Fan Curated Dust 514 Soundtrack

modernlove

Suum Cuique

JUNG

My Fav

-Yotam Avni, Vice track and Dos to be mixed deck A, B, C
-High pass filter before Paleman to restart tracklist
-Kisses in the dark, red binary then vejopatis to end tracklist

To Mix

6/2/13 - Label Love

Efilymckuf

http://blowinguptheworkshop.com/project/beatrice-dillon/

'A mix of bees, inspirational drumming from amongst other places, Senegal, Chad, NY, Haiti and London. Plus sounds from ancient keyboards made in Germany, Italy and Austria, recorded Summer 2013.'

CLAVICHORD OCTAVES*
EXTRACTS FROM 'DISARM' LP
BUMBLEBEE (TWO-TONED FLIGHT) RECORDED BY ALBRO T. GAUL
BEATRICE DILLON - PILOT
KABRÈ - LITHOPHONE, PICANCALA
HARPSICHORD OCTAVES*
BARA - PERCUSSIONS AFRIQUE N°1 TCHAD ("RAMATA", JOUÉ EN L'HONNEUR DU SULTAN NGAOURAN)
HARPSICHORD OCTAVES*
BEATRICE DILLON & RUPERT CLERVAUX - STUDIES II
JERI JERI - SAMA YAYE VERSION
RHYTHM RECORDED BY TONY SCHWARTZ
UNKNOWN ARTIST - BAND 17. HAITI: JUBA DANCE DRUMMING
BEATRICE DILLON - INTRO
GRAND PIANOFORTE OCTAVES*
MBOUM - PERCUSSIONS AFRIQUE N°1 TCHAD (RYTHMES DU "NDAÏ GOUMA")
GRAND PIANOFORTE OCTAVES*
PFUNDIG - MARK SANDERS (MUTATED)

*SOUNDS FROM INSTRUMENTS BUILT IN 1784, 1622, 1819. ALL EXTRACTS FROM RECORDINGS BY BEATRICE DILLON & RUPERT CLERVAUX

15 ◆ Beatrice Dillon

Bullion - You Drive Me To Plastic

ALBUM ALEPH OUT 
ORDER HERE: http://smarturl.it/Aleph
http://www.gesaffelstein.com/
https://www.facebook.com/gesaffelsteinmusic

HATE OR GLORY

Polymath James Leyland Kirby must surely have one of the most confounding CV’s in the business: he spent years taking the piss out of the music industry with anthems rallying against the (VV)MCPS, he notoriously fell out with various well known record labels for reasons you’ll just have to google, goaded Aphex Twin with a series of ‘tributes’ and channelled his love of everything from Falco (Rock Me Amadeus), Chris De Burgh, Frankie Goes to Hollywood and Stockport karaoke nights into a stream of increasingly bizzare 7”s back in the early noughties.
But at the same time he was responsible for releasing some of the very earliest material from Boards of Canada (Hell Interface: 1997), made a ruck of frankly groundbreaking industrial electronic records, brought New Beat to the world’s attention and, in 1999, made his first album as The Caretaker, a project that would go on to release some of the most loved Ambient/ Lynchian albums of recent times. SInce then he’s also produced an incredible suite of releases under his own name, scored various film projects and released three EP’s under the ‘Intrigue & Stuff’ banner which are, for our money, so ahead of their time they might just start sinking in properly by the end of the decade.
All of which brings us to ‘Watching Dead Empires in Decay’, a new album recorded under another of Kirby’s pseudonyms ‘The Stranger’ and released on Modern Love, a label that has been close to Kirby through these last eventful 15 years. It’s a dream album for the label: perhaps the most ambitious of Kirby’s career so far. It’s complex, singular, enigmatic, percussive, dark, and you just can’t work out how it was constructed. Gone are the sampled 78’s of The Caretaker, but it also doesnt exactly sound electronic - you just can’t quite fathom how any of it was put together: Field Recordings? Found Sounds? Sheets of metal scraped and hammered? Drum machines re-wired? It’s stark and unsettling, haunted, even troubling - but often just beautiful.
It starts with the sharp clang of opener ‘We Are Enemies But Not Here’ before the woozy percussive crawl ‘So Pale It Shone In The Night’ sucks you into a bare landscape: somewhere between Eraserhead and Fumio Hayasaka’s music for Akira Kurosawa. And then there are moments that break through the tension with clarity and familiarity, nostalgia even: ‘Where Are Our Monsters Now, Where Are Our Friends?’ could have been made by Boards of Canada if they had taken a turn into more noxious terrain back in 1998, while ‘Spiral Of Decline’ offsets the drum programming you’d most likely associate with a Powell record with an oblique sense of timing and space. It all ends with ‘About To Enter A Strange New Period’, an unusual, vaporous coda that offers no resolution - it just shuts proceedings down with nothing settled.

