Daniel Avery - Ultra Truth [a playlist] - Part 1

Recorded at Secret Twitchdance, 1984
Romulus Cœurque: rhythms, dub treatments | Porn Flake: synths, dub treatments

Out on "Prototech" 2x12"EP, a joint release of Dark Entries (DE-179) and Serendip Lab (SERLP007).
http://www.darkentriesrecords.com/store/vinyl/hypnobeat-prototech-2xlp/#tab-description
http://www.serendip-lab.org/label/releases/hypnobeat-prototech-serlp007

Driven by the common DIY-attitude, James Dean Brown founded Hypnobeat with Pietro Insipido in 1983. Making noise with a Boss DR-55 rhythm machine, 2nd hand gear and household utensils, it was not before JDB’s encounter with Victor Sol and Tobias Freund a year later that Hypnobeat became a proper, fully electronic outfit.

The main goal was to follow a "neo-tribal" approach by reducing electronics to the hypnotic rhythm core. Affected by the emotional impact of polyrhythmic energy, the collective's live sets were often based on machine improvisations. In the studio, machine expert Victor Sol was the one who shifted the Hypnobeat sound to the desired level of technological sophistication.

Apart from a TB-303, the wide range of analog studio/live gear included up to six synchronized rhythm machines – always with a focus on the inimitable sound of the Roland TR-808. Accordingly, Hypnobeat conceived an early form of contemporary club music, somewhere within the scope of classical Electro Funk and prototype Techno, and with a proto-Acid flavour – on "the front-line of sonic innovation before Techno was even a thing."

In 1996, evolving from Hypnobeat, James Dean Brown formed Narcotic Syntax, a project he boosted together with Yapacc in 2003, with releases on Perlon, WIR and Prospector.

And after all, Hypnobeat retransformed from Narcotic Syntax. What was supposed to be a one-off solo live appearance by James Dean Brown at Serendip Festival, Paris in 2012 became the exciting new evolution of Hypnobeat with Helena Hauff joining the project a year later.

The duo's live performances are completely based on improvisation, exhausting the power of an untamed Roland horde which is unique on stage: 1 x TR-707 + 3 x TR-808 + 2x TB-303 + a formidable array of effects = provocative percussion, voodoo passion, tribal ecstasy, hypnodelic temptation, psycho-exotic magic, universal resonance, and a quantum of danger under a crypto-bohemian approach.

Hypnoweb
http://www.hypnobeat.net
Booking
hypnobeat@hypnobeat.net

Past live shows:
•	Festival Serendip, Paris
•	CTM, Berghain, Berlin
•	Grundlos Glücklich, ://about blank, Berlin
•	Les Siestes Électroniques, Toulouse
•	Écoutes au Vert, Motel Campo, Geneva
•	Insomnia, Tromsø, Norway
•	Bleak Future, Petit Bain, Paris
•	SAVE, Moscow
•	Intonal, Malmö, Sweden
•	Rural, Mountain Park Tsunan, Niigata, Japan
•	Krake, Urban Spree, Berlin
•	Arma Labelnight, OHM, Berlin
•	Atonal, Berlin
•	Kaiku, Helsinki
•	Boiler Room, Vienna
•	Dark Entries, Säule/Berghain, Berlin (JDB solo)
•	Mmodemmnight, Frankfurt a.M. (JDB solo)
•	Arma X, Funkhaus, Berlin (JDB solo)

Hypnobeat features:

The whole story
https://www.electronicbeats.net/frankfurt-diy-history
Techno Cadeau (08/2017)
https://web.archive.org/web/20220625101310/https://technocadeau.fr
Resident Advisor (01/2015)
http://www.residentadvisor.net/feature.aspx?2359

Hypnoweb
http://www.hypnobeat.net

Interview with Early Reflections, Paris (03/2023)
https://early-reflections.com/mixes/james-dean-brown

Interview with Fabric. London (03/2013)
www.fabriclondon.com/blog/view/in-conversation-with-james-dean-brown

www.empire-of-passion.com

Hypnobeat - The Arumbaya Fetish (1984)

Homelessness in Dublin is turning into a crisis. Just before the Christmas of 2014 a homeless man by the name of Johnathon Corrie was found dead just meters from The Dail, a death which sparked outcry from the public and pushed the government into providing emergency shelter.

In this documentary we try to explore what has changed since Johnathan Corries death and interview people who are fighting the fight against homelessness by offering a glimmer of hope to those who so desperately need it. 

Music courtesy of:
http://www.audiomicro.com/royalty-free-music

http://www.bensound.com/royalty-free-music/9

http://incompetech.com/music/royalty-free/index.html?genre=Modern


Where the People on the Streets Have No Name

LUNG DART - HEALTHY FUNCTIONAL TISSUE

“Tetramorph,” the new EP from Daniele Antezza’s Inner8, consolidates and expands upon the gains previously made by that project, as well as those made by the acclaimed Dadub production team. Like all previous Antezza productions, it is distinguished by its exactly proportional mix of fluid and ephemeral sound phenomena with rain showers of colossal beats: an alchemical mix which brings us the three-dimensional atmosphere suggested by the Holotone label’s name. “Tetramorph” is no mere reprise of previous recordings, though: with this new work, Antezza again challenges himself to see how his signature style works when it is underpinned by a new set of theoretical or critical ideas, making for a listening experience that is both a thorough examination of existing musical dynamics and a suggestion of a new way forward. 

