Daniel Avery - Ultra Truth [a playlist] - Part 1

kalatūškės

Experimental-/ Dark & Industrial Techno - 3

Daniel Avery - Magic + Memory [a playlist]

The World Goes On Without You

Pillow Princess (feat. BODUR)

Love Song

Produced by JPEGMAFIA
Written by JPEGMAFIA & Danny Brown 
Mixed by JPEGMAFIA
Mastered by Dale Becker

Steppa Pig

Radical Romantics

Shiver

More Truth

Going So Low

Recorded at Secret Twitchdance, 1984
Romulus Cœurque: rhythms, dub treatments | Porn Flake: synths, dub treatments

Out on "Prototech" 2x12"EP, a joint release of Dark Entries (DE-179) and Serendip Lab (SERLP007).
http://www.darkentriesrecords.com/store/vinyl/hypnobeat-prototech-2xlp/#tab-description
http://www.serendip-lab.org/label/releases/hypnobeat-prototech-serlp007

Driven by the common DIY-attitude, James Dean Brown founded Hypnobeat with Pietro Insipido in 1983. Making noise with a Boss DR-55 rhythm machine, 2nd hand gear and household utensils, it was not before JDB’s encounter with Victor Sol and Tobias Freund a year later that Hypnobeat became a proper, fully electronic outfit.

The main goal was to follow a "neo-tribal" approach by reducing electronics to the hypnotic rhythm core. Affected by the emotional impact of polyrhythmic energy, the collective's live sets were often based on machine improvisations. In the studio, machine expert Victor Sol was the one who shifted the Hypnobeat sound to the desired level of technological sophistication.

Apart from a TB-303, the wide range of analog studio/live gear included up to six synchronized rhythm machines – always with a focus on the inimitable sound of the Roland TR-808. Accordingly, Hypnobeat conceived an early form of contemporary club music, somewhere within the scope of classical Electro Funk and prototype Techno, and with a proto-Acid flavour – on "the front-line of sonic innovation before Techno was even a thing."

In 1996, evolving from Hypnobeat, James Dean Brown formed Narcotic Syntax, a project he boosted together with Yapacc in 2003, with releases on Perlon, WIR and Prospector.

And after all, Hypnobeat retransformed from Narcotic Syntax. What was supposed to be a one-off solo live appearance by James Dean Brown at Serendip Festival, Paris in 2012 became the exciting new evolution of Hypnobeat with Helena Hauff joining the project a year later.

The duo's live performances are completely based on improvisation, exhausting the power of an untamed Roland horde which is unique on stage: 1 x TR-707 + 3 x TR-808 + 2x TB-303 + a formidable array of effects = provocative percussion, voodoo passion, tribal ecstasy, hypnodelic temptation, psycho-exotic magic, universal resonance, and a quantum of danger under a crypto-bohemian approach.

Hypnoweb
http://www.hypnobeat.net
Booking
hypnobeat@hypnobeat.net

Past live shows:
•	Festival Serendip, Paris
•	CTM, Berghain, Berlin
•	Grundlos Glücklich, ://about blank, Berlin
•	Les Siestes Électroniques, Toulouse
•	Écoutes au Vert, Motel Campo, Geneva
•	Insomnia, Tromsø, Norway
•	Bleak Future, Petit Bain, Paris
•	SAVE, Moscow
•	Intonal, Malmö, Sweden
•	Rural, Mountain Park Tsunan, Niigata, Japan
•	Krake, Urban Spree, Berlin
•	Arma Labelnight, OHM, Berlin
•	Atonal, Berlin
•	Kaiku, Helsinki
•	Boiler Room, Vienna
•	Dark Entries, Säule/Berghain, Berlin (JDB solo)
•	Mmodemmnight, Frankfurt a.M. (JDB solo)
•	Arma X, Funkhaus, Berlin (JDB solo)

Hypnobeat features:

The whole story
https://www.electronicbeats.net/frankfurt-diy-history
Techno Cadeau (08/2017)
https://web.archive.org/web/20220625101310/https://technocadeau.fr
Resident Advisor (01/2015)
http://www.residentadvisor.net/feature.aspx?2359

