Taken from Diana Azzuz (@dianaazzuz) new EP Anastrophe, out July 20, 2021, via Standard Deviation (@standard-deviation)

Read: https://bit.ly/3xmvyVa
Pre-order: https://bit.ly/3hew1mW

Diana Azzuz’s first solo installment on Standard Deviation is the artist’s initial connection to electronic club sounds and presents a subtle transformation within her artistic practice. Through her mostly conceptual approach, Azzuz seeks to challenge notions of sound explicitly by disobeying common expectations and preconceptions. The EP is called ”Anastrophe”, a fitting title describing rearrangement as a strategy to create sound.

The Video shot for the second track ”Recursive Gesture” revolves around the idea of metamorphosis in the modern world, highlighting unpredictable, unidentifiable aspects of human ways of thinking within the so dominantly emerging cross-virtual world. Azzuz wants to present the limitations of human preconceptions in the virtual age of uncertainty and fluidity. As the artist describes, ”why are things perceived to be fixed and certain and how can I communicate and articulate this contingency?”, Azzuz draws on different tools like AI in her work, visually depicting a fluid state of self-modulation, morphosis within time and space, aiming to emphasize the fundamental ambiguity within our lives.

While ”A Very Touchy Spot”, the first track of the EP is a subtle and mysterious entry into Azzuz’ world of sounds, using ambient textures combined with classical drum elements, ”Recursive Gesture” tries to escape this initial idea towards influences of Grime, Bass and contemporary forms of Dubstep creating a powerful bass roller. ”Pathos”, the last track on the EP, is a heavy hitting roundup taking on modern club sounds, using elements of Gabber, Trance and Hardcore. Inherent to all tracks, a rather dark mood carries the tracks and embeds them into a coherent ambiguous feeling of unpredictability, uncertainty and fluidity.

The EP get’s supported with remixes from M.E.S.H., who’s contributing with a new Alias ”eea” (Extreme Energy Availability) on ”Recursive Gesture”. Cologne based musician Swan Meat rounds it up, taking a shot on ”Pathos”.

Artwork by Diana Azzuz

Mixed by Paul Georg, eea fka M.E.S.H., Swan Meat

Mastered by UTC+16

Released by Standard Deviation

Premiere: Diana Azzuz - A Very Touchy Spot [Standard Deviation]

🦗 𝘾𝙞𝙘𝙖𝙙𝙖 [𝙈𝙖𝙭 4 𝙇𝙞𝙫𝙚 𝙙𝙚𝙫𝙞𝙘𝙚] 𝙞𝙣𝙛𝙤 𝙗𝙚𝙡𝙤𝙬 🦗

ᴏʀɪɢɪɴᴀʟ ᴛʀᴀᴄᴋ @tu_music 
ʀᴇᴍɪx @pleadingfern
ᴍᴀꜱᴛᴇʀɪɴɢ @wimdehaen
 ᴀʀᴛᴡᴏʀᴋ Ver  [IG: _nismo95]

Confined Space stems from the idea of repurposing audio material from YouTube, in an artistic process that values quantity over quality. Random videos are selected using different key words and their audio is chopped and compressed into the DAW to be used as compositional elements. Often scrolling down to get the uploads with the least views, this process is both a reflection on the enormous quantity of material that can be found online and an invitation to use and repurpose digital content in new artistic ways. What is inside the database is not important, its size already makes for an infinite output of ideas.

Luca Favaro is an Italian musician and composer. Starting as a classical percussionist, he approaches electronic music composition finding his roots in sound design, club music and field recording. With the moniker T.U. he has published with False Industries (Berlin), Hide Productions (Milan, Udine) and World Canvas (Helsinki) as well as scoring music for installations, theatre and ballet. He currently hosts Desktop Music, a monthly show on radio Raheem where he explores sound design and generative music through original compositions. With the dance-focused project Capiuz, Favaro investigates a more rhythmic approach to his compositions, exploring the more experimental and hypnotic sides of dance music. As a programmer, he has created various Max for Live devices published by Hide Productions in an ongoing series.

FREE BONUS CONTENT FOR ABLETON USERS: Cicada [Max 4 Live device]

Cicada is a time manipulation effect that warps and smears audio in real time. The device is divided into two independent sections: SCRMBL creates a cloud like texture by running the incoming sound through a cascade of modulating delays, with the possibility of adding extra pitch shifted layers. WARP imitates the warp feature on Ableton’s clips, with a grain/speed control and the possibility of having it synced and retriggered according to live’s tempo.

DOWNLOAD [EP&M4L]

CAPIUZ - HELP ME [PLEADING FERN REMIX]

Thanks to https://soundcloud.com/indigoblue97

(+)earth w/ Indigoblue

" El juicio de las sombras "    (Turrikto,  Darkmoon, Edudp) (Stormriders edit )

BLiTZKRiEG

CNDSD - Primal Urge

Although the initial seeds had already been planted, the largest part of these two tracks was produced by Francesco Birsa Alessandri (Sense Fracture) in Milan, Italy, during the strictest part of Covid-19 lockdown. While all around people were trying to make the best of their home confinement, all the Haunter co-founder could channel in this work was a sense of rage and frustration. The global pandemic was revealing once more how the current political structures do not exist to provide for the common good. World leaders exploited the state of emergency to provide for their own authoritarian agenda, working in conjunction with multinational Capital to reinforce the hegemonic status of the ruling class. It was immediately apparent that not even the possibility of death on mass scale was enough to re-think the force and economic relations that govern Earth. The possibility to think and work as a community constantly mauled by the paranoid, individualistic narrative of power, reinforcing the state of anxiety that permeates the world.

