FAWN / BRUTE

Described by his peers as a keystone in ambient-electro, Datassette (@datashat) is a bastion of the underground and one of alternative electronic music’s most exceptional and enigmatic talents.

His extensive and diverse discography spans two decades and includes a plethora of albums, EPs and remixes for independent record labels, including: Ai Records, Apollo/R&S, Wall Of Sound, CPU and Shipwrec. His work and creative output also extends to the design of music libraries for TV and radio; producing sound effects for 8-bit video games; working as a graphic designer and co-running the Misc label.

Datassette has never been shy of creating complex, addictive and emotive music and this magical music formula is replicated on Sentinel, his new EP for Lapsus Records.

As is emblematic in his long-standing career, Datassette demonstrates a healthy non-conformist approach to conventional labels and pigeonholing. By using a combination of powerful vintage hardware and latest generation digital techniques, the British producer continually manages to redefine his sound. This new four track EP sees him fuse dub, electro, braindance, ambient, experimental electronica and even abstract hip hop.

Sentinel

Datassette - Sentinel [LPS29]

Boards of Canada - Echus live (Dn_Fnckn_rmx)09/01/2022
{C} All rights Reserved Boards of Canada / Warp Records 2022
https://www.youtube.com/watch?v=_F9wWq7VjTE

Boards Of Canadn  - Echus (Dn_Fnckn_rmx)

Artist: Beispiel
Album: Muster
Label#: faitiche 26
Format: LP/DL
Release: March 18th 2022

Faitiche proudly presents Beispiel (German for example, also suggests playing together), a joint project by Frank Bretschneider and Jan Jelinek. Muster is their first album. Free electronic music, the result of spontaneous improvisations. 

“Meaning” is a concept that is overused in connection with music. Muster does not call for the same kind of air quotes. With its title, German for patterns/exemplars, Beispiel’s album frees itself from the ballast of teleological semantics. There is no overarching theme, no preparation, no reading list, no reason for this music. Just two facts: Frank Bretschneider and Jan Jelinek have known each other a long time and appreciate each other’s work; and they share a love of modular synthesizers and of experimental set-ups designed to capture surprise. 
Bretschneider and Jelinek got together for their first joint session in 2016 and the years that followed brought more such meetings at Jelinek’s studio for open-ended musical dialog – at irregular intervals and with no clear objective. The improvisations were recorded in two stereo tracks: one track for Bretschneider’s audio, one for Jelinek’s. After each session, the recordings were processed separately, the options essentially limited to cutting and altering the frequency range. The nine pieces for Muster were selected from the resulting material. 
This approach reflects an ideal: music is when you play your first note without knowing what the third or fourth will sound like. When your 290th note still sees you leaving the beaten track, and when curiosity grows as the piece unfolds. Duping is part of Beispiel’s practice. Improvisation is about disagreement. It’s a matter of addressing the right issues. What’s happening here? What’s mine, what’s yours? Are “why” and “where next” legitimate questions? 
Muster is an exemplary work. Nine suggestions for what can be. Nine ideas for possibilities of listening.
Arno Raffeiner

written and produced by Frank Bretschneider & Jan Jelinek, G. Guillaume Studio 2016-2020 
Front image by Carlfriedrich Claus „Erwachen am Augenblick / Psych. Feld“, 1991 (© VG Bild-Kunst, Bonn 2022) 
18-6-28-FB&JJ-E includes a sample by Cristian Vogel's "Bug 3" 
Mastering by Giuseppe Ielasi 
Design & photo by Tim Tetzner 
Copyright control

Beispiel: FB&JJ2017-1

Crocodile or Real? A ghost dub broadcast shaped from a special K.

Over-ripe bananas and quaaludes, looking across the concrete at screeching burnouts resonating into echo-streaked good morning sunshine. 

Beat a zig zag serpentine passage, and drift towards solid ground on the platform, are you coming down? Ported and stacked, slip into a stuttering seventh dub. 

Alarm bells and scattering footsteps in the carriage, that is ugly (what’s going on?) 

Space liquid danger waters, sink or swim, float forward inside out, Queens Park conga, last train (to Glasgow Central). 

