A track from Ignatz & De Stervende Honden's 'Saturday's Den' LP

IGNATZ & DE STERVENDE HONDEN - You Can't See Me

Syntax Error is 1/10 tracks on H​Ö​R For Palestine VA,
100% of the funds raised from this track and compilation will be donated
to Cadus www.cadus.org/en/

Cadus provides emergency response aid in Gaza facilitating the treatment and transportation of wounded civilians, as well as finding long term sustainable solutions in areas affected by war and disasters.

https://hoerberlin.bandcamp.com/album/h-r-for-palestine-va

released April 17, 2024

Syntax Error

Visceral Chaos - Syntax Error

https://sequel-label.bandcamp.com/album/append
@ullastraus

[SQ016] Ulla Straus - "Air"

HG1706 - Hallowground.com
Buy the vinyl or digital album here: http://bit.ly/2xwBugg
Distributed by A-Musik and Cargo Rec.

BUY VINYL / DIGITAL

MARTINA LUSSI - Citrin

ELI KESZLER 'FLYING FLOOR FOR U.S. AIRWAYS'

Extract from STADIUM (SP099), out October 12, 2018
2XLP / CD / DL — SHELTER PRESS

—

New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author László Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.

“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.

Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”

In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.

Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations—especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work "Northern Stair Projection." “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”

Stadium

ELI KESZLER 'FLYING FLOOR FOR U.S. AIRWAYS' (SP099)

Infinite Greyscale is pleased to release Damn Luei Lit  a new 10“ recording by Andi Toma, also known as one half of electronic music pioneers Mouse on Mars.  Following on from the band’s percussive masterclass, Lichter (also on Infinite Greyscale) and their ambitious 2018 album Dimensional People (Thrill Jockey), Damn Luei Lit sees Toma going it alone in an exploration of off-kilter rhythms and extraterrestrial sounds. From an opening of bird song an inorganic structure is assembled; and with the stage constructed, the performance begins. What follows is a deep and engrossing exploration of an alien ethnography. Within a frame of hypnotic rhythms Toma traverses sounds and rituals to reveal field recordings from another planet.

Damn Lieu Lit

1 March 2019

Andi Toma – Damn Luei Lit (excerpt)

Accident du Travail. We fell in love with their album on Trilogy Tapes and after a coincidental (or not) meeting in Brussels, our 29th release and first ever live album slowly took shape. Recorded in the mythical London Cafe OTO in 2016, the outfit of Julie Normal and Olivier Demeaux explores a beautiful path of arrhythmic music, subaquatic sounds and celestial zones.

[vlek29] - Accident du Travail - live at Cafe OTO
Julie Normal_ondes Martenot + Olivier Demeaux_harmonium & machines.
Cafe OTO, Londres, 2016
enregistrement. Adam Matschulat 
mastering. Fred Alstadt 
artwork. Takahiro Kurashima
remerciements. Will Bankhead , Abby Thomas , Jean-Charles , Hugo Sanchez,  Hiro Abe
distribution. Crevette

Out September 27th.
Pre-order: https://vlekrecords.bandcamp.com/album/vlek29-accident-du-travail-live-at-cafe-oto

Accident du Travail - Ouverture All'Inglese (taken from the upcoming [vlek29]: live at Cafe OTO)

Nika Son
To Eeyore
LP (E249)

“Esel Und Gespenst”

Cat listening to music
(Chris Marker)

Nika Son is a Hamburg-based artist, owl, 
and veteran Golden Pudeler.

Mastered by Yves De Mey

Co-published with Stellage [stellage.store]

To Eeyore

Nika Son (E249; 2020)

From the upcoming album "Pavel Milyakov & Bendik Giske" out March 26th on Smalltown Supersound / Le Jazz Non .

Pavel Milyakov & Bendik Giske - Untitled 2

Get this + the original here https://carmenvillain.bandcamp.com/

So High You're Mine (2020 Rework)

Artist: Nikolaienko
Album: Rings
Label#: faitiche23
Format: LP/DL
Release: April 16th 2021

Fortunately for us, Dmytro Nikolaienko agreed to open up the jewellery boxes of his tape-loop archive for his debut album on Faitiche. What came to light was a collection of dreamy glittering gems, masterfully presented using the compositional possibilities of analogue tape machines. Some may consider a tape machine to be limited as a musical instrument, but Rings makes a convincing case with its sure-handed use of the available parameters – moving tape over the tape head mechanically and manually, cutting loops, manipulating timbre and creating noise by means of saturation. The results are eleven blurred, repetitive, rhythmic patterns that can be understood as an intervention against digital precision, as mechanical irregularities and background noise become musical events.

For those familiar with Nikolaienko’s work, his nostalgic approach here will come as no surprise: born in Ukraine and now based in Estonia, he has chosen a historical medium (that has been enjoying a renaissance for some years now) to record historical-sounding sequences. The way he manages his own back catalogue is similarly archival, documenting the chronology of his tape loops in such a way as to leave no doubt as to their advanced age. And then there are his two wonderful labels Muscut and Shukai, the latter being an archival project releasing electroacoustic obscurities from the Soviet past. Which brings us back full circle …

Andi Toma – Damn Luei Lit (excerpt)

Infinite Greyscale

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