Hypnoweb
http://www.hypnobeat.net

Interview with Early Reflections, Paris (03/2023)
https://early-reflections.com/mixes/james-dean-brown

Interview with Fabric. London (03/2013)
www.fabriclondon.com/blog/view/in-conversation-with-james-dean-brown

www.empire-of-passion.com

Hypnobeat - The Arumbaya Fetish (1984)

DNGLS - ATREYU preview - Anemone Recordings

“Tetramorph,” the new EP from Daniele Antezza’s Inner8, consolidates and expands upon the gains previously made by that project, as well as those made by the acclaimed Dadub production team. Like all previous Antezza productions, it is distinguished by its exactly proportional mix of fluid and ephemeral sound phenomena with rain showers of colossal beats: an alchemical mix which brings us the three-dimensional atmosphere suggested by the Holotone label’s name. “Tetramorph” is no mere reprise of previous recordings, though: with this new work, Antezza again challenges himself to see how his signature style works when it is underpinned by a new set of theoretical or critical ideas, making for a listening experience that is both a thorough examination of existing musical dynamics and a suggestion of a new way forward. 

Each of the four tracks on this EP represents a different phase in a four-fold process of creative praxis. The first phase, “Self Determination,” lays a thick latticework of beats over Middle Eastern marketplace ambience in a way that recalls prime Muslimgauze, particularly that project’s skill in making the foreign seem intimately near. “Iteration” follows “Self-Determination” on the EP just as it does within carefully planned lives. This 2nd track does not motor ahead with great ease, but instead the tempo drops sharply and becomes mired in a kind of transparent gelatinous substance, strongly suggesting that new iterations often mean new challenges, and hold out no guarantees of progress. By contrast, the following track “Consolidation” glides with an aerodynamic sense of freedom that is realized through a synthesis of rational and irrational strategies (themselves manifested in Antezza’s trademark beat shudders and carefully controlled noise-scapes). The closing chapter, “Aufhebung,” is assisted by Koichi Shimizu and places the listener in a central observation chamber from which all these past dynamic changes can be hazily perceived through a sea of electromagnetic interference. As the philosophical meaning of the title suggests, it provides a kind of paradoxical elevation through deconstruction, or the achievement of a greater sense of clarity even as the sonic dirt accumulates.

As Antezza puts it, Holotone’s mission is to communicate “using an unmediated language (art) to express the complexity of our hyper-mediated world”. Having achieved this, “Tetramorph” is music that offers as much of an opportunity for deep inquiry as it does for personal release.

Words: Thomas Bey William Bailey

B01 - Consolidation SNIPPET

MXVCWS

Bushcraft EP

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

Glitter

Glitter (Jon Hopkins Remix)

C O S M

C O S M (Daniel Avery Remix)

Wasting no time since his last album in May of 2018, Rhys Fulber is back in action with a brand new LP titled Ostalgia. Taken from the upcoming album, Right Hand Of The Free World weaves an ethereal pad over tight and offbeat drum work, which in turn create an eerie and mechanical landscape.

Ostalgia

Lights/Out Premiere: Rhys Fullber - Right Hand of the Free World [Sonic Groove]

B1 track of "Changing Habits" by Matriarchy Roots. 
Order: https://strangetherapy.bandcamp.com/album/changing-habits

Lifestyle (After The Rise Comes The Fall) is a rhythmic noise affair with cinematic elements and abrasive atmospheres with suspended parts and heavily manipulated vocals. A nightmarish voyage into anarchic assaults and controlled darkness reaching orchestral greatness.

___________________________

Format: Vinyl 12", cassette and digital
Release date: 26/09/2019
Mastering: NIUMEN Mastering

Changing Habits

B1. Matriarchy Roots - Lifestyle (After The Rise Comes The Fall)[ST008]

Ritualistic expression of motivated suppression, Meer's interpretation of the original seeks a no-nonsense outlet curated by night's terrors.