Perfect storm clouds, take a beat dub cut-up bud, splash it out.

Wherever you are, listen in, K

“Crocodile or Real?” is a new record by Dip Friso, following 2020’s “If The Worm Turns It Could Turn Ugly”. Dip Friso is a recording project of Murray Collier, who also releases music as Grim Lusk (Domestic Exile, 12th Isle), Sunny Balm (Sacred Summits) and as one half of Pussy Mothers (Optimo Music).

Artwork by Rudi Brito
Screen printing by Matthew Rich, M.A.R.S Studio, Glasgow
Mastered by Sam Smith
Text by Joehari Lee and Hannan Jones

Good Morning

https://www.nts.live/shows/straight-honey/episodes/straight-honey-8th-september-2022

Straight Honey w/ Jianghu 080922

Milian Mori is a composer and digital artist based in Switzerland. As part of his solo work he integrates dance, algorithms, pixels, and club music. In the last 12 years mori has developed a musical language that aims to expand, project and reinterpret dance music's common vocabulary.
Mori shares his deep interest in combining mathematics, geometry and data with emotion, dance and fulfillment: Technology meets nature, binary meets fluids, algorithm meets spirituality, dualism meets triality, machine meets human, randomness meets self similarity. All of his works are trying to open the space which exceeds dualism. His art doesn’t want to answer, nor does it aim to question.
His debut album »as you were listening«, released via raster, captures the spirit of his previous works as well as establishes a new vision in which he endeavours to fuse pop culture with the art world. In »As you were listening« he’s using the distinct language of dub techno whilst attempting to expand the genre’s vocabulary with new changes, elements and aesthetics.
Mori has been involved in numerous collaborations and a wide array of arts projects, as well as working as a composer, DIY installation artist, sound designer, recording and sound engineer.

As you were listening

Milian Mori »I listen 5« taken from »As you were listening«

Experimental musician and producer Katie Gately (@katiegately) returns with a fresh collage of captured sounds, announcing details of her new album 'Fawn / Brute' out on March 31st. Along with this announcement Katie has shared the album’s two title tracks, a double single of the album’s title tracks, “Fawn” and “Brute”.
 
The new album is 11 songs of innocence and experience exploring the light and dark of childhood energy following the birth of her first daughter. It is an album of two halves, that moves from the effervescence of early years to the defiance and turbulence of teenage angst.
 
The album is dedicated to Gately’s young daughter Quinn, born in 2021 and single "Fawn", taken from the first half of the album, is a love letter to her. Meanwhile accompanying single "Brute" embodies the darker second half of the record, its massive basslines constructed from the manipulated rattling of cardboard shoeboxes.

In typical maverick style, Gately plundered cartoon sound libraries magpie-like to build signature nests of sounds, integrating her own idiosyncratic sound recording strategies and sampling techniques, from shoeboxes to theremin and with a boisterous recurring saxophone.
 
------------------

The album is her second for us here at Houndstooth, following critically acclaimed 2020's ‘Loom’, made in the wake of her mother's death. But where that album explored grief and long goodbyes, this album is one of play, embracing unstable mood shifts from joy to fury, embracing the energies of childhood and intensity of new life. Previous to ‘Loom’ and ‘Color’, Katie also released 12”s and a cassette on a number of notable underground labels – Public Information and Blue Tapes, as well as the critically acclaimed FatCat Split Series. Katie is also a producer, who worked on Serpentwithfeet’s Soil (2018), and she has produced and remixed for both Björk and Zola Jesus, with Björk saying in an interview that she was struck by how Gately’s productions seemed to be “from a microphone point of view”. She was also part of Mary Anne Hobbs' curated ‘Queens of the Underground’ Festival in Manchester (2019) alongside Houndstooth musician Aisha Devi and is currently living in Pasadena and teaching at Calarts and USC’s School of Cinematic Arts.

