Arno Gonzalez is producing a modern house sound that sometimes ventures into melodic territory close to Electronica, the Angevin artist was first spotted by the Parisian label Missive, then by Timid Records, on which he released his debut album “Encounters”, as well as a number of EPs and remixes...

Today, he is one of the spearheads and leaders of Brique Rouge, David Duriez's label, with whom he is on a mission to perpetuate and reinvent a certain vision of House and Techno music.

With this third album, which marks “the end of innocence”, Arno explodes the codes of his music to better transcend them. We find his inimitable touch, a particular sound that is sometimes minimal, sometimes warm and melodious, a real signature on 13 tracks that tells a real story.

If this is the end of innocence, it's also the beginning of maturity.

OFFICIAL RELEASE DATE MAY,30 +> go.protonradio.com/r/rlNNCbQP9fHA4?p=16427  

Written, constructed, performed and produced by ARNO GONZALEZ
Published by Copyright Control
Artwork + sleeve design by Roger Chacal based on an idea of Arno Gonzalez
Curated & mastered by David Duriez
Distributed by [briquerouge]
French purveyors of proper underground electronic dance music since 1999
#keepinghouseunderground

01 - Arno Gonzalez - The End Of Innocence

Brexification of my old song Breakfast, as suggested by Peaches the Wale.

Brexit (Do You Like)

New cassette out now! https://goto8o.bandcamp.com/album/w93-m3u-data996 // Also available at http://www.windows93.net

I124Q

So just the other day I surpassed 1,000 followers on Soundcloud! I know I'm not the best when it comes to promoting myself on social media, but for all those people who have stuck by me the last 10+ years on here, many thanks.

Platinum Sunshine

Space Adventure Nova

my very first ever commissioned piece of music! for https://twitter.com/KoboldUnderlord, who wanted a dungeon crawling type theme for their oc Wyx

wyx's treasure hunt

toxic (ft. skrillex) - flying shapes

Singles

Daydream

This is the first of a (hopefully) annual series of themed collaborative chiptune events hosted by the Chiptune Server.

For our first compo's theme, we settled on retrofuturism: the future, imagined by the past. Each entrant selected a year of their choosing and created a chiptune song to envision how the musicians of that era might have predicted 2050 to sound. This resulted in an eclectic, but steadfastly danceable album that takes the listener through an electronic tour of the 19th and 20th centuries' musical trends.

You can download this track in its original quality here:
https://www.mediafire.com/file/seuu7hpa0uqk7a8/2050.zip/file

Selected Year: 2000

Artist's Comments:
"'2050: The interconnective powers of the internet have lead to nothing short of a revolution. People from all corners of the globe live in perfect harmony, linked as tightly as web pages by a shared yearning for understanding and peace. The scrappy young technocrats who fostered this prosperous era now oversee us as our benevolent rulers, and their flawless judgement has eradicated nearly all of the world's former ills. Global warming, world hunger, and all manner of diseases are nothing but footnotes in schoolchildren's Digibooks, and people from all walks of life, able to procure all of history's knowledge at an instant, have found their ways into society's highest echelons.
The greatest pleasure in this utopian present is the club, a centerpiece of mankind's ever-expanding leisure time. No matter where they are, the citizens of the world all dance in metaphorical lockstep to the genres first pioneered in 2000—a rhythmic and energetic style, laced with the latest and greatest of timbres—united by the drum machine and the synthesizer.'

While I've never expressed it much before, I have a slight fondness for the so-called 'Y2K aesthetic,' a design style that reigned from roughly 1998-2001. Bolstered by the approach of the 'new millennium' and the seemingly limitless potential granted by the personal computer, designers embraced blobby curves, transparent surfaces, and extraneously ornamental circuitry designs in a reckless push to create the fashion of the future. Accompanying this new visual style was the recent popularity of techno music, whose washy synthesizers and relentless grooves were effectively the aural equivalent of the dreamlike CGI spaces omnipresent in Y2K-era art. All of this media is extremely dated now, of course, but that's why it appeals to me so much—2020 makes it very tempting to escape into idealized depictions of the future!
In an effort to capture the sound of 2000, I used several samples from E-MU's Orbit-3 and Proteus romplers, as well as the Methods of Mayhem loop pack, but I added EQ, reverb and other post-processing tools to them to keep the tone 'modern.' I also found a recreation of Korg's famous Ice Field patch from a Reddit thread, which became an essential part of the overall track (that patch is everywhere, by the way—look for it in almost any Y2K-era techno song!). In the end, the song ended up much longer than I originally anticipated, but I'm still happy with the results.
I'd like to shout out Synamax, whose Metroid Prime samples source videos were what introduced me to E-MU, as well as Froyo Tam of the Y2K Aesthetic Institute, an invaluable source of references and inspiration."

I124Q

GOTO80