liminality

Vísendakona

House/Disco

Amber

Artistas confirmados para el L.E.V. de 2013 (Gijón, Asturias, Spain)

VII Festival de Creación Audiovisual de Gijón. Laboral Ciudad de la Cultura.

Laboratorio de Electrónica Visual (L.E.V.) www.levfestival.com - GIJÓN

L.E.V. 13 (set de artistas confirmados)

BAYWATCH BALLET

ATOM | Artist #18 Andy Stott

Limited edition coloured vinyl 12" available at: http://bit.ly/TrickyStottSoundcloud
'False Idols' - album order details: <a href="http://www.trickysite.com/false-idols-released/" rel="nofollow" target="_blank">here</a>

Exclusive Andy Stott remix of "Valentine" from the new album 'False Idols' released on False Idols in association with !K7 Records.

Tricky says: 

"Andy Stott remix was done just because he is a talent, no other reason. This is not for a single release and not promotion for any up and coming release. We approached him and asked him to choose a song. False Idols is not a typical label so we do not have to do things in typical label fashion. Andy Stott's remix is totally pure and refreshing and stands alone."

Become a fan of Tricky: http://www.facebook.com/TrickyOfficial

Follow Tricky on Twitter: http://twitter.com/knowlewestboy
Subscribe to Tricky on YouTube: http://bit.ly/X9qvCR



Valentine (Andy Stott Remix)

Pre-Order 12"

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.

Spiral Of Decline

from the album 'essays in idleness' available 4/7

christopher bissonnette 'entanglements'

"Yr Problems" out now via @trensmat
http://www.trensmat.com/tr042.html

The multi-tentacled beast that is Gnod reveals here another, er, tentacle in the writhing and sucking meeting of Druss (aka Paddy from Gnod) and Russian creepo electronics merchants, the duo Love Cult. Tracks are credited to either Druss, Love Cult or Love Cult Takes Druss but to be honest the joins are seamless - these geographically disparate freq-freaks are clearly on the same wavelength.

Placed against the grubby tech fury of the recent Dwellings and Druss Gnod-offshoot releases, this LP at first appears more restrained, though an unsettling and mostly downtempo atmosphere pervades. The overall feeling of unease proves quite difficult to pin down, especially when the component parts are examined in isolation. Whether you focus on the pleasing deep deep bass rumblings, the pulsing mids, the primitive staccato drum machine, the occasional half-buried vocals, the dreamlike corroded loops, or the obnoxious insistence of the upfront disembodied vocal sample-triggering, there's seemingly something familiar to hang on to at every turn - but taken together in the slightly 'off' way these ingredients coagulate, there is in truth very little comfort to be had.

To break it down, for what it's worth, side A is weighted in favour of Love Cult (2 collabs, 2 solo tracks) and on the B Druss do the heavy-lifting (again 2 collab, 2 solo). Take for example the unbearable claustrophobia of split composition Yr Problems - it has all the previously-mentioned elements, none of which are overly sinister in isolation but put the listener right off their lunch when served on the same tray. Death Forever on the B could be (and should be!) the closing credits soundtrack to J. Carpenter's Prince Of Darkness. It isn't - though freely-available contemporary tools and a little cunning can make that cyber-satanic dream a reality for anyone willing to get their kicks in such a fashion, inevitably losing their shit to the frantic stuttering electro groove, corrosive B-movie bleeps, and Crowley-esque 'FOREVER' chants on infinite repeat.

Two extra digital-only tracks, somewhat lighter in mood, serve as a fine apertif and as good a prompt as any to pull open the curtains and reflect on the preceding 45-minute offbeat excursion, back safe in reasssuring daylight normality...though it doesn't look quite the same any more... 

The LP comes with digital copies of the eight tracks on the vinyl + two additional exclusive digital only tracks. Pre-orders will be immediately sent a link to this download package in WAV & MP3 format.

VERY limited edition coloured vinyl LP" in full colour card sleeve (+ 10 downloads).

Black Pines (3:03)
Yr Problems (7:25)
Nothing Makes It Real (8:30)
Landing On Fires (4:34)
Thirst (4:23)
Nonplusultra (5:32)
Death Forever (7:56)
Hunger (3:23)
Records and Tapes (2:32)
The End (4:08)

Mar 2014, TR042

Love Cult Take Druss - Nothing Makes It Real

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.

