rédaction

Chosen instrument: Roland SH-01A
Artist: https://soundcloud.com/merino
Instrument information: https://bit.ly/2NZlFvd

Merino - Roland SH-01A

Choose your DSPs here : https://bfan.link/jolie-1

Les Deux are an up-and-coming duo from Paris with only a few productions to their name. Once you hear "Jolie" chances are you'll be hooked. The introduction gently drifts you into a universe melting of wistful piano chords, animated synths and a luxurious bassline. A seemingly endless journey of simplistic keys, it's mediative rhythm effortlessly orbits from one deep house plateau to the next with the incorporation of soft drum kicks and chimes. The beautiful ballad soars through the depths of lighthearted sentimentality, making this midnight lullaby one to cherish.
***


Video: Youtube : http://bit.ly/1lzBP2i
Instagram : https://www.instagram.com/les.deux____/
Youtube : http://bit.ly/LesdeuxYT
Soundcloud : http://bit.ly/LesdeuxSC

Jolie

Get it here

https://soundcloud.com/diynamic-music
https://soundcloud.com/davidaugust

Diynamic label artist David August puts a spin on Kollektiv Turmstrasse's "Last Day," a lovely piece of tech-house released back in 2009. His revision sees a deeper, warm, and meditative track with delicious chords and consuming basslines—-all resulting in an intoxicating audio-watering hole that you'll never want to leave. Unless perhaps for a refill. 

Kollektiv Turmstrasse - Last Day (David August Revision)

JOIN THE WOLF

The Flight of the Phœnix - Romulus

El_Txef_A - Neurotransmitters Communication

Last year I met Sissi Rada. She was singing in Greek and playing the harp when I first listened to her. 
I asked her to record something with me as I wanted to use her voice for my music. We sat down, I played the harmonies on my Prophet 5 and she would jam over it. Her first take is the take you're listening to. Back then I was in my bedroom studio. We had noises from the street, roommates the next door, but the take captured the magic and the spontaneous moment of just doing music. I didn't want to record it again. 

Her lyrics are about the devastating political and financial situation in Greece and I tried - as much as I could do - to reflect that with my music.

The lyrics

Η πατρίδα μου 
μαραμένη
χώματα και θάλασσα και φρούτα 
Στοιβαγμένη
σ' αεροπορικά εισιτήρια 
Μαζικά συλλαλητήρια 
Αέρα σου στρωσα και λούσα

Η πατρίδα μου 
αμβλώνεται και κουράζει
με αλλονών τύπους 
χώματα και θάλασσα και φρούτα 
συμφέρει.

David August - Patria feat. Sissi Rada

Toy Tonics going Afro House. The MUSHROOM HOUSE compilation series part brings 4 unreleased tracks. Including two of the most relevant names of the growing scene: AUNTIE FLO from UK and mysterious producer HYENAH. Hyenah is a favourite of the scene's main man Black Coffee and DJs like Dixon and the Innervisions circle are heavy fans. Also on this EP a new track by Toy Tonics very own ZHUT & KAPOTE. Kids from Berlin with a good buzz right now. Inside their track Afro Rico an Senegalese child choir meets some Zappaesque Marimbas going crazy... And as a bonus track you find Munk's Nigerian Jam: A Nigerian Funk band rolling over an heavy disco beat. Very deep, but very effective.

Munk - Nigerian Jam

More Info: https://www.xlr8r.com/mp3/2016/10/berni-been/

@berni-1

[via XLR8R]

Download

Download: Berni - Been

Percolating Acid from Dripping Acid. Dripping Acid is a series of 6 separate 12"s.
Digital is also available on Bandcamp.

Percolating Acid

Unbalance is an artist that developed his sound during the last 5 Years. Coming from Russia this Artist found home in Monasterio (Moscow).And slowly crafted his own way of making things, this record shows how far he developed this sound until the point of no return. These 4 Cuts are Functional, Technical and most of all Recognizable. Floor Fillers and Hypnotic Instruments for every situation of the night.