We Are Enemies But Not Here

So Pale It Shone In The Night

Spiral Of Decline

We Scarcely See Sunlight

Providence or Fate

Ólafur Arnalds and Janus Rasmussen finally release their unique Nordic electronic sounds in album size.

Get the limited edition 12" exclusively on Record Store Day 2015.
Order the album on 2xLP/CD/DL: http://www.erasedtapes.com/store/index/ERATP062
Or order the album DL via iTunes: http://snip.ftpromo.net/kiasmos

After dropping several tracks and performing at select festivals throughout the years, Ólafur Arnalds and Janus Rasmussen dedicated the year 2014 to explore the area in-between Ólafur’s more acoustic, piano-based solo work and Janus’s synth-heavy electro pop, with their collaborative electronic project Kiasmos.

By focusing solely on their self-titled debut album, Ólafur and Janus have been able to combine and further develop their unique sound aesthetics to complete an album driven by their mutual love for electronic music. Made in Ólafur’s newly build studio in Reykjavík, Iceland, a majority of the album was recorded using acoustic instruments next to a variety of synthesisers, drum machines and tape delays. It features a live drummer, string quartet and Ólafur performing on the grand piano, producing an ambient, textured sound, which makes it a perfect home listen and equally danceable record. If you listen closely, you can spot them record the thumb piano, finger snapping and even the sound of the metal grinder of a lighter slowly to replace the usual electronic hi-hat sounds, giving the album a far more intimate and unique atmosphere.

“We decided to start almost completely over with this record, so most of the material is written this year with the idea of making a record that can stand as one piece rather than a collection of songs. I am very excited to get a proper record out exploring a different territory than I am used to. I touch a lot on electronic genres in my own music but never have the opportunity to go full out electronic like we do here.” – Ólafur Arnalds

“The Kiasmos project has been around since 2007, but because of all our other projects we never really got the time to sit down and write all the tracks we always wanted to. So when we early this year finally found the time to sit down and make a full length album there was so much we wanted to try out. The result surprised us a bit, it's deeper and more emotional than we imagined it to be, but that's the beauty of being able to make an album.” – Janus Rasmussen

Kiasmos – s/t will be released on Double-Vinyl, CD and Download via Erased Tapes on October 27th, 2014.

TRACK LISTING: 

1. Lit  2. Held  3. Looped  4. Swayed  5. Thrown  6. Dragged  7. Bent  8. Burnt 

LIVE DATES:	

17.08. HAMBURG (DE) - Dockville Festival			
26.09. BRUSSELS (BE) – Bozar Electronic Arts Festival
27.09. DEN HAAG (NL) – Todays Art Festival

OFFICIAL WEBSITES:  	facebook.com/kiasmos · erasedtapes.com

Kiasmos

Looped

Buy 12"/DL

Kiasmos – Looped

First Release by our Newcomer Aaron Ahrends incl. Remixes by Gunjah and Coma / Release Date 12.05.2014 / Kompakt / Kontor New Media

X Aaron Ahrends Little Space Coma Remix

Just ahead of the release of his excellent Crossing Wires compilation, Timo Maas’s relationship with the My Favorite Robot label continues to flourish with this new EP. Offering two new and exclusive cuts from said forthcoming compilation - plus another special remix from My Favorite Robot - it is pure techno excellence.