LYRICS:

I’m gonna rub the salt into a wound today
Rip it apart, the heart was meant to play
I’m gonna rub the salt into a wound today
Something about the halt of a holy freight
  
Dream through a wall again
Dream through it all
Scream through the parlor’s den
Scream through the wall
 
No one’s gonna find my heart this way
No one’s gonna break my heart
 
Speak up when you’re feeling bad,
Your heart’s in a hovel, heaving up a cloud
Speak up when you’re feeling bad, 
Your heart’s in a pickle, prickled by a prowl
 
I sold my soul to you, my soul to you
I sold my soul to you, my soul to you
I soiled my soul for you, my soul for you
I soiled my soul for you, my soul for you
 
Holler and holler and holler we’re had
Bit by a substance that drove us quite mad
Farther and farther and farther we fled
Flung from the wings of a wicked white bread
 
Rip it up, kick it up give us the score 
Can’t trust a carrot to lead you to shore 
Ripples of pitbulls will bat on your door
Can’t trust a pusher to a portion your pour
 
River, river solid as soil
Halted, shouted, bolted and broiled
River, river solid but soiled
Hindered, spattered, unspoken and spoiled 
  
Out of sound, a silence swells
Howls a hound of haunting bells
Ribbons roped their bones to wells
Held a cell for the spottiest spells
 
Sun, sun where does she roam?
Shifting and sifting about like a gnome
River, river she wanted a home 
Held her own hand to not feel so alone

Pre-Order / Pre-Save

Katie Gately - Brute

Experimental musician and producer Katie Gately (@katiegately) returns with a fresh collage of captured sounds, announcing details of her new album 'Fawn / Brute' out on March 31st. Along with this announcement Katie has shared the album’s two title tracks, a double single of the album’s title tracks, “Fawn” and “Brute”.
 
The new album is 11 songs of innocence and experience exploring the light and dark of childhood energy following the birth of her first daughter. It is an album of two halves, that moves from the effervescence of early years to the defiance and turbulence of teenage angst.
 
The album is dedicated to Gately’s young daughter Quinn, born in 2021 and single "Fawn", taken from the first half of the album, is a love letter to her. Meanwhile accompanying single "Brute" embodies the darker second half of the record, its massive basslines constructed from the manipulated rattling of cardboard shoeboxes.

In typical maverick style, Gately plundered cartoon sound libraries magpie-like to build signature nests of sounds, integrating her own idiosyncratic sound recording strategies and sampling techniques, from shoeboxes to theremin and with a boisterous recurring saxophone.
 
------------------

The album is her second for us here at Houndstooth, following critically acclaimed 2020's ‘Loom’, made in the wake of her mother's death. But where that album explored grief and long goodbyes, this album is one of play, embracing unstable mood shifts from joy to fury, embracing the energies of childhood and intensity of new life. Previous to ‘Loom’ and ‘Color’, Katie also released 12”s and a cassette on a number of notable underground labels – Public Information and Blue Tapes, as well as the critically acclaimed FatCat Split Series. Katie is also a producer, who worked on Serpentwithfeet’s Soil (2018), and she has produced and remixed for both Björk and Zola Jesus, with Björk saying in an interview that she was struck by how Gately’s productions seemed to be “from a microphone point of view”. She was also part of Mary Anne Hobbs' curated ‘Queens of the Underground’ Festival in Manchester (2019) alongside Houndstooth musician Aisha Devi and is currently living in Pasadena and teaching at Calarts and USC’s School of Cinematic Arts.

LYRICS:

We prepared a beast and it’s all a daze
We prepared a beast and it’s all a haze

We pretended, it was all right (All haze, always)
We pretended, it was all good (All haze, all of our days
We pretended a splinter was a threat
We pretended, all was splendid
 
We pretended it was all right
We pretended our tenor wasn’t red
We pretended it was all good
We pretended, all was splendid
 
We prepared a beast and it’s all a haze
We prepared a beast and it’s all a haze
We prepared a beast and she’s all but a maze
We prepared a beast and she’s stuck with us always 

I rubbed my eyes and I scratched my head and laughed aloud because I wasn’t dead!
I hushed my prize and I snatched her up a shred of calf cow silky braided bread! 
I rushed her side and attached a lock of roses across her shirt and shoulders! 
I gushed, her size, how I hatched a complicated graph of gorgeous features!
 