Each of the four tracks on this EP represents a different phase in a four-fold process of creative praxis. The first phase, “Self Determination,” lays a thick latticework of beats over Middle Eastern marketplace ambience in a way that recalls prime Muslimgauze, particularly that project’s skill in making the foreign seem intimately near. “Iteration” follows “Self-Determination” on the EP just as it does within carefully planned lives. This 2nd track does not motor ahead with great ease, but instead the tempo drops sharply and becomes mired in a kind of transparent gelatinous substance, strongly suggesting that new iterations often mean new challenges, and hold out no guarantees of progress. By contrast, the following track “Consolidation” glides with an aerodynamic sense of freedom that is realized through a synthesis of rational and irrational strategies (themselves manifested in Antezza’s trademark beat shudders and carefully controlled noise-scapes). The closing chapter, “Aufhebung,” is assisted by Koichi Shimizu and places the listener in a central observation chamber from which all these past dynamic changes can be hazily perceived through a sea of electromagnetic interference. As the philosophical meaning of the title suggests, it provides a kind of paradoxical elevation through deconstruction, or the achievement of a greater sense of clarity even as the sonic dirt accumulates.

As Antezza puts it, Holotone’s mission is to communicate “using an unmediated language (art) to express the complexity of our hyper-mediated world”. Having achieved this, “Tetramorph” is music that offers as much of an opportunity for deep inquiry as it does for personal release.

Words: Thomas Bey William Bailey

B01 - Consolidation SNIPPET

Objekt #4

Buy on Bandcamp

Needle And Thread

Cassette recording - Birmingham 1996. 

2x Technics 1210's
Realistic dj mixer 
Kenwood KXW4060 Stereo Dual Cassette Deck

Lee Gamble - OCT 1996 (TDK D60 Cassette rip)

World Of The Waking State is Steffi's third solo album for Ostgut Ton and a musical departure for both her and the label. It's also a serious statement of intent. Over ten tracks she embarks on entirely new electronic terrain for her productions, marking industrial spaces with superlunary warmth while exercising a refined knowledge of polyphony and arrangement. Subdued melodies interact with each other over implied harmonies and microcosmic drum patterns, luring us into a world that is introverted, bewildering and gratifying all at once.

Buy Album

Steffi - Continuum Of The Mind

Solardo SoundCloud:
https://soundcloud.com/solardo_music

Solardo- Strobe Light

Murmuration

No Flags Wave Me Home

Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

Carter's Green Factory

Glide Drexler

‘Gift’ Out Now -
Ninjashop / Stream / Download: https://helenahauff.lnk.to/haveSO

Taken from ‘Have You Been There, Have You Seen It’ released 27th October 2017 via Ninja Tune.

Follow Helena Hauff  -
Spotify: http://found.ee/helena-sp
Apple Music: http://found.ee/helena-am
Soundcloud: http://found.ee/helena-sc

Have You Been There, Have You Seen It

Helena Hauff - 'Gift'

four tet ▸ la trance / ᴆᴀʀᴋᴋɴᴇ ʀᴇ:ᴇᴅɪᴛ

Free Download

Skee Mask - Routine (Gregory James Edit) [Free Download]

Glitter

Glitter (Jon Hopkins Remix)

C O S M

C O S M (Daniel Avery Remix)

ARCS-04

Caracal

My label Stockholm LTD turned 15 recently, so I decided it was time for a little celebration. I'm happy and grateful for the past, and I can’t wait to see what will happen next. Here's how it all started:

Södermalm, Stockholm 1999. The capacity of the store was probably less than 20. The cold and industrial-tinged interior featured ash grey walls, rust-free steel accents, and a magnificently elevated cashier desk. The ceiling was an impressive 3.5 meters with two massive speakers hanging above the cashier. Shelves and bins stocked with vinyl, tapes, and magazines covered the walls. In the storefront, you would find the listening stations with turntables that sit nicely inside their desks. While you listened to the week’s new releases, you’d be treated to a view of the blooming streets of Södermalm as people rushed by. There was a small sign with operating hours in the window which also said “TECHNO / ELECTRO. Welcome to Illegal Stockholm!”

Illegal Stockholm was founded by Tobias Von Hofsten and myself in late 1998. It became our home, blood, sweat, and tears for a good 4-5 years. I was only 18 years old at the time and still in school when we opened its doors. I couldn’t think of anything cooler or more fun than hanging out, talking and listening to music all day and night. After we closed the shop at night. We would hang in the ‘office’ which was the store’s back room. I forged life life-long friendships and gave birth to the idea of Stockholm LTD. I wanted to show people a slightly different side of our scene. The original idea was to keep the recording artist secret with no names announced on the release, but the idea fell flat as people figured it out the day of our first release. Since then, the concept of the label has changed a few times but the core idea and desire remains the same: releasing timeless electronic music.

Stockholm LTD has stood the test of time, it’s not that many labels that stay current for that long. This is only possible with the help of all the artists I’ve been working with over the years. To say I am extremely grateful is an understatement!

With this in mind, let’s celebrate the label’s 15th anniversary with a 5 part release! 15Y contains remixes by some of my favorite artists at the moment. They have all picked and reworked something from my part of the label’s back catalog. The series will stretch out over a set of 5 vinyl singles with a special anniversary sleeve and a beautiful engraving made by graphic designer Håkan Ullberg.

Daniel Avery - Ultra Truth [a playlist] - Part 1

Mon Amie Records