Taken from Klahrk (@klahrk) new EP Oscillate and Shimmer, out November 19, 2021, via SFX (@s-f-x-0101)

Read: https://bit.ly/3neSBi6
Pre-order: https://bit.ly/3ndP5oj

Effortless and disarming, lush yet brutal, “Oscillate and Shimmer,” the newest release by DJ, artist, producer and label owner Klahrk, is the fruit of isolated collaborations and longing for mutually-assured destruction. The eight tracks, written across 2020 and 2021, mix vital computer pop builds with ruptured, explosive breaks ringing of UK bass. This is the soundtrack to rebuild the world of the club and tear it down again.

Under SFX, Klahrk has built an album that hits fiercely while flirting with digital distortion to create dark tensions begging for release on the dance floor. Rooted in the industrial electronic scenes from the past, this album is written for the clubs of the future, where we can never guess what happens next.

You can also listen to Klahrk's last show on Radio Ma3azef where he runs through tracks that inspired his upcoming release, as well as sharing his current selections for a glimpse into the future.
https://soundcloud.com/klahrk/klahrk-oscillate-and-shimmer-special-ma3azef-nov-21

Artwork by Alessandra Leone

Mastered by Ingrid Loftsgarden

Released by SFX

Premiere: Klahrk - Send It!! [SFX]

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Taken from SBKT049: Osheyack - Intimate Publics
Release date: 8th June 2022

Intimate Publics, Osheyack’s second album, is an homage to Shanghai, the city he has called home since 2012. Over the past ten years the producer has evolved from an avid club-goer to a key member of the vital soundscape that emerged from ALL Club and its predecessor, the now defunct club The Shelter. As hinted by the title, which draws on American social theorist Michael Warner’s work on publics and counterpublics, the album expresses a commitment to mining the utopian potential of club music, forging new worlds and generating future social relations, just as the artist bids farewell to the city at a moment of uncertain transition. While tracks like 'Edging' and 'Thrall' continue to present his signature collage of harder club music, the rest of the record reveals a shift to synthetic approximations of acoustic instruments. 'Still', the central track of the album, is a piece composed almost entirely of samples found on Vocaloid (a vocal synthesizer developed by Yamaha, commonly used to give voice to Japanese virtual idols). While echoing themes explored in previous projects, like the nature of realism and authenticity in a techno-mediated landscape, Intimate Publics is charged with an unexpected emotional candor and vulnerability, unveiling a personal side Osheyack is only beginning to explore.

Words by Alvin Li
Artwork by Xiaofei Qiu
Design by Luke Griffiths
Mastered by Raphael Valensi

Intimate Publics

Osheyack - Thrall

SUYN

Prolific Japanese producer T5UMUT5UMU has built up a reputation in the last few years for his ability not just to recreate club styles but to flip them into almost unrecognizable dancefloor hybrids. "Sea of Trees" follows a blistering run of Bandcamp releases where T5UMUT5UMU has melted together gqom and techno, deconstructed grime and welded dubstep to traditional music from Japan and India. Here, he's operating completely off the grid, pulling raw materials from across the globe and hammering them into confounding shapes and patterns.

On its surface, 'Fireball' sounds like a liquid metal approximation of South African gqom, but move in closer and you can make out dubstep bass squelches, trap hats, and industrial techno jet propulsion filling in the gaps with rubberized mortar. 'Desert' is the EP's most lightheaded cut, a psychedelic percussive spiral that curves micro-tuned mbira clangs around bee sting bass, aerated noise blasts and sub-aqueous kicks. It's a hard track to place, but fits in somewhere between Donato Dozzy, Menzi and 33EMYBW, all shifting rhythms and precision-edited sound design.

'Sea of Trees' retains this momentum, pushing the tempo and interspersing woodblock vibrations with syncopated bass drums and goosebump-inducing synths, while closer 'Bottomless Valley' shifts back into a gqom framework, shuffling the expected pulse with a powerful dembow swing, half step subs and Indian-inspired rattles. "Asyl" is a varied but shockingly coherent statement from an enigmatic producer who refuses to confine himself to a single path, and at a time when "cross-genre" is the norm rather than the exception, it's refreshing to witness a producer who's unafraid to truly make stylistic left-turns, rather than simply mash together top-level aesthetics.

Sea of Trees

Bottomless Valley

Ice_eyes and Sueuga have linked Athens and Mexico for a percussive and industrial EP labeled post-pandemic club music.

Read more on CxC 🔗 couvrexchefs.com/en/ice_eyes-sueuga-arboretum-records-superficie-ziur-remix

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PREMIERE: Ice_eyes x Sueuga - Superficie (Ziúr Remix) (Arboretum Records)

‘Inflatable Gravestone’ is the debut album by Mun Sing (aka Harry Wright) released on https://soundcloud.com/planetmurecords on 2nd June 2023

https://munsing.bandcamp.com/album/inflatable-gravestone

The motivating force of the album is the sudden loss of Harry’s father in 2020. Their father struggled with substance addiction and the album explores ideas of 'spirituality' and the ‘higher self’ in relation to addiction and its parallels with the coping mechanisms of grief. It also aims to highlight the importance of humour and distraction when coping with loss.

Serving as a narrative for their own experiences, the album is largely built around club-centred tracks (such as ‘Spider’ and ’Squabble’) broken up by moments of yearning and reflection in tracks like ’The Poison Garden’ and ‘Helhest (Azrael Smirks)’ and moments of dark anguish like 'Inheritor' with its heavy slab-like chords and pensive piano. Flirting with awkward and suggestive rhythms, Wright deliberately suspends moments of resolution and groove in favour of drama and jerky, unexpected cartoonish humour, taking as much influence from the likes of the Art Of Noise as Kyary Pamyu Pamyu. 

Wright rewards the listener with moments of clarity and introspection like flags on the journey, recruiting vocalist MX World to deliver lyrics and melodic ideas created by them and their father. Their father’s journals in rehab helped inform most of the lyrics. Some take whole sentences as a way to physically ‘give life’ to his words for the first time. The lyrics describe feelings, revelations and  apocalyptic hallucinations. MX World's clear, direct tone suggests folk music and the timelessness of the human condition.

The album concludes with the title track ‘Inflatable Gravestone’ which features a chorus of giddy manipulated laughter from Wright’s friends and family to a truly maddening effect. This is then resolved by bright and clear piano chords and the sound of Wright’s father breathing in his sleep. A deeply affecting and personal record with corkscrew twists and turns and a healthy dose of absurdism. 
credits
releases June 2, 2023

All tracks written and produced by Harry Wright. Lyrics by Harry Wright, except track 10 lyrics by Harry Wright and William Wright. Lead vocals by MX World. Additional vocals by Nashne, Akiko Haruna and Mouse.

Mastered by Beau Thomas at Ten Eight Seven Mastering.

Published by Domino Publishing.

Waiting In The Car

'Turn My Built Dances' out Friday, November 17. Pre-order here via Boomkat: https://boomkat.com/products/turn-my-built-dances

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LOFT - Heffalump (Szare Remix)

Don't Let The Man Get You Down.

a track by myself and @CITYTRONIX for Never Decay, Vol. 1 which is a benefit compilation curated by @djtheyra in response to the election results in the UK this past December.

All proceeds from the release will be donated to The Outside Project, an LGBTQI+ homeless shelter and community centre in London.

https://lgbtiqoutside.org/

Never Decay Vol.1

Klahrk & CITYTRONIX - Plastic Womb

معازف | مجلة الموسيقى الأولى والأخيرة من نوعها في العالم

Premiere: Klahrk - Send It!! [SFX]

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