B2. Unbalance - Distant Voices

Alessandro Adriani - Enter The Fire
A1. He Who Harnesses The Souls
Release date: December 8th 2017
12" / Digital

It was probably only a matter of time until eclectic producer and Mannequin label founder Alessandro Adriani would join up with Stroboscopic Artefacts, since both are heavily invested in taking electronic music listeners outside of their comfort zone and into a world of unpredictable outcomes. Adriani’s debut EP for the label, Enter the Fire, is the first evidence of a new mutation in the Stroboscopic DNA, as can be seen by a shift in Ignazio Mortellaro’s design work for the label (it is in keeping with the previous horticultural theme of the records, but now features directly scanned objects - in this case a single leaf features on the cover). 

Adriani’s work has appeared at a time when, even as electronic music continues to expand into all kinds of new territories, many still associate its signature sounds (analog synthesis, quantized percussion etc.) exclusively with the time in which they first began to make a significant cultural impact. Fortunately, innovators like Adriani ignore this belief that sounds must remain harnessed to a specific point in human history: his attitude towards music making is that the changing circumstances of our environments always have the potential to put a fresh spin on the sounds associated with a previous time and place. In other words, he does not cater to any conceptions of “retro” or dreams of future past. His curriculum vitae as a producer, event organizer, and label owner all comes back to this ethos of getting beyond the “museum exhibit” mentality to music and keeping it vital in the here and now.

The music on Enter the Fire will not disappoint fans of the hard-edged, aerodynamic style that Adriani has perfected over the years: his skillful distillation of the most impactful elements from genres like EBM, acid, darkwave and industrial is on display the moment that the needle lands upon the grooves of the opening track “He Who Harnesses The Souls”. The track’s cycling sense of urgency builds as one hectic sequence is screened on top of the other, with the topmost layer providing a gorgeous melodic sheen to it all. This is followed up with “Rituals (707 EBM Version)” a tense martial stomp designed around a classically effective sequence of 16th notes and brusing kick drum. As these elements intensify the feeling of inhuman discipline through a series of flanging and filtering techniques, chilly phantom noises hint at a state of profound mental and physical exhaustion. 

The B-side shows that music with sheer bionic strength it isn’t the only card Adriani has to play, either within his repertoire as a whole or on this single slab of vinyl. It kicks off with a (relatively speaking!) more contemplative version of “Rituals,” a deviously designed mirage of shifting audio sands in which many different elements (i.e. some hesitant guitar figures, wordless vocalizations) come into view but remain tantalizingly out of reach. The program’s conclusion, “Astronomy”, evokes something more like the cultivated patience of a private investigator on a stakeout (one who is, of course, equipped with all necessary means of technological surveillance). Continuous high-frequency tones, magnified sections of surface noise, and a multitude of other encoded signals all descend on the listener and like a sort of dub music for the ‘peak information’ age.

Enter The Fire

A1 - Alessandro Adriani - He Who Harnesses The Souls [SA031]

Yotam Avni - Perlude to Dybbuk
B2. Modern Matters
Release date: January 19th, 2018
12" / Digital

The Tel-Aviv centered Yotam Avni officially joined forces with Stroboscopic Artefacts last year, turning in a sensual an invigorating entry for the Monad series. Thanks to his personalized fusion of esoteric and worldly sound elements, Avni immediately made a case to deliver more work to the label, and now he has done so with “Perlude to Dybbuk,” the second in a new series of S.A. releases to feature the Oblique Artefacts visual team’s distinct, elegant portrayals of scanned foliage.
As with Avni’s previous Monad contribution, the new Perlude to Dybbuk makes references – both in title and in sonic content – to the ancient Hebrew folklore of his homeland (a “dybbuk” being a kind of limbonic spirit attaching itself to the body of a living human until it has successfully reached its final destination). However, the atmospheric, rather than overt, use of these references gives this record a level of dignity and quality as well as a premonitory feeling that hovers over the proceedings.

The opening “Avka (New Life)” opens with the twin stimuli of chthonic, rolling percussion and ambience that has become a modern Stroboscopic tradition, but ever so gradually deviates from the realm of the easily anticipated. Some of the surprises to be found here are sharp, organic drum fills and sighing strings that have an uncanny vocal quality to them. By the time a surgically clipped acid synth sample comes into the mix, the track has reached a simmering level of excitement and the listener’s imagination will have license to reside in a virtual world seamlessly combining elements both ancient and futuristic.