Passed Me By

Faith In Strangers’ was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty Warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

On Oath

Violence

Time Away

No Surrender

Science And Industry

EU TOUR DATES 2017:

All Tour Tickets - www.mountkimbie.com/live

27/10: Liverpool Music Week, Liverpool, UK
28/10: Ritz, Manchester, UK
30/10: Glasgow Art School, UK
01/11: The Institute, Birmingham, UK
02/11: Motion, Bristol, UK
03/11: Roundhouse, London, UK
04/11: AB, Brussels, Belgium
05/11: Paradiso, Amsterdam, Netherlands
07/11: Parkteatret, Oslo, Norway
08/11: Kagelbanan, Stockholm, Sweden
09/11: Vega, Copehagen, Denmark
10/11: Astra, Berlin, Germany
11/11: Niebo, Warsaw, Poland
12/11: Kwadra, Krakow, Poland
14/11: Meet Factory, Prague, Czech Republic
15/11: Flex, Vienna, Austria
16/11: Muffathalle, Munich, Germany
17/11: Mascotte, Zurich, Switzerland
18/11: Magnolia, Milan, Italy
19/11: Cabaret Aleatoire, Marseille, France
21/11: Rockstore, Montpellier, France
22/11: Razzmatazz, Barcelona, Spain
23/11: Joy Eslava, Madrid, Spain
24/11: Atabal, Biarritz, France
25/11: Le Trianon, Paris, France
28/11: Grand Mix, Lille, France

New music coming soon!!! - Get updates first http://smarturl.it/MKSignUp

Mount Kimbie's Remix of Foals' 'Spanish Sahara'

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Website: http://www.mountkimbie.com/
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Soundcloud: http://smarturl.it/MKSoundcloud

Foals 'Spanish Sahara' (Mount Kimbie Remix)

'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

Submission

Posers

Bad Wires

We Stay Together (Part One)

These remixes are exclusively available to purchase at Bleep::: http://bleep.com/index.php?page=release_details&releaseid=33954

Original songs taken from Holy Other's debut EP 'With U' available everywhere that sells good music. 

Holy Other - Know Where (Andy Stott Remix)

Buy this track <a href="http://www.juno.co.uk/ppps/products/395336-01.htm?ref=label_handsoftime">Vinyl 12"</a> 

Social Disco Cub - Daft Funk [Hands Of Time Gold]

Remix of A Love Inspired Fire by Sam KDC.

<a href="http://soundcloud.com/samkdc" rel="nofollow" target="_blank">Sam KDC</a>

Thank you for supporting the ASC - The Light That Burns Twice As Bright album.

http://silentseason.bandcamp.com/album/asc-the-light-that-burns-twice-as-bright-sscd11

ASC - A Love Inspired Fire (Sam KDC Re-Think)

New Clark album 'Iradelphic' coming 2nd/3rd April 2012 on Warp Records.
More information - http://warp.net/records/clark/

Preorder - http://bleep.com/index.php?page=release_details&releaseid=34461

http://facebook.com/throttleclark
http://twitter.com/throttleclark

Iradelphic

Clark - The Pining pt2 (taken from Iradelphic)

Not In Love

Not In Love (Radio Version)

http://boomkat.com/vinyl/572440-andy-stott-luxury-problems

Andy Stott - Sleepless

A low end monster, brilliantly constructed out of all the warmth and heaviness machinary will allow. Another out and out killer from this gifted producer!

Handle With Care

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

Pre-order "The Waiting Room" in The Ghostly Store: http://www.theghostlystore.com/products/lusine-the-waiting-room?utm_campaign=expressrex

Lusine - Without a Plan

Have a very merry mixmas... 

Tracklist: 
1. Beard Science - Rubadubba (Hardway Bros. Edit & Fx) [2009]
2. Space Ranger - Superstring (Rayko Remix) [2010]
3. E-Culture - Unification (Callowhill Mix) [1990]
4. Aloe Blacc vs. Tensnake - I Need a Dollar (Tensnake Remix) [2010]
5. DG Edits - If u want me [2010]
6. Escort - Cocaine Blues (Ewan Pearson Edit) [2010]
7. Phenominal Handicap Band - Carry on Carrie [2010]
8. Dwayne Jensen - My People  [2002]
9. M People - Moving On Up (MK Movin' Mix) [1994]
10. Shake - Get a Feeling [1995]
11. Jacques Greene -  (Baby I Don't Know) What You Want [2010]
12. Sound Stream - All Night [2010]
13. Onra - Hope [2007]

Submission

modernlove