Timo Maas is of course an enduring techno icon famed for his eclectic sound and always compelling EPs and LPs. The most recent of those came late last year and featured high profile collaborations with the likes of James Lavelle, Mikill Pane and Placebo's Brian Molko, whilst throughout his career he has released on labels including Cocoon and Perfecto as well as running his own Rockets & Ponies outlet.

First comes ‘Watching the Robots’, a meandering bit of deep and mid tempo techno with a fat, dystopian synth line that spreads across the whole horizon of the track like a search light. Subtly fizzing electronics and imposing melodic drones circle to add even more sci-fi ambiance and it makes for a pleasingly otherworldly listen.

On the flip is ‘Z Panorama’, an equally bleak vision of the future with a droning synth line falling down the scale and sucking you right in as a result. The slick beats roll on below and sad piano notes linger long in the air, all the while conjuring filmic intergalactic imagery in the listener’s mind. The My Favorite Robot trio quicken the tempo on their remix, layering in a light dusting of dancing hi hats and miniature melodic explosions that colour the night sky in some style. A molten acid line also creeps in to complete the perfectly future facing and expansive sonic
picture.

These tracks are at the very heart of the forthcoming compilation and prove Timo, decades after first announcing his arrival with that remix of Azzido Da Bass, is as pioneering and essential as ever.

Buy on Beatport

Timo Maas - Watching The Robots

Produced slowly and meticulously over the last 12
months, these seven tracks are the closet thing we've
had to a new album from Andy Stott since the release
of his debut full-length Merciless five years ago.
Taking influence from an array of seemingly incoherent
noises, from the indefinable and unforgettable mindtricks
of Arthur Russell to the slowhouse of Kassem
Mosse, from the alternate VHS realities of James
Ferraro and Jamal Moss to the Linn Drum classics of the
vintage Prince era - these seven tracks create their own
pace and agenda, largely shying away from the
dancefloor in favour of something more complex and
hard to define.
Following on from the tribal malfunctions of opening
intro Signature, New Ground heads into a chasm of
layered loops, creating a decimated and re-wired funk
template coloured in with frayed percussion and
dislodged vocal samples. North To South starts off from
similar ground but adds a shuffling vibe at a deceptively
intoxicated 110 bpm.
Intermittent is something altogether different, taking
perfectly formed Boogie templates and screwing with
them until nothing quite fits, brittle elements floating in
and out of time yet somehow keeping it together,
before Dark Details delivers the most dancefloor
compatible six minute stretch of the set, all clanging
stabs and dense percussion, somewhere between
Shackleton and Bam Bam.
Execution and Passed Me By end things off on a slowed
down tip, the former deploying an anaesthetised and
padded 4/4 template sunk deeper into the abyss by
deformed, time-stretched vocals, the latter ending off
proceedings with a more delicate palette, letting go of
all that pent-up emotion with nothing but that rumbling
low-end and some strings for company.

Execution

"you only have to look at the medusa straight on to see her. and she's not deadly. she's beautiful and laughing..."

- hélène cixous

mastered by warren hildebrand

Medusa

Junior Senior - Move Your Feet (DJ Nejtrino & DJ Stranger Mix)

Check out more free music here https://wrmdnb.bandcamp.com
Unofficial fan-made remix I did for Boards of Canada. Hope you will like it!&#13;
More from BOC: http://www.boardsofcanada.com
Thx to Dušan Drahoš for sax recording.
Download Mirror: https://www.dropbox.com/s/73bluj6w6s0zce2

Boards of Canada - Olson (Wrm remix)

Monoloc | Gipson EP
[SOMA427D]

1. Gipson
2. Cupel 

Soma welcome Techno behemoth Monoloc for his label debut with two dark, brooding Techno tracks in his inimitable style with the ‘Gipson EP’. Monoloc was born in 1980 in Frankfurt am Main. He first got in touch with the booming electronic music scene of this Techno metropolis at the age of 16 and soon bought his first set of records. Since then, his life has revolved around his ultimate goal; manifestation of his musical vision in the form of dj sets as well as his very own productions.