“Dybbuk” temporarily situates listeners back in brutal modernity, with the first sounds heard being something like insistently slicing helicopter blades. Avni merely uses this as the foundation, though, for a genuinely unique construction whose shamanic beats, throttled horn and undertow of frenzied electronics combine to give the feeling of being menaced and eventually overtaken by a spirit entity. This piece shows just what Avni is capable when operating in a more aggressive, ‘post-industrial’ mode, and the result stands up with some of the best exponents of that genre.

The finale “Modern Matters” is the most readily club-friendly selection from the disc. This potent, floor-shaking and perspiration-inducing number superimposes resonant vocals from traditional Middle Eastern folk song onto this alchemical mixture of machine oil and sweat, and provides a romantic flair without resorting to naïve, touristic “ethno-techno.” Avni’s skillful dedication to counterpoint, and determination to make a finished form is more than the sum of its parts, shines through here and throughout the duration of this record.

Order

B2 - Yotam Avni - Modern Matters [SA032]

Six years on since his latest appearance on the label’s main series, Stroboscopic Artefacts boss Luca Mortellaro, aka Lucy, returns with ‘Dyscamupia’ – an introspective, multisensory techno triptych revolving around the core sequence of Albert Camus’ classic existentialist novel, ‘The Stranger’. Also known as the ‘killing of an arab’, this pivotal moment in Camus’ seminal book – which also inspired The Cure their song ‘Killing An Arab’ back in the day, is here evoked through three variedly intense, deep and hypnotic techno variations – flexing from 120 to 130, onto 140 BPM – each of them translating a particular step in the author’s minute, focal-shifting depiction of the unknown man’s murder on the beach.   

Embodying Meursault for a minute, Jason Snell lends his voice to the narrator and his inner demons, casting a strange, ominous spell on the club and its crowd. Willing to explore and dig up further into the textural wealth and crucial warmth of organic sounds and synthetic treatments, Lucy made wise use of the binaural microphones technology during the vocals recording process, greatly enhancing the immersive force of his compositions to create thoughtful, dystopic narrative bubbles that stand in their own right.

The first number, ‘ Dyscamupia (Forward)’, happens before and right until the actual killing – hence time flowing at a metronomic, heartbeat-like tempo; the second cut ‘Dyscamupia (Pause)’ takes place right after the nameless man’s death, when the narrator enters a kind of existential ‘pause’ and a whole new flow of consciousness begins; the third sequence, ‘Dyscamupia (Backward)’, plumbs the depths of the action itself as played backwards, like an equally hazed-out and dizzying reminiscence of the sad encounter’s mechanism. Don’t let its seemingly conceptual framework fool you though, like most of his past output ‘Dyscamupia’ also aims to bring dancefloors to a steady simmer, whilst maintaining Lucy’s ascending momentum towards an all-round genre-busting, thought-provoking apex.

 

All tracks (w) & (p) by Lucy AKA Luca Mortellaro
Voice on all tracks by Jason Snell
words by Albert Camus’ “ The Stranger”
mastered @ Artefacts Mastering Studio, Berlin
graphic concept by Ignazio Mortellaro [OA]
Ⓟ & © Stroboscopic Artefacts 2019
Cat. No. SA034 – all rights reserved
www.stroboscopicartefacts.com

A - Lucy - Dyscamupia (Forward) [SA034]

Stroboscopic Artefacts releases ‘X – Ten Years Of Artefacts’, a 13-track album curated by Lucy, the nom de techno of Luca Mortellaro. It celebrates ten years of his label by boldly confirming its raison d’être: a continual redefinition of modern techno.

‘X – Ten Years Of Artefacts’ is a various artists album in which the label’s key artists respond to its tenth anniversary with fresh compositions. Artists with divergent perspectives and MOs are equally at home expressing themselves. These tracks’ timbres, tempos and moods differ greatly yet—somewhat improbably—they seem together, ideologically unified.

The album will be later complemented by a special remixes EP, with four new reworks of pivotal back catalogue material from the label (Donato Dozzy, Caterina Barbieri, Xhin and Klock). And from fall 2019, Lucy and an incredible cast of Stroboscopic Artefacts artists will begin an extended club tour to mark the anniversary.

