mix_002

the significant novelty of kyoka‘s first full length album »is (Is Superpowered)« is that she uses her own voice much more often than usual, in the form of short snippets as well as longer sung melodies. these elements are set and arranged as if they were an autonomous instrument. sometimes these voices give the impression of being a babelesque language mix-up, or even a kind of cryptic message for the listener like found in the song »meander«.

the production process of the record was heavily supported by her label mates frank bretscheider and robert lippok, which is, in this way of forming a production team, a unique constellation in the history of raster-noton. whereas lippok focused on preserving the roughness and complexity of kyoka‘s compositions, bretschneider concentrated on refining them regarding their fluidity and focus. both tried to keep the vitality and hyperactivity of the initial tracks without losing their distinctive eccentricity.

although kyoka‘s sound is often kind of chaotic, it is by no means stressful but rather energizing and easy to enjoy. the only exception to this can be found in »piezo version vision«, the noticeably roughest track of the record. her particularly progressive style is best reflected by the song »re-pulsion«, a rolling groove combined with unusual clicks and snares and topped with crazy sounding voice fragments.

the album thus further deepens what was already initiated with her first ep »iSH«, released as part five of raster-noton‘s unun series. it presents a stylistically broader spectrum of kyoka‘s music but at the same time exhibits the fresh and positive, sometimes even childlike attitude she is already known for. this eventually renders »is (Is Superpowered)« a perfect extension of our label catalogue.

kyoka. re-pulsion. taken from kyoka. is (is superpowered)

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'I' - PIANO INTERRUPTED (DENOVALI)
'PARTICLES & FIELDS' - JEMAPUR (DETROIT UNDERGROUND)
'BRACE' - CYPHR (HER RECORDS)
'MOVE TO THE OCEAN' - BRICK & MORTAR (BRICK & MORTAR)
'PERFECT GAIN STRUCTURE' - KRAMPFHAFT (SPIT THUNDER)
'KLEINER BRUDER' - DENZEL & HUHN (CITY CENTRE OFFICES)
'MANNERS' - ARCA (UNO NYC)
'TELL 'EM' - ZEBRA KATZ VS ALTERA (UNRELEASED)
'GREEDY FINGAZ - MARKUS WORMSTORM FEAT SPOEK MATHAMBO (M=MAXIMAL)
'OMNI' - MAST (ALPHA PUP)
'CHRIST AIR' - LEON VYNEHALL (3024)
'B.N.R' - KANE IKIN (THIS THING)
'VIVID CHAINS' - ZAVOLOKA (KVITNU)

'Reachy Prints' is available from,
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Visual Mix

'wrd' Mix

»vortices« is ueno masaaki’s first release on raster-noton, and the seventh release of the unun series.

ueno masaaki takes his musical cue from natural phenomenon and laws of nature by trying to reconstruct, not simulating them. the results are mainly rhythmical patterns that set off a chain reaction, expanding and contracting and creating new formations all the time.

the four tracks he presents on the EP are characterized by solid sound structures that appear to be very harsh and straight, sometimes even brutal, whereas the high pace even intensifies this impression. apparently repetitive at first sight, the tracks are in fact highly complex and intelligently arranged, presenting unforeseen breaks and shifts in direction.

ueno masaaki. excited state. taken from ueno masaaki. vortices

ueno masaaki. vortex state. taken from ueno masaaki. vortices

»LA DEMEURE; il y a péril en la demeure« is the opening to a five-part complex of works by artist grischa lichtenberger. »LA DEMEURE« – the residence – could be outlined as intimacy, a symbol of isolation and privacy: the joy of being withdrawn from economic, temporal or social restraints in the confinement of a home. it owes gratitude to a protective otherness, a hospitality that leaves a trace in all the works deriving from this freedom. the double bind of an enabling retreat (la demeure) and the remaining (demeurer) trace of this otherness in it generates the central tension of »LA DEMEURE; il y a péril en la demeure«.

the single tracks on »LA DEMEURE; il y a péril en la demeure« and their components are constantly ruptured, disassembled and reassembled again. some passages allude to a weird fractured version of pop music, others may evoke associations to a disjointing music box, to something mechanical that is not working as it should. the time signatures of the tracks are constantly subjected to a mangling and squelching process, all the while keeping a constant rhythmical flow.
in his very own way, grischa lichtenberger is examining limits, new experiences and unfulfilling expectations. this unfilteredness and rawness, the lack of a target group the music is made for, is what is fascinating about this record. »LA DEMEURE; il y a péril en la demeure« thus becomes a luxurious-kafkaesque collection of materials, an uncensored archive of a seeker.

