released on February 14th, 2021

Music by @munix
Artwork: @piggybankshoe
Mastering: @dalcym & @ssaliva

jeanne mas - toute première fois (munix edit)

were busy with this Ceo enrgy of ours, no worries, invest invest in seXX, buy the deep and dont forget, work hard play hard :ppp

Invest in seX pt2 @hotelradioparis

Racine - Amitiés
Cat. Nr: DN022
Format: CD / DL
Release Date: January 21, 2022
Buy / stream: dansenoire.ffm.to/Racine

There’s a lived-in quality to the sound of Racine’s Amitiés. Named after the French word for friendship, the Montréal-based Quebecois artist follows an extended time spent indoors to contemplate what it means to be isolated and in one’s own body, while also staying connected. The album is a follow-up of sorts to Quelque chose tombe (“Something Falls”), released in February 2020 and a kind of accidental prophecy for the crisis that was to come.
Amitiés disintegrates before your very eyes. Opening with a roughshod iPhone recording of Racine playing his parent’s harmonium, the creaky acoustics of "Mon amour je ne guéris jamais" slowly degrade into digital simulations of dreadful organic beauty. That track and the rest of the LP gives the feeling of an abandoned building; a sense of frayed, earthiness dusted with the wisdom of time. And yet, it’s almost entirely made from simulations. Clipped Native Instruments violin patches punctuate the churning atmospherics of “Arête coincée dans une amygdale”. The lonely gongs and bells of “Grosso” resonate in a gust of synthesised ambient. Vocal plugins and the very occasional YouTube samples of a recorded voice are sped-up, glitched, pitched and scrambled into indecipherability. These vocal apparitions rise and fall into the sonic ether like individual ghosts of human contact. They’re bold and expressive, deeply melancholy and yet full of the potential for joy and an awareness of life’s beauty.

It’s in this dearth of social interaction—the heady psychosis of too much solitude—that Amitiés’s tone and mood lies. A score for the numb dissociation from internal chaos and alienation, the album’s sense of acute distress is assuaged only by the small network of collaborators and influences it draws from. Long-time friend and peer Justin Leduc-Frenette (aka Keru Not Ever) contributes drum programming to “Mon amour je ne guéris jamais”. A last-minute reworking of the untitled “Sans titre” by German duo Arigto matches the weight and timbre of Racine’s sooty post-classical soundscapes.

Ultimately, Amitiés is a very human response to an inhuman environment. It’s an intimate homage to friends and the mysterious effects of distance, while somehow finding healing in hardship.

Mastered by Rashad Becker, artwork by Niels Wehrspann

@julienracine

Amitiés

Racine - Arête coincée dans une amygdale

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Gabber Eleganza launches his label Never Sleep with Multo Crudo by London via Brazil & Russia producer Lizzitksy. The label is “an organic step after seeing the original Gabber Eleganza archival project grow into a multi-platform endeavour”, with a remit to showcase new and old artists that symbolise not just rave and post-rave culture, but a wider DIY aesthetic. 

Lizzitksy’s debut release draws from a disorientating suite of tropes - blasts of harsh noise, hollowed out sub-loaded kick drum barrages, digitised 90’s Italian Trance melodies, sped up reggaeton snare rushes & post-hard core vocal manipulation. Despite the range of elements in play, there is still a clear aesthetic red thread present - the rhythmic building blocks of the various genres referenced are sliced, distorted and re-arranged but never to such an extent that their dance-floor rending capabilities are compromised, whilst occasional flashes of melody and feedback laden shrieks help unravel each track. 

“Dark Millennium DJ Tool” deploys slowed down noise-charged kicks and ear piercing synthwork before switching into an 8-bar grime breakdown, whilst “Untitled EX4” takes the 150 BPM+ broken hardcore rhythmic template currently being established by the likes of Slickback and E-Sagglia and perforates it with howling feedback and Shackleton inspired percussive work. “Beef6” and “Bad Vein” melt power electronics fuelled drums into a post Latin-Perreo mis-en-scene – with “UMS303”  and “Video Green” providing moments of melodic introspection.

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