Title track Gipson kicks off with deep, pumping subs and kicks with a slowing evolving atmosphere creating great tension through the body of the track. Monoloc subtly pulls back the throttle only to launch back it with bold, crashing percussion. Most definitely one for the more moody dance floor.

On the flip, Cupel starts off a little lighter but defiantly delivers a punch. Muted kicks and atmosphere provide the backdrop while delayed synths trip out over the top. Monoloc picks up the pace ever so slightly as skipping hi hats given the track more urgency before ethereal pads glisten through the heart.

An exciting debut from a true master of Techno
*All tracks mastered by Conor Dalton @ Glowcast Mastering

Gipson

Monoloc - Gipson (Soma 427d)

Miles is one half of Demdike Stare and Pendle Coven and has recorded in the past under the aliases Millie and MLZ. After almost 15 years writing music, this is the first release Miles is putting out under his own name and marks a turning point of sorts in his production style, or rather, in its sequencing. 'Facets' brings together different ends of his production style, unifying elements of the House and Techno he’s most commonly released as MLZ together with the more broken production signatures usually reserved for Millie and the darkened tribalism of Demdike Stare. “Flawed” opens the set with a Linn loop from the archives, stretched and slowed down with an intoxicated aesthetic that’s somewhere between House and Dub, before “Lustre” re-configures source material originally keyed in by labelmate Andy Stott with a nice line in squashed percussion. ‘Primer’ on the flip extends from a Demdike Stare outtake and veers off into an analogue drum machine ruckus, before “On The fly” ends the set with a recording made straight to mixing desk from an array of mis-wired and malfunctioning drum boxes, contact microphones and samplers, over at his studio The Mill earlier this year.

Lustre

Kangding Ray - Luna [Stroboscopic Artefacts SA5YEARS03]

☛ Download and Pessimist interview - http://found.ee/SMGPC23

Pessimist goes deep for the Samurai Music Podcast to celebrate the release of his debut solo single for Samurai Music - 'The Woods' / 'Lead Foot' (SMG004)

☛ Buy Pessimist SMG004 digital from
SMG - http://found.ee/SMG004DIGI
Bandcamp - http://found.ee/SMG004BC
iTunes - http://found.ee/smg004itunes
Beatport - http://found.ee/SMG004BP

☛ Buy Pessimist SMG004 vinyl from
SMG - http://found.ee/SMG004

https://soundcloud.com/pessimist
https://www.facebook.com/pessimistdnb
https://twitter.com/pessimistdnb

☛ Subscribe to the Samurai Music Podcast on iTunes http://found.ee/samcast


Download and interview

Pessimist - Samurai Music Official Podcast 23

Exploring Ukraine's Underground Rave Revolution | CXEMA
https://www.youtube.com/watch?v=P4G1r2u8m9g
After the i-D movie about Схема my mailbox was tottaly crashed. I have received a lot of messages asking me to release this track. For two years I waited until one rather famous label fooling my head and as a result - it simply did not release my record.
Today I decided to release this track through my bandcamp.
So, the track that you have been waiting for
 https://koloah.bandcamp.com/track/amplification