"Universal Poison is Istigkeit's first EP on his own imprint. For this big first, Istigkeit has decided to unveil some early works which were originally supposed to be out on the label of a fellow artist who unfortunately put it on a hiatus.

The release takes dance music down a dark alley and mostly offers dancefloor-unfriendly beats.
The whole piece can be described as a blend of cold broken techno and industrial music with black/doom metal influences. It is composed with four original tracks and four remixes by Meer, Töria, Halv Drøm and Nigh/T\mare."

https://soundcloud.com/meerishere
https://soundcloud.com/istigkeit-1

Premiere: Istigkeit - All Your Hopes Are Delusional (Meer Remix)[Istigkeit]

Premiere #198

Artist: Meer
Title: Li Daqiqa Wahda, Sha'Artou Al Horriya Marra Okhra
Album: "Altered Sight" EP
Label: Borders Of Known Records
Format: Digital
Release: July 15th, 2020
Buy link: bit.ly/2BOgBUs

Borders Of Known is a Georgia-based independent label focused on experimental sounds and raw electronic music. The third reference in their catalog is a compilation of various artists, it includes music by Clarence Park, Tekra, Meer, Vū, Evestrum, Aliquis, ZAGAM and Opake ft. Saahiwa.

More information and promos: info@tforgotten.org
Follow us on Instagram: bit.ly/3dIwmu6
PayPal donations here: bit.ly/TFDonative

Meer - Li Daqiqa Wahda, Sha'Artou Al Horriya Marra Okhra [Borders Of Know]

Birmingham's Chinanski brings a second instalment from the body of work he produced during UK's lockdown in 2020 with "The Bells", an EP containing two original techno tracks plus one remix by Greencross.

After releasing "The Shuffler" in September 2020, the techno producer comes back with another set of techno tunes saturated with his unique style of raw, pounding and hypnotic grooves while Different Is Different Records' co-founder, Greencross, steps-in for remixing duties...

Follow: https://soundcloud.com/greencross
Follow: http://soundcloud.com/didrec


******

Follow Different Is Different Records
Youtube: https://www.youtube.com/user/didrecords
Website: http://didrec.com
Facebook: http://facebook.com/didrec
Twitter: twitter.com/didrec
Soundcloud: http://soundcloud.com/didrec

Additional release info: 
LABEL: Different Is Different Records
ARTIST: Chinanski
TITLE: The Bells
GENRES: Techno
CAT: DIDREC201
RELEASE DATE: 2020-11-02
TRACKS: 3

Check out other tracks on this release:
1.) Chinanski - The Bells
2.) Chinanski - Brutal Afterlife
3.) Chinanski - Brutal Afterlife (Greencross Remix)

Support on Bandcamp

Chinanski - Brutal Afterlife

Order cassette or digital here: https://strangetherapy.bandcamp.com/album/a-cast-of-memories

Strange Therapy presents a new name in its ever-growing roster: the French duo Second Spectre . A Cast of Memories is the name of their 8-track cassette here presented, a new chapter with a haunting rhythmic approach and filled with beautiful emotional cinematic soundscapes.

“Do You Believe In God” is a crawling and dark affair which starts with a subtle movement reaching harsher expression quite soon. An interplay between rhythmic mantras and ominous atmospheres guide us among a decadent reality, and during the second half of the track we collide into pure chaotic noise touching power electronics influences before returning to evocative effects. “Absolution” is like a horror movie made music, starting with droning lines and sudden bursts of hard-hitting blasts. A broken structure becomes the main movement, paused by eerie ambiances. Militant marches and technoid grimness become one in an obsessive mantra underlined by sacramental undertones. “Chaos Is A Ladder” has an almost urban feeling thanks to its breakbeat innuendos, but the listener will find himself among a city destroyed by an apocalyptic event. A cinematic atmosphere crafts a frantic chase with triumphal underlines, but the episode is ready to surprise us with modern, mechanical sounds. A fusion between epic and harsh aiming to conquer and transport us to a mental movie. “Death Note” slowly grows into a ritualistic evocation via sharp effects and industrial kicks, a serpentine pastiche no strange to subtle distortions and droning moments. Once again we find ourselves in a dark world conjured by aptly placed soundscapes and rhythmic patterns released at the right time, and the last part of the track sees a celestial climax. 

