SCALPING - Flood Remixed (EP out 8th October)

From Deep Sound Learning (1993 - 2000).

Jimi Tenor can look back on a career spanning almost 30 years, in which time he has released more than 20 albums on such renowned labels as Warp Records, Sähkö and Kitty-Yo. Pop artist prestige holds no sway over the Finnish composer and multi-instrumentalist. Never resting on his laurels, he continues to hone his unique sound, which draws on elements of jazz, Afrobeats and experimental electronic music.

Bureau B are excited to announce the arrival of a new Jimi Tenor double album!

Release: April 9th, 2021

Order here:
https://shop.tapeterecords.com/jimi-tenor-deep-sound-learning-1993-2000.html

Deep Sound Learning (1993 - 2000)

Jimi Tenor - Doin' Alright

Chloé & Vassilena Serafimova - Driveway

Bristol techno, noise and hardcore supremos SCALPING will release their latest project ‘FLOOD REMIXED’ on October 8th. The EP is an excellently curated collection of sublime remixes from some of the most prominent and intriguing musicians, producers and figureheads from across the musical spectrum. Heavyweight contributors include 2021 Mercury Prize nominees and recent number 1 album holders Mogwai as well as Laurel Halo and object blue.

‘FLOOD REMIXED’ continues the stellar trajectory of the band, who, over the past few years have become an unmissable live act and gained notoriety as one of the essential, electrifying new bands in the UK. Their recent debut EP ‘FLOOD’, their first release for the forward-thinking Houndstooth label, gained widespread acclaim including CRACK Magazine, NME, The Quietus, Loud & Quiet, Mixmag, The Line of Best Fit and many others.

Scottish post-rock icons Mogwai step up to remix ‘Cloudburst’. Stretching and expanding the track, creating new drum patterns, and continually ratcheting up the drama inherent in the original; a naturally sensational slab of post-rock.

“I loved reworking Cloudburst due to the sheer mass of lovely little (and big) noises from which I could make new drum sounds and melodies to layer over the original. This was a tune where everything was so nicely overwhelming in the beginning and somehow came together really well with a bit more chaos from my fumbling about with the buttons. Really looking forward to seeing the band live soon.” ~ Barry Burns of Mogwai



SCALPING is the Bristol based group comprised of James Rushforth, Alex Hill, Isaac Jones, Jamie Thomas and visual collaborator Jason Baker, initially formed at the end of 2017 with a desire to pair their hometown's visionary, off-kilter dance music to the more organic instrumentation you might find in noise-rock and post-punk. They have since won all manner of plaudits at radio, press and through fervent word-of-mouth for both their eclecticism on record and for the pummelling intensity of their live performances.

FLOOD Remixed

Cloudburst (Mogwai Remix)

COLOUR 12" / DIGITAL

SCALPING - Cloudburst (Mogwai Remix)

Listen to the exclusive GROOVE-Premiere of @hodgebristol s track „Monolithium", taken from @scalpingmusic s „Flood Remixed” EP on @houndstoothlbl . Released digitally October 8th, crystal clear 12” out November 12th

Read our introduction here: bit.ly/ScalpingHodge

Flood Remixed EP

Monolithium (Hodge Remix)

Scalping - Monolithium (Hodge Remix)

From 'Groove It Out' out now - http://smarturl.it/grooveitout-bleep

http://lonelady.co.uk
https://www.facebook.com/LoneLady

Hinterland

Groove It Out on Bleep

Groove It Out (Ekoplekz Replekz)

Path Of Blood - Slowed

CRISPR CAS 9

in meinen träumen

"Daga Gadol" is the first single from The Natural History Museum's "Attenborough" LP released on Countersunk

released December 4, 2015 

Written & Performed by Carol Keogh & Dunk Murphy. 
Produced by Dunk Murphy. 
Copyright Countersunk 2015. 
www.countersunk.org 
SUNK0009B

Daga Gadol (Sunken Foal RMX of The Natural History Museum)

killer on the floor! (in positive and negative sense - depends on the party (*´◡`))

danzaguida

SABLA - FIRE/WIRE

READ > inverted-audio.com/premiere-lena-andersson-after-88-years

Friday 28th June sees Lena Andersson releases their album 'Söder Mälarstrand', a left-of-leftfield flurry of avant-guard punches with a coarse textural grain.

Söder Mälarstrand

Lena Andersson - After 88 Years [Raster]

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

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

SCALPING - Cloudburst (Mogwai Remix)

Houndstooth

Recent comments

domiziano

Bless This Machine

quest?onmarq

Related tracks