Name: O Primus Homo Coruit by Ignea Strata in Untitled
Duration: 5 min 51 s
Description: A rare example of 12th century Aquitanian polyphony. Performed by Ignea Strata, May 2018.

Untitled

17. O Sapientia

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Émergeant de la florissante scène Strasbourgeoise, Beatrice M. débarque sur Egregore Collective avec son dubstep technoïde comme iel le décrit si bien.

Tout juste après une excellente sortie sur Krakzh et au milieu d’une année qui l’a vu.e lancer son label Bait et être invité.e sur pléthore de line-ups dans tous les coins de la France, Beatrice rejoint le roster avec quatre morceaux délicieusement vaporeux à la production méticuleuseme, explorant les hybridations hypnotiques entre techno et dubstep, sans pour autant se cantonner au fameux 140 bpm.

Et pour une expérience encore plus méditative, Maquis Son Sistèm vous emmène dans le vortex avec un remix tortueux de 9 minutes d’un des titres.


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Emerging from the flourishing Strabourg scene, Beatrice M. is up next on Egregore Collective, providing us with their now trademark hypnotic, techno infused dubstep beats.

Hot off the heels of a splendid release on Krakzh and it the midst of a year that saw them take the french underground scene by storm, launching their label Bait and playing in every corner of France, Beatrice joins the roster with 4 deliciously vaporous, meticulously crafted tracks bridging the gap between techno and dubstep, not sticking to the sempiternal 140 bpm and pushing the spectrum in all directions.

And for more bass meditation, Toulouse’s Maquis Son Sistèm will be taking you down the rabbit hole for a 9 minute brain-twisting remix of one of the tunes. 
credits
released October 6, 2023

Artwork by Stacktrace

OUT NOW

Beatrice M. - Capture

Work on preparing this album began in 2019, when I first encountered Mykola Dyletsky’s music – we performed fragments of his Requiem Liturgy with Wrocław Baroque Ensemble in Kyiv. At that time, they made a great impression on me, which, along with my subsequent work as a conductor on this artist’s works and subsequent concerts, strengthened my feeling that I was dealing with a unique repertoire. Dyletsky’s work is a fascinating encounter between the East and the West – the language, liturgy and melody of the Eastern Church harmonise with Western compositional techniques and musical styles. There are clear inspirations from the Venetian polychoral style and stile concertato, and tutti sections are often intertwined with figurative fragments in a solo ensemble. You can also see elements of musical rhetoric (...)
Both liturgical pieces presented on the album were written for two fourpart vocal ensembles. In my opinion, the way they are performed should be similar to the way we perform religious polychoral music of that period,
created for the Catholic Church in the Western Latin rite. I have a strong impression that if the a cappella texture present in these works were supplemented with instruments typical of European music from the first half
of the seventeenth century (e.g. cornets and trombones), i.e. instruments used, among others, by Claudio Monteverdi or Bartłomiej Pękiel and Mikołaj Zieleński, then it would transpire how close Dyletsky’s music was
to what was happening in Western Europe at that time. (...)
This project was an opportunity for me to come into contact with music that was created in the territory of the Polish-Lithuanian Commonwealth, but at the same time lies at the source of Ukrainian polyphonic music.
A great discovery was the fact that one of the ways through which polyphony entered the field of Orthodox Church music was Dyletsky’s work – his relations with Polish artists and his knowledge of the Italian style.
Interestingly, this process was one of the reasons why Orthodox music did not return to full monody, such as in the fourteenth and fifteenth centuries. Therefore, we have evidence that the Polish-Lithuanian Commonwealth
in Dyletsky’s times was a space of unrestricted exchange of artistic ideas and their mutual interpenetration, and that the foundations of European integration in the field of culture were laid there.
I would like to thank the artists and all the people who participated in the preparation of this album. In addition, I would like to express my special gratitude for all help and substantive support to Dr Irina Gerasimova (Bazylowa), Prof. Aleksander Naumow, Dr Łukasz Hajduczenia, as well as Ludmila Kapustina and Volodymyr Andrushchak.

Andrzej Kosendiak (tranls. Anna Marks)

ACD 338 - Track 1 - Dyletsky - Requiem Liturgy

Djrum's first release since 2019, the Meaning’s Edge EP is an introduction to a whole new world. For the artist also known as Felix Manuel, it was created in the final stretches of six rather traumatic years work. Having carefully honed his techniques and aesthetics, and learned some hard-won emotional lessons over this time, finally he began to work in a quicker, lighter fashion – and to cleanse his palate a little by bringing in a fresh ingredient: his own flute playing. For listeners, though, it will serve as an appetiser, a way into the delights and complexities of this new phase of his creativity.
 