The furious yells in “What We Could Have Done” were sampled from Italian hardcore punk band Wretched’s 1984 classic “Spero Venga La Guerra”, its intro famously stating “I hope war comes, only then you’ll understand you could have done something”. War hasn’t come to the global north, but pestilence has, have now grasped what we could have done? How we could overthrow the present state of things and organize towards the future?

This single also comes out a few days after the murder of George Floyd at the hands of a police officer raised once more the evidence of systemic racism and the issue of white supremacy not only in the USA but in all western countries, giving birth to a mass uprise that makes the need and hunger for radical change impossible to ignore.
“RAN” a Japanese word for “riot” and “rebellion” is an invite to take action in burning down the castle, to join together and do all we can.

These tracks is dedicated to all individuals and organizations that have engaged in active popular solidarity and aid.
All the profits made by the sales of the single will be donated in an even split between the Brigate Volontarie Per L’Emergenza (Italy) and the National Bailout Fund (USA).

What We Could Have Done

Taken from SBKT034: Nahash - Flowers of the Revolution

‘Flowers of the Revolution’ is the new album from Nahash. 7 original tracks, including a collaboration with Osheyack, plus remixes from Elvin Brandhi featuring Kanja from Duma, Gabber Modus Operandi and DJ Plead

‘The album was written while researching and reading about the role that the US played in installing dictators in central and south America. The harsh and industrial sounds I used as a way to talk about what happens when the harsh reality of neo-liberalism takes over a country that could do very well without it.

I was reading and watching documentaries about Haiti and Cuba and trying to imagine what those countries would be without any western influence.

The ‘’flowers of the revolution’’ are the flowers that never grew, the fields that were burnt down, the plants that were trampled by boots.’ – Nahash

Flowers of the Revolution

Nahash - A Secret Christian Influence

https://band.link/burntheempire

Public Service Announcement:

Do. Not. Hyper-politicize. Every. Womxn*. Artist’s. Work.

After making her debut into the world of dark, deconstructed club music on Infinite Machine in late 2017, Ani Klang is releasing her latest hard-hitting, genre-blending EP on Russian label, Hyperboloid Records to round out a busy year of releases in 2020.

‘BURN THE EMPIRE’ is a powerful statement piece seeking to disprove the pervasive belief that womxn and queer people are primarily working and creating music to “empower others.”

After growing frustrated with commentators deeming every bold piece of womxn-made art as an “outspoken feminist act” and forcing political causes on female/non-binary compositions when none are intended, Klang has challenged this trend and created a piece of work that is emphatically not an “empowering anthem for womxn everywhere.”

Armed with frustration, pain, and a little irony, Klang has built her own empire on the outskirts of genre, and all who are open are invited. She is releasing this record with hopes to begin dismantling the notion that womxn’s music is only meant to serve as a political weapon to fight misogyny. There must be something more meaningful womxn have to say to each other besides ‘you can do it too.’

She began grappling with this idea several years ago, when she felt pressured by the underground club community to be “outspoken” to have her music heard. In a 2018 Instagram post, she explained her frustrations as follows:

“I feel like being ‘outspoken’ is almost a prerequisite for being a successful woman at anything these days.It’s not enough to just be an artist who happens to be female – you have to empower women somehow and put your political opinions at the forefront of your art to be considered ‘relevant’. To be completely honest, I find it frustrating as hell. […] I want women to feel empowered but there are so many other creative ways to do this than just talking about feminism. We should be allowed to just BE artists who make records about death, masturbation, chocolate cake, or whatever the hell we want!”

‘BURN THE EMPIRE’ journeys from 145-160 BPM and showcases punchy, fluttery, footwork-inspired kick patterns, layers of heavily manipulated industrial textures and ironically political self-recorded samples (i.e. feminist podcasts, orgasms, and ex-girlfriends crying and singing) bound together by a rave-friendly mentality. Featuring scorching remixes by formidable artists like A.Fruit, Daniel Ruane, and Pixelord, ‘BURN THE EMPIRE’ is an intense sonic excursion through the mind and body of a female artist, eager to set the underground club scene on fire.

With match in hand, Ani Klang urges listeners to fully understand the following before organizing a livid mob armed with extinguishers on her front lawn:

“I am not intending to belittle or invalidate any collective or artist whose primary premise and passion is to empower others. Rather, I am encouraging commentators and listeners to understand and appreciate our unique concepts and technological capabilities before lazily assuming our artistic motivations.

It’s time we Burn the Empire of exhausted empowerment and construct our own domain, fortified by authenticity, legitimacy and resiliency. We’re are not examples, we are exasperated, and we’re gonna burn shit.”

* ‘womxn’ inclusively refers to any female-bodied or non-binary individual, queer or an otherwise unique human who deviates from standard cisgender identities.

BURN THE EMPIRE

DIGITAL / CASSETTE

ANI KLANG - BURN THE EMPIRE (DANIEL RUANE RELAPSE)

Llanto - Cabrón

Full release: 
https://n1lmusic.bandcamp.com/album/kr-l-spe-s

Producer, Composed By, Artwork By, Mixed By – N1L
Mastered By – Raphaël Valensi

                                                     Tracklist:
1 	krɔːl speɪs 	2:15
2 	alpha fail 	5:24
3 	chronos 	3:18
4 	kairos 	2:42
5 	ijsv.0gel II 	2:28
6 	centipede goddess 	2:23
7 	ani-maani-musani-mal 	3:00
8 	exit anthropocene 	3:02
9 	bloodstained totems 	2:43
10 	kavadi aattam 	7:10

1st draft titled "water memory" was released as limited edition cassette tape via OpalTapes, 2018
.....................................
Extended, updated by N1L 2018-2020
Re-mastered by Raphaël Valensi 2020

What We Could Have Done

Haunter Records

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