»LA DEMEURE; il y a péril en la demeure« will be released on CD and accompanied by three vinyl EPs that will place the experiment in relation to the public. the five-part cycle will be completed with a second album focusing on »IL Y A PÉRIL EN LA DEMEURE« – exigent circumstances – a legal term which allows law enforcement to break into the private residence because of an imminent danger (péril).

grischa lichtenberger »keys t« taken from »LA DEMEURE; il y a péril en la demeure«

thankyouforlistening.wmv
CelebratingDigitalArtifacts_out_April28th(bedlamtapes-bandcamp).dma

http://BedlamTapes.bandcamp.com
http://www.facebook.com/BedlamTapes
http://DanteMarsAjeto.bandcamp.com
http://facebook.com/DanteMarsAjeto

ty!.mp3 - Error - invalid digital character (personality #7e8c8f)

A2 messages.mp3

DIGITAL SUNZZ

Listen, download, share, support:
https://music.apple.com/album/1547730481
https://beatport.com/release/thunderheads/3263793
https://open.spotify.com/album/4vMJ8sWXEhdztOEUp4P8KK
https://tidal.com/browse/album/168586880
https://traxsource.com/title/1506342

Thunderheads

Thunderheads feat. Fat Pockets

outline.25 ZOTS

Download the album and donate to RCK, at https://looselips123.bandcamp.com.

This track, which was made in May 2015, has been circulating in a restricted circle of DJs and has been requested to be released by many. It’s a pleasure to present it to you on this 10th compilation, from one of our very own residents! 

soundcloud.com/jef-t-scale 

Sine Labs is an obscure long-term project from T-Scale, in collaboration with a metaphysical entity who goes by the human name of Barry Convex. Together, they experiment with any sort of bass-driven music.

Download

Sine Labs - Lexicon Butterworth Kid (Loose Lips Compilation Album #10 in aid of RCK)

when you find glitch machine while on train in Alps (Verona edit)

https://G59Records.com

[VERSE I: LIL CIG]

i keep on strolling with no control of my thoughts of life
seems like my home has become something i can't recognize
doubters turn to believers, but fuck i'm not surprised
i miss my cousin so much, yet he's still by my side
crazy how friends switch it
asking how they can get a picture
what happened to what's up homie?
how you doing?
goddamn i miss you
don't want to be no where else
so i'm making myself create this hell in the place i dwell
stuck in an open cell
take me back before the levees fell

[VERSE II: 7TH WARD LORD]

yeah, i be that 7th ward lord with them devil horns
born and raised in the waves of the storm
the flood has left me wet and torn
the garden of eden destroyed by babylon demons
they poured the chlorine with no warning
petals on the floor freezing
a world once unexplored
i think i'm marco polo covered in thorns
set my compass to avoid tethered forms
new orleans is war torn i ain't betting scores 
and all of my friends are now whores
and i'm bored of all the replication of the life i once lived in the city i once adored

KILL YOURSELF Part XII: The Dark Glacier Saga

PLANTING THE ROOTS ONLY TO FALL OUT THE TREE

vladislav delay‘s EP „espoo“ features two new conceptual, rhythm-intense tracks. whereas the groove of the opener „olari“ derives from a sound loop which is manipulated by filters and echoes and finally brings forth the intensifying beat, the reverse is done with „kolari“ on the b-side. starting from an impulsive, staccato beat, a sound carpet is woven by means of modifiers which gradually shape a permanent vacation-like melody, close to terry riley‘s minimalistic concepts. both tracks share a linear increase in density, and because of their break with the common four-four time, they create a certain folkloric atmosphere. like with „vantaa“ (r-n136), the experienced music producer vladislav delay continues his search for dance-floor compatible, yet unique and fresh music.

Buy on raster-noton online store

vladislav delay. kolari (exerpt). taken from vladislav delay. espoo

http://shop.raster-noton.net/?pid=269

»the title ›and IV (inertia)‹ refers to a fictionalized successor of the baksan neutrino telescope in the caucasus region. at first, it has been an idea for a novel, based on the consideration that it is impossible to deal with the topic of a ›lebensraum‹ like berlin without being hit by stylization – so I had to experiment with strategies of fiction.«

with »and IV (inertia)«, grischa lichtenberger presents his first full length record on raster-noton after his participation in the unun-series. for his musical production, he uses field recordings of his environment which are manipulated and broken down to their bare nakedness until only fragments are left. apart from analogue sources, he also uses digital sound data which is likewise turned and twisted until the boundaries between analogue and digital are blurred.