Amplification

'We Stay Together' is a brand new doublepack from Andy Stott, a companion piece of sorts to the radical inversions of the 'Passed Me By' EP released earlier this year. Its predecessor left many heads dazed upon impact - in the best possible sense - and these six tracks, produced in its wake, amp the pressure to throttling degrees. Entering the digital compression chamber of 'Submission' you become a willing participant, before the lights are cut and you're forced to adjust to the humid atmosphere and bruising, muscle-contracting darkroom throb of 'Posers'. Suitably initiated, the EP's fearless centrepiece 'Bad Wires' plunges into full on mud-party mode, dropping the tempo while intensifying the kinaesthetic funk with slow, clusterf*cked syncopation until you're drowning in synthesized oil and crushed-glass textures. Fully submerged by 'We Stay Together (Part One)' time becomes elasticated like worn VHS tape, calling to mind Jamal Moss and James Ferraro soundtracking a rave in a sodden, flooded sauna, before inescapably tumbling into the sheer black hole of 'Cherry Eye' and left to the slompy jack of 'Cracked'. Blatantly, we rate this record massively, and although it's not for everyone, those looking for a more visceral, intense form of dancefloor pressure would do very well to check in

Cherry Eye

Fan mix of rarities, remixes, live, classics, fakes, source samples, edits and dialogue.
As featured at http://www.djfood.org/djfood/music-top-10s-for-2009

Download and tracklist at http://skywavesystems.net/abocmix

A Boards of Canada mix

Lifted off the forthcoming album Lighthouse Stories, out March 25th on Modern Love.

Low Jack - Six In The Morning

AJ004, available for pre-order here- https://alienjams.bandcamp.com/

Beatrice Dillon/ Karen Gwyer Sampler

Taken from the album 'Too Many Voices', out April 22nd.

There'll be a two hour NTS special on April 22nd at 7pm to coincide with the album release, tune in at http://www.nts.live


Andy Stott - Selfish

Housebound Demigod

G.H. - Devils Bit Scabious

Marco Bailey's MATERIA brought a new generation of party to the magical island of Ibiza this summer, with a focus on raw underground techno, Marco's vision for his first season at Vista Club Ibiza every Sunday brought top techno artists from all over the world.

After the successful release of XL1, which acted as a preview to what we could have expected this summer, Marco is honored to present the release of #MATERIA XL2 on MB Elektronics Recordings - and it provides a powerful collection of 21 tracks that were prominent throughout the unforgettable season at MATERIA.

Mixed down by Marco himself into a sublime set, it has a selection of tracks from MBR Limited/MB Elektronics regulars and also gigantic guests including Joachim Spieth, Nima Khak, Dany Rodriguez, Mikael Jonasson, Alex Bau, Shlomi Aber, Blawan, Sterac, Shifted, UVB, Marcel Fengler, Flug (Official), Sigha, Persuader, Soolee, Moteka, Yotam Avni, Alfredo Mazzilli and last but not least Marco Bailey himself with "Gravity Drag" from his forthcoming EP due out later this year on MBR LTD

The array of tracks across this compilation provides a powerful and pure electronic journey, placing it firmly at the forefront of underground #techno.

Buy it at:

iTunes: http://bit.ly/MBE159D-MATERIAXL2-ITUNES
Beatport: http://bit.ly/MBE159D-MATERIAXL2-BEATPORT

Follow Marco Bailey on Facebook:
https://www.facebook.com/officialmarcobailey/

Follow MB Elektronics on Facebook:
https://www.facebook.com/mbelektronics

Follow MATERIA on Facebook:
https://www.facebook.com/materiaevents

Yotam Avni - Marva Version (Original Mix) [MB Elektronics]

Sciahri - Chronicle

A1. Atonement
A2. Atonement (Pessimist Remix)
B1. Enemy Sound
B2. Departure

Stumbling Zoned Out Yoga Celebration on 180g Heavyweight vinyl.
http://www.iliantape.de/itx09-sciahri-chronicle/

ITX09 SCIAHRI - CHRONICLE

It's been almost a year since Demdike Stare finished their "Tryptych" of releases, and in the intervening months Miles Whittaker and Sean Canty have been busy touring and gradually piecing together sounds for this new series: Elemental. After four limited edition vinyl installments, Elemental is now released as a 2CD album, including different versions of tracks that have appeared on the vinyl editions, plus extensive additional material - making for a two-hour trip through dark, post-industrial terrain.

