Rene Hell 'Vanilla Call Option' LP (PAN 40)
LP/DL - Release Date: 3 October 2013

www.pan-act.com

Rene Hell 'Var_len' (PAN 40)

WAR SOUNDS MASTER

NTS x PAN w/ Bill Kouligas - 24 April 2017
www.p-a-n.org
www.nts.live
@nts_live

Boredoms - Super You
STILL - unreleased
Native Instrument - Emutional Flutes
Lanark Artefax - Voices Near The Hypocentre
Anenon - Machines
Vipra - PRESENTURO
STILL - unreleased
YATTA - we never went to church
felicita - People don't change (they die)
† I M E 9 4 - Sweetest Pain
Croatian Amor - Breathe Into Me
Yves Tumor - Broken In Ft. Oxhy (AYYA Remix) 
Ismael. - Shiel
M.E.S.H. - unreleased
Pan Daijing - unreleased
Bergsonist - Undocumented Alien
Randomer - Smoking V1
Ismael. - As She Walks By
N1L - Jaget Och Maskerna
Umfang - Symbolic Use Of Light
Hokusai - Jade
Why Be - Heroin Hat
S.Y.P.H. - Regentanz
Oli XL - Heretic

NTS x PAN w/ Bill Kouligas - 24th April 2017

Talen from the EP Shaneera by Fatima Al Qadiri  due for release 13th October on Hyperdub, buy directly here -https://fatimaalqadiri.bandcamp.com/

Shaneera

Fatima Al Qadiri, Alkahaf  Feat. Bobo Secret & Lama3an from 'Shaneera'

opaltapes.com/album/sacred-horror-in-design

Developed from a commission by CTM Festival as an audio/visual project in collaboration with Tarik Barri, and inspired by their 2017 theme of ‘Fear Anger Love’ and its relationship to his childhood following the 1979 Iranian revolution, the record reveals a dramatic blend of acoustic Persian instrumentation and contemporary electronics. Sote aims to devise an idealised fusion of the musical heritage and tradition of Iran with the forward-thinking vision which has propelled his storied career producing techno, hardcore and computer music for labels like Warp, Ge-stell, Morphine and Repitch.

Now living in Tehran, his music has frequently grappled with the strict cultural restrictions imposed in his country over the past few decades, finding a space and setting to nurture new developments in experimental sound and performance; first documented on last year’s ‘Hardcore Sounds From Tehran’ on Opal Tapes.

Working with Arash Bolouri who plays the santour (Persian hammered dulcimer), and Behrouz Pashaei on the long-necked, four-string setar, Sote frames and responds to their traditional artistry. On occasions he directly manipulates the music emanating from their ancient instruments, cultivating and thickening up a surreal and beautiful tonality plucked from their strings with a series of processing techniques, but mostly each track is a peaceful arrangement and partnership, Sote electro-acoustically augmenting their movements within his own cybernetic framework. The resulting form gives the impression of semi-improvised gesture between three skilled partners, a deft call and response that uses digital techniques to extend the intentions of the performers into a modern, shady, but ultimately optimistic narrative; creating an paradoxical amalgam of the mythic and the profane as strong as any folk music.

Across the six tracks the strange strings tend to conduct the overall experience, tuned to the unusual colour and complex microtonality found in the classical music of Iran. Blurts of noise, sour tones, and a vaguely technoid or dubwise impression expose the inner rhythm and counterpoint embedded in this strummed music, building a new understanding and doorway into unfamiliar timbres and environmental patterns which govern us. At times it finds the artist at his most compositionally delicate and measured—listen to the sense of space afforded to a beautiful solo that drifts throughout “Boghze Esfahen” and then into “Plural”—and redoubles his focus on what new insight might be gained from the emotional, mathematical and polyrhythmic principles underpinning Persian music.

The electronic parts on final track “Holy Error” are sourced from Sote’s residency at EMS Stockholm in late 2016, utilising their remarkable in-house modular Serge system and divesting from conventional Iranian tonal motifs for a spikier duel with the instruments.

Synthesis: FM 
Dastgah: Nava & Chahargah 
Instruments: Santour, Setar & Kamancheh (by Kian Farahani)

Plebeian

Composition, arranging, mix engineering, mastering and production by Mahdyar
Artwork by Hirad Sab
http://mahdyar.com

Seize

Artist: Errorsmith
Album: Superlative Fatigue 
Format: 2xLP / Digital
Cat.No: PAN 81 
Release Date: 20 October 2017
@errorsmith

https://errorsmithpan.bandcamp.com/album/superlative-fatigue

Returning with his first album in 13 years, Errorsmith’s ‘Superlative Fatigue’ long-awaited release on PAN arrives as his perhaps most optimistic record yet.

Placing a strong emphasis on spectral exploration, the tracks tell an inherent story and span a musical arc with his recognisable synthesised tones, computerised vocal effects and timbral changes in motion.

In comparison to his previous productions, Errorsmith (Erik Wiegand) sees the release as less abstract, harsh or aggressive: “I would say it is rather accessible and cheerful; at times ridiculously cheerful but still very sincere and emotional.” He suggests. “I find it touching when this little android raises its pitch at the end of ‘Lightspeed’ or the android catching its breath in ‘My Party’ for instance.”

The album title, ‘Superlative Fatigue’ reflects this tension between an over-the-top, hysterical emotion, against more deeply felt expressions or realness.

Besides collaborating with the likes of Mark Fell, to Berghain resident Fiedel as MMM, and Soundstream as Smith N Hack, Wiegand has released a string of seminal dancefloor tracks. Building his own instruments using modular software synthesizers is a large part of his work. Where almost all the sounds in the LP were created with his synth, ‘Razor’, (a synthesizer plug-in he developed for Native instruments, released in 2011) or slightly modified versions of it.

Premiered at Unsound Festival last year, this new material he has developed since has finally taken form in this epic full-length.

The album is mastered by Rashad Becker, featuring artwork by James Hoff and layout by Bill Kouligas.

WAR SOUNDS MASTER

HATAM

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