It’s a serious work in its own right, mind. The use of flutes – including Bansuri, Shakuhatchi, Western Classical, and synthesised all blending and blurring into one another – gives it a coherence and a sense of airiness that unites the five tracks over half an hour, however divergent their beats get. And as in all his music, 
 
Here you find the opening track ‘Codex’ which alone touches on OG dubstep, Aphex Twin-like braindance, post-classical exploration, movie themes and more. The gentle tones and melodies that rise up out of it perfectly conjure Felix’s running theme of a protective bubble that provides a sense of safety and tranquillity even as the beats and acid gurgles and spurts all around it conjure up the slings and arrows of life’s difficulties.
 

… and it’s only just the beginning. This is the return of a master craftsperson more focused than ever on his vision and vocation and ready to blow your mind all over again.

12" vinyl @djrum - "Meaning's Edge" - Out 22/11
https://hth.lnk.to/djrum

Meaning's Edge

Codex

12" VINYL

Djrum - Codex

@troisquartstaxisystem

Beatrice M.'s Bait invites Trois-Quarts Taxi System back into the fold for both the artist’s and label’s debut album release, ‘Plexus’. Leaning into innovative 140 mutations, Trois-Quarts Taxi System dedicates his first long-format release to exploring the depth of this space and stepping away from his usual 170/80 sound. A deep meditative journey of introspection.

Taking the name ‘Plexus’ from a key he found in the street, the album is split into various parts with the heart of album comprised of three parts of ‘Plexus’ - drone-like soundscapes which retrace different states using a variety of acoustic and electronic sounds combined with samples from an anonymous cassette found in the street. This hybridisation of sound is often influenced by ideas Trois-Quarts Taxi System comes across whilst working on his live shows; an artistic practice that is very important to his output. On this occasion, Trois-Quarts Taxi System has used this extended period to explore the bridge between dubstep, techno and experimental, pieced together with quiet ambient moments.

Credits: 
Music by Éloi Pétillon
Mastering by @bademjan 
Artwork by @beatricemasters
PR by Dawn Creative Agency 
Vinyl mastering and distribution by Juno Records
Vinyl graphics by Camille Giunti
Logo by Volllume Studio

Buy Record

Trois-Quarts Taxi System 'Plexus' LP (previews) (out 04.04.25)

St. Amp - Cave (Wordcolour Remix)

Under Tangled Silence

Sycamore

From KAPS003 – gyrofield – Suspension of Belief

gyrofield - Vegetation Grows Thick

Body Shell

Clicked

@carreo drinks deep from the dubstep source before leaping toward its future on her debut for EMA’s @woozydublin label

More info:  https://djmag.com/listen/premiere-carre-meltdown

Premiere: Carré ‘Meltdown’

Send request : info.seeksicksound@gmail.com or join our discord : discord.com/invite/suVpRBStmu 
www.instagram.com/seeksicksound/

Stacktrace - 'Heal Versions' EP
Egregore, 2025
Pre-order: https://egregorecollective.bandcamp.com/album/heal-versions

@stacktracedub
@egreg-re

[Premiere] Stacktrace - Heal (VIP) (out on Egregore)

These tracks are out-takes from my first alum Seven Lies. Those familiar with my music will know that I love a coda. A coda is a passage at the end of a piece of music that brings it to a conclusion. I often use a coda as a way of framing the piece in a slightly different context than it would otherwise end. Like a musical aftertaste. When I was working on Seven Lies I made codas for several tracks but I was never completely happy with these two so they didn't make it on to the album.

As I work on my second album I have been looking back at the process I went through for my first alum and remembered these outtakes. They're not so bad after all. Perhaps they are worth airing to the world. I hope you enjoy them, or at least find them an interesting insight into the workings behind the music.

Obsession (Coda) [Unreleased 2013]

Eya explores the connection of the human spirit to the celestial realm through songs and hymns devoted to the Virgin. Includes music of medieval England, France, and Spain of the 12th through the 14th centuries. 

Recorded at Washington National Cathedral.

Eya: Ensemble for Medieval Music
Allison Mondel, soprano, director
Crossley Hawn, soprano
Kristen Dubenion-Smith, mezzo-soprano
with guest:
Nola Richardson, soprano

Worcester Conductus / Salve Virgo Tonantis Solium

Las Huelgas Codex Conductus / Ave Maris Stella

A rare example of 12th century Aquitanian polyphony. Performed by Ignea Strata, May 2018.

O Primus Homo Coruit

Ignea Strata is a vocal quartet dedicated to the performance of works from the medieval and renaissance through the latest works by living composers.

O Primus Homo Coruit

Ignea Strata

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