“Wisdom” reinstates the movie-like world of the album, starting with sombre patterns and then adding ominous vocal samples. After a while we find ourselves in a bombastic gallop which grows in intensity without really exploding. Instead, shrilling dissonances herald menacing orchestrations and interplays between broken rhythms. “Fear God” works like an interference made music, employing throbbing distortions and glorious, riffing lines in a fine example of obsessive rhythmic structures. Various tempos have their say during the course of the track, so the listener will find themself racing with their mind between sonic corridors. “Deadly Harvest” works as a study in suspense and tension, making its way with drone loops until it reaches more of a rhythmic momentum. A sort of dark d'n'bass movement takes its place in the composition, offering a very interesting moment for the listener. Heavily distorted vocals give an old-school feeling to the track, while eerie ambiances show themselves among the sounds. “Before It Disappears” ends our journey with a final cinematic statement made of dark orchestrations and sparse distortions. The drilling tension gives itself up in a robotic march empowered by almost melancholic lines. Once again Second Spectre shows their more emotional side to the listener. The mix between evoking stances and steady rhythmic loops is the perfect epitaph for this engaging work.
___________________________
Title: A Cast of Memories
Artist(s): @SecondSpectre
Label: Strange Therapy
Cat nr: ST011
Format: Cassette and digital
Release date: 02/12/2020
Mastering: Dadub Mastering

A Cast of Memories

Second Spectre | A Cast of Memories [clips]

Committed To A Lost Cause

Inner8 is Daniele Antezza, a multi-faceted thinker and electronic music producer, member of Dadub duo, founder of Dadub Studio and Holotone label manager, whose regular invocation of the term praxis begins to hint at his creative aims: a primary synthesis of contemplation and action that, in turn, encourages a secondary and entirely unpredictable set of syntheses dependent upon the listener's unique interpretation. Though the Inner8 moniker has been in existence for several years as a private nickname for, as Antezza puts it, his "experimental anarchist sounds," a full-length LP and a bunch of EPs are just now surfacing which will reveal just how much this project has to communicate.

Like many transplants to Berlin's pulsating sonic underground (Antezza moved there from Italy in 2009), his past work seems to communicate traces of the ecstatic with the argot of technical precision and / or scientific rigour. However, Antezza is not what one would call a 'Berlin artist' despite sharing these traits in common with the city's most visionary producers: his work gives off an impression of restless nomadism that has little to do with representing a localized scene. Rather than carrying on the territorial / parochial projects of reinforcing an arts scene's geographic boundaries (or even redefining the boundaries of a musical genre), Inner8 is more concerned with a holistic "deconstructive approach" through which "it's possible to reveal the paradoxes of the dominant thought, the paradoxes behind the status quo." His fascination with concepts as diverse as asymptotes and particle physics, though often trendy among those looking for a seat at the table of the avant-garde, is a heartfelt fascination - moreover, these interests merge perfectly with his relentless theroetical questing.

Antezza's relationship with that city's Stroboscopic Artefacts techno label has been a particularly fruitful one, to the point where his sound work prior to Inner8 is almost synonymous with SA's own development. As one half of the psychonaut duo Dadub along with Marco Donnarumma, Antezza has sculpted deep and immense tracks that mesmerize with their harmonious interplay of force and ambiguity. These features can be heard on standout releases such as the full-length You Are Eternity, their untitled SA EP, and also their growing body of remixes for other artists.  That signature can be identified by its hyperreal sense of presence and immediacy, qualities that have become crucial to the presentation of a music that generally relies on only a few sonic elements per track to communicate its message.

Antezza also takes pride in the ritualistic quality of Inner8's live sets; a mobile laboratory of dynamic tension in which his theories manifest as massive physical vibrations (here we can also see / hear / feel just how well Daniele has absorbed the lessons of the dub "sound system" aesthetic.)

Words: Thomas Bey Williams Bailey