On ‘X – Ten Years Of Artefacts’, Mortellaro features solo as Lucy, in collaboration with Rrose as Lotus Eater and together with Speedy J as Zeitgeber. (Rrose also appears alone with “The Myth of Purity.”) Shifted, Efdemin, L.B. Dub Corp (Luke Slater), James Ruskin, Denise Rabe, Adriana Lopez, Chevel, Alessandro Adriani and Serena Butler each feature, representing a group of singular artists whose relationships with the label range from years to months—Stroboscopic Artefacts’ past, present and future must exist simultaneously.

Back in September 2009, Lucy released “Why Don’t You Change / Dub Man Walking,” the first record from Stroboscopic Artefacts, which began a discography that, ten years later, is almost unparalleled in its ambition and vision. Put simply, Mortellaro wanted to create something that didn’t exist. Stroboscopic Artefacts would be respectful of, and indebted to, the great techno and electronic music artists of the past but would develop new paths forward for the label and the genre. The label refused to perpetuate the established dichotomies of electronic music—between the dance floor and home listening, between club music and experimental music, between the past and the future. It took risks knowing it wouldn’t always work. But within a year or so of the label’s inception, it was obvious Stroboscopic Artefacts’ approach had captured imaginations far beyond its Berlin base, showing us that the boundaries of techno are often constructs of limited imagination. The label pursued constantly evolving methods of releasing music. It created concept-driven series like Monad, Stellate and Totem, establishing frameworks that would give freedom in limitation. Standout albums by Lucy, Xhin, Dadub, Zeitgeber, Chevel, Kangding Ray, Lotus Eater and Alessandro Adriani were deeply considered longform presentations.

With this new album, remix EP and tour, now is the moment for Stroboscopic Artefacts to look fondly at its past while drawing breath, reenergised, and hinting at new chapters.

Mastered @ Artefacts Mastering Studio, Berlin
Graphic concept by Ignazio Mortellaro [OA]
℗ & © Stroboscopic Artefacts 2019
Cat. No. SA10YEARSLP – All rights reserved
www.stroboscopicartefacts.com

X - Ten Years Of Artefacts

Preorder

C2. Lucy - The Goat God [SA10YEARSLP]

Order: https://stroboscopicartefacts.com/shop/if-not-now-when-sa036/

Sharing the same forward-facing approach to techno music, it was about time that Roman DJ and producer Adiel lands her debut EP on Stroboscopic Artefacts. Just a few months on from the drop of the label’s anniversary compilation ‘X – Ten Years of Artefacts’, featuring the broadest array of talents including Rrose, Shifted, Efdemin, Denise Rabe, Chevel, Lucy and more, the timing couldn’t be better for both her and Lucy’s mind-expanding visions to unify.

Following on from an array of 12-inches on her own imprint, including a recent joint effort with Anthony Linell, ‘If Not Now When?’ is an ode to the all-enveloping strangeness of eternal nights that cuts a path of ecstatic light in the dark. Breaking the ice, the title-track plunges us in an effervescing pool of menacing reverbs, bloopy signals and rippling synth tides on a murky tip, while its faster and sharper twin ‘At The Bottom Of The Sea’ vigorously ups the ante to ensure optimal peak time firepower.

Flip sides and here’s ‘If Not Me Who’ diving even deeper into tape-echo’ed bizarro, swashing back and forth from blunt lo-freq frenzy to liquid-like levitation. ‘ESRR’ rounds off the package on a further freaky note, merging heavily processed vocals and swampy, octave-shifting keyboard movements to form a slice of wild, cross-pollinated electronics laid upon a much enticing techno swing. The very epitome of surgically executed dance music with a fascinatingly soulful, nearly shamanic edge to it.

all tracks (w) & (p) by Adiel
additional production and mixdown on A1, A2 and B1
by Tobias Freund at Non Standard Studio, Berlin
on B2 by Jonas Palzer
mastered @ Artefacts Mastering Studio, Berlin
graphic concept by Ignazio Mortellaro [OA]
cat. No. SA036 – All rights reserved
Ⓟ & © Stroboscopic Artefacts 2020
www.stroboscopicartefacts.com

rédaction

Laura Prat