Fate how it pawed and clawed to make a ditch a dent in the mud 
Fate how it huffed and puffed to take a scent of the road that was cuffed
Fate how it pawed and clawed to bait the fright of a fall through a fog
Fate how it roughed and toughed to take a bite of the bone that was caught 
 
Cheeks that break the law 
Cheeks that break the law 

I’m gonna pretend
I am what I intend

Katie Gately - Fawn

Experimental musician and producer Katie Gately (@katiegately) returns with a fresh collage of captured sounds, announcing details of her new album 'Fawn / Brute' out on March 31st. Katie has shared four songs from the album to date, along with “Fawn” / “Brute” / "Cleave," here is "Howl"

The new album is 11 songs of innocence and experience exploring the light and dark of childhood energy following the birth of her first daughter. It is an album of two halves, that moves from the effervescence of early years to the defiance and turbulence of teenage angst.

The album is dedicated to Gately’s young daughter Quinn, born in 2021 and single "Fawn", taken from the first half of the album, is a love letter to her. Meanwhile accompanying single "Brute" embodies the darker second half of the record, its massive basslines constructed from the manipulated rattling of cardboard shoeboxes.

In typical maverick style, Gately plundered cartoon sound libraries magpie-like to build signature nests of sounds, integrating her own idiosyncratic sound recording strategies and sampling techniques, from shoeboxes to theremin and with a boisterous recurring saxophone.

Katie Gately - Howl

Pre-orders available here- https://alienjams.bandcamp.com/album/rkss-cutoff-ep

Artwork- Maxi Springer 
Graphic Design- Joe Gilmore
Mastering- Rupert Clervaux

Special thanks to the Carvery

rkss- Wave

six correlations

James Ginzburg - light, timed - a river

»KAMILHAN; il y a péril en la demeure« is the conclusion of a 5-part cycle of works by artist Grischa Lichtenberger which was initiated with the album »LA DEMEURE; il y a péril en la demeure« in 2015 and continued with the triple EP release »Spielraum, Allgegenwart, Strahlung« in 2016.
In addition to the concept of „demeure“, ones residence as a symbol for the joy and artistic possibilities one can find in isolation, Lichtenberger places a further emphasis on the expression of the voice, represented by the word „Kamilhan“. „Kamilhan“ is a non-existent word, an expression that Ernst Bloch once mentioned in an anecdote about his childhood. Fascinated by its sound but without knowing its meaning, it remained vivid in his memory in its purely „material“ form.
Lichtenberger also refers to this childish perception of language. Words that we do not know, but repeat in our thoughts until they become insignificant. Lyrics in a foreign language that we do not understand and still sing along and imitate. With computer-generated voices, Lichtenberger tries to reproduce these experiences. In his tracks we hear syllables and phrases that are similar to words and that seem familiar to us, but whose meaning remains a secret.
As on the previous album, the tracks on »KAMILHAN« are constantly torn apart and reassembled. Borrowings from hip-hop and even pop are unmistakable, desired, and yet delusive. Rhythms that are repeatedly broken in order to re-organize themselves into new temporal patterns. Melodies that are pierced by precisely these intricate rhythms. Voices that lack any empathy due to their artificiality.
Lichtenberger himself describes these tracks as „crooked ballads“, which, by deliberately following classic pop song structures, try to sell us the absurd as the normal, and in turn smuggle some hope of recognition into the absurd.
»KAMILHAN; il y a péril en la demeure« will be released on May 08, 2020 on CD and as a limited double vinyl edition including a handmade and signed silkscreen print.

KAMILHAN; il y a péril en la demeure

Grischa Lichtenberger »syn resr« taken from »KAMILHAN; il y a péril en la demeure«

Lee Evans - Senoi Dream Theory (HP017)
Taken from Aphasic Forest. Out May 8, 2020 on Human Pitch

Support here: https://smarturl.it/hp017

© 2020 Human Pitch / www.humanpitch.fm

Lee Evans - Senoi Dream Theory (HP017)

|| s o u n d m a k e r ||
https://hth.lnk.to/FawnBrute
kgsoundie at gmail dot com

UK record label based at fabric, East London. Run in part by Rob Booth (Electronic Explorations)

Katie Gately - Fawn

Houndstooth

Related tracks