to what could be the call of a bird or an animal in distress. Whatever the intent, the effect is haunting and beautiful in equal measure. 

Nainio’s unique, unmistakeable vocal rings true here, weaving through the interlocking rhythmic patterns conjured by Yurchenko. There’s prevailing earthiness on the recordings, found in the warm hiss of the lo fi means of recording or the grinding, unspecified sounds that occasionally accompany the melody, like drones created on the fly by hands trying to keep warm in the ice. A prevailing mood of fragility and beauty seeps from these melodies, delicate moments of clarity spun by the two musicians. Znayesh Yak. Rozkazhi? is a dream spun in twilight, a crystalline, private world the listener feels both alien and welcome in.

Svitlana Nianio + Oleksandr Yurchenko - Untitled 1 (from Znayesh Yak. Rozkazhi?)

Travelling across the globe is the ultimate way to brighten your imagination and widen your knowledge about the shape of things. Even a travel diary provide the close sense to its reader; the adjoining experience could be really mind-transferring if the diary is written in universal language. Four years after ‘Temnoe Poznaetsya Chernim’, Klammklang presents another report of @kptransmission's inner pilgrimage.

Karina Kazaryan has collected the sonic material for ‘Beatrice’ while exploring Armenia, Georgia, Kyrgyzstan and Ukraine, as well as some of Russia's non-obvious destinations. Every day of this wayfaring bore a special significance to the musician, not only through the evocation of memories and insights, but also in conjunction with edifying and effortful books read and films watched (hint: Walerian Borowczyk) during the passages between points. Akin to these inspirations, ‘Beatrice’ takes its stand: the attempt of purest and highest perception of mortals’ desires and sensations, connecting them to the ‘Outer World’.

Making her music spiritual yet up-to-date and challenging, KP Transmission manages to keep this sonic flux as carnal as never before. From erratic layers of ‘Spell’ and proto-amen breaks of 'Eerie V2' to neurotic pulse of ‘Wolf Eyelash’ the album forcloses the genre-conventional “dark night of the soul”-esque vibe with rhythm as its key element. Through the metal clashes, church choir samples and beat-making inclusions of Zeena LaVey’s voice (in ‘Kariades’), ‘Beatrice’ still occurs as voice of trust and ardour; even Dante’s quest for Heavens sometimes was ominous, but had reached its virtuous end.

Buy cassettes and digital: kptransmission.bandcamp.com/album/beatrice

Beatrice

KP Transmission – Beatrice (from Klamm24)

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

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