the arrangement of these atomic elements results in a rather rough and brute, machine-like cut-up sound with an outstanding dynamic – almost none. it seems like that the 21 tracks only consist of a minimal set of elements, but which are rearranged in a virtuous manner and with a high degree of variation. broken beats and dribbling basses allude to downbeat tunes, let one stumble because of their arhythmicity, to eventually take up the underlying groove again. equally, there are fierce and harsh technoid elements. and towards the second part of the record, there is also room for new developments where more introverted and airy songs take over.

lichtenberger’s musical production on »and IV (inertia)« goes in line with his general artistic work, which also comprises other artistic genres such as installations and paintings. there is a mental attitude behind all this, and while the music sounds abstract, one may still identify his personal note. In this way, »and IV (inertia)« is the extension of a concept he already started with his »~treibgut« ep (r-n112), »to define aspects of legitimation for an artistic work in engagement with the concreteness of one’s living situation.«

grischa lichtenberger. 1210_08_4+ (excerpt). taken from grischa lichtenberger. and IV (inertia)

http://shop.raster-noton.net/?pid=275

with kuopio, we release the second full length album by vladislav delay aka sasu ripatti. the record features eight new songs which allow the listener to dive into delay’s cosmos of deep and likewise organic sounds. subtle yet complex electronic manipulations are used, resulting in a high degree of variation within every single track and a nearly imperceptible intensification of their density.

progressive and energetic rhythms play an important role as already indicated in his recent release espoo (r-n141), the EP which forms a bridge between his former album vantaa (r-n136) and kuopio, best illustrated by the track “kulkee”, meaning “to move forward”.

kuopio clearly represents a further attempt to depict the finnish landscape as well as its isolated charm, which is also obvious from its design and conceptional approach by referring to the city of kuopio.


vladislav delay. hitto (excerpt). taken from vladislav delay. kuopio

shop.raster-noton.net/?pid=276


the tale of the mythic pentaki mountain has been engraved on a two-sided circular piece of wax.

the north face of the peak is steep, abrasive, and has been the subject of many legends in the region. it is said that whoever would manage to climb it would find a plateau, leading to a place called “the single source of truth”.

considered as the ultimate goal by both psychedelic gurus and database optimization corporations, and as an ideal retirement destination for a couple of lost souls in search for coherence and objectivity, the source diffuses endless loops of haunted voices, apparently sampled from a discarded call center, running low on power, encouraging listeners to shorten cycles, deliver requests and improve user experience.

it is also said that anyone climbing from the south side would never reach the summit or find his way to the plateau, and would always end up on a lower altitude than where he started.

this topographical anomaly is probably the reason why the south face of the pentaki has always been favorited by locals, with its sunny weather and its luxurious vegetation flourishing along the soft downward slope, leading to a slow and peaceful end.

kangding ray. south (excerpt). taken from kangding ray. the pentaki slopes

with RV8, the osaka-based producer and musician AOKI takamasa continues his long- term project that focuses on the modulation of rhythms and grooves. it began with his first ep ‚rhythm variations‘ in 2009, released as part three of the unun-series. besides his collaboration with raster-noton, he released records on several labels like commmons, progressive form and op.disc, produced remixes for well-known musicians like ryuichi sakamoto or yoshihiro hanno and played performances at, for example, elektra/montreal and club transmediale/ berlin, all in all making him a renowned producer in japan and beyond.

starting with a firework of bleeps and bops, already the very first minutes of his new record reveal aoki‘s preference for vibrating beats and likewise his playful approach to music, generating a sound that is aiming at the dance floor.

like the first ones, almost all tracks of the record are characterized by a constant modulation of chords and lines that sometimes appears somehow hyperactive, but nevertheless results in a natural flow that perfectly reflects AOKI‘s laid-back attitude combined with his will to produce danceable and funky music.

the fluent arrangement is only interrupted by the third track which forms a caesura by being more reduced and slower. in contrast to this, the following tracks present a faster tempo and an increased intensity; and whereas the first tracks reflect downbeat and r‘n‘b influences due to their broken beats and chunky sound, the later songs are characterized by a more sleek and technoid style, incorporating dribbling basses, clappy sounding snares and modulated voice snippets.

although all of the musical components are constantly broken down, modulated, and rearranged, the overall sound of the record is dense and compact, featuring a groove made up of numerous elements that are complexly intertwined. the eight tracks of the record fit seamlessly together and create a composition that nearly functions like a dj set.

the album was mastered by yoshinori sunahara. needless to say that RV8 will be released as cd and lp.

AOKI takamasa. rhythm variation 02 (excerpt). taken from AOKI takamasa. RV8

I don't use Soundcloud very much; this site is mostly reposts, every once and a while.

Find me at 
https://twitter.com/mbmusicBerlin

mix_002

matt burnett