We Have Already Died

Buy On Beatport

[SUARA311] Blooma - Dos (Coyu Raw Mix) Snippet

One Step Ahead (enemy036)

Reach Out to Me (Cosmin TRG Remix)

Suum Cuique (pronouned Soom Kwi-Kwe, Latin for "To Each His Own") follows the remit of Young Americans to explore uncharted, experimental, and personal synthscapes, guided by the hand of intuition with an entirely analogue array of machines. In 'Lithic Reduction' concrète textures grind like a millstone to release powdery clouds of analog dust, settling only to be dispersed by gusts of blackened distortion, whereas 'Red Binary' is distinctly electronic, revolving around muted radar bleeps like the resonance from SAW II soundtracking a speckly pill experience that's starting to go west. The album's centrepiece, the aptly titled 'Entropy' nods to the sublimely stoic work of Eleh, radiating microtonal bass shifts while a bitter northerly wind builds in intensity. 'Cyclic Redundancy' opens the flipside with a majestically submerged slab of completely obliterated and submerged 4/4, like an unholy collusion between Mika Vainio, Sandwell and Bernard Parmegiani soundtracking a trade union rave in the 1950's, before 'Even In Death...' conjures imagery of a eulogy given by a Mongolian throat singer with crows circling overhead. 

Lithic Reduction

Red Binary

Entropy

Cyclic Redundancy

Frontogenesis

Following on from a pair of Extended Players released in 2011 ("Passed Me By" / "We Stay Together") Andy Stott returns to Modern Love with 'Luxury Problems', an 8 track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you'll have heard from him before. 'Numb' opens the album with Alison's voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more f*cked. 'Lost and Found' follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. 'Sleepless' started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of 'Passed Me By', here re-tooled and re-built for its next evolutionary phase. 'Hatch The Plan' ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow - it's just a beautifuly inverted pop song. The second half opens with 'Expecting', the most recognisably 'Stott' moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. 'Luxury Problems' is next and offers up the album's most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the box" switches up the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.

01-Numb

Jack Dice is a new project on Modern Love from John Twells and Walker Chambliss. Twells, amongst very many other things, runs the Type label and has been producing music of various different disciplines and varieties over the last 15 years. Although he's never released anything on Modern Love before, he's a long time friend and associate of the label. Chambliss is the manager of Main Attrakionz and has been DJing with them for the last couple of years as the official 'Green Ova DJ'. 'Jack Dice' is fuelled by an interest in bass, Twells being a car audio nerd and Walker having an obsession with 90s southern rap music. The EP features their first tracks produced together, 4 pieces condensed and f*cked with over the last few months, somehow feeding Twells' interest in screwed analogue recording techniques through to a more percolated/propulsive trajectory aimed squarely at the floor. Those southern rap influences are definately there, but theres something odd and incongruous about the way the tracks have been pieced together - something that won't surprise anyone with any knowledge of where both these producers find musical nourishment. 

04-Radiant City

Rainer Veil are Liam Morley and Dan Valentine, two friends who met while studying contemporary music in the north of England. The pair began improvising and making drones in a dark basement before incorporating a broader palette and forming Rainer Veil as an ongoing concern last year. ‘Struck’ is their first EP and debut for Modern Love, following an appearance at the label Boiler Room takeover in August 2012.
The ‘Struck’ EP incorporates recordings made over the last year and extends from the rewired Jungle ruckus of the title track to the more emotive formation of ‘Wade In’ and ‘Bala’, through to the hazy closer ‘Yield’. There’s a melancholy pop pulsing at the heart of these tracks, coloured by a love of electronic mutations from UKG and Hardcore rave to House and Techno, most evident in the unusual recording process undertaken while constructing the EP. Each track was re-worked from radically different first drafts, often starting life as more recognisable and structured songs before being dismantled into more abstract shapes: percussion degraded and layered, vocals fed through analog delays, samples reworked at the wrong speed and re-sampled to tape for added warmth: the narrative all mixed up.

Bala

Up To No Good EP coming soon!
Logo: Martin Löfqvist.
Photo & artwork: Lilla Namo.
