"The two sound artists behind Atrice draw inspiration from everyday encounters and digital overstimulation. Their work is influenced by acousmatic and electroacoustic music while following an intuitive approach.
With degrees in composition, music theory and sound art, they manipulate multiple sound sources through digital sound design to create tactile, sculptural sounds. Their output features varying sonic textures, acoustic gestures and organic transitions through suspended states."

Rinse France Podcast

RONI INVITE ATRICE - 27 Décembre 2023

Domain Expansion

Infinite 5AM Youtube

DIEMAJIN is the duo of Berlin-based producer @DJDIESOON (Daisuke Imamura) and Tokyo-based vocalist MA. Their self-titled debut is equal parts scrambled hip-hop, simmering noise and spectral Tokusatsu soundtrack. A set of cursed beats and possessed raps inspired by Japanese sci-fi and supernatural-horror films from the 1960s.

The pair, both originally from Japan, first collaborated live at an event in Berlin organised by Morphine Records in 2019. But the eleven tracks on their self-titled debut were made by swapping beats, sounds and acapellas across the internet. Editing, arranging and degrading them into the collection presented here.

DIEMAJIN’s theme is Japanese movies from the sixties. Especially influential is Daimajin (which the duo’s name references alongside being a loose portmanteau of their solo monikers). A 1960 film about a giant warrior god, Daimajin falls under the Tokusatsu umbrella - live action movies which use practical, ‘handmade’ special effects, whether monster suits, miniature model cities, or everyday objects hi-jacked into props.

“I’m interested in how they made those movies. I think how my music is made is very similar,” explains MA. “I use the sound of my life when I make music. Hitting the table, the wind blowing. I think it’s like how the flying saucer in the movie was made by an ashtray. Some of the sounds in "UYAMUYA" [track six on DIEMAJIN] were actually made using an ashtray.”

Embedded in Tokyo’s hip-hop scene, MA’s distinct rapping has also drawn comparison with ancient Japanese vocal methods. His previous releases and collaborations showcase a triumphant combination of extended technique and liquid flow. “I do that without thinking,” MA explains. “It’s like Michael Jackson’s “POW!” or heavy metal‘s shout. I don’t know why I do that. Burst out. Energy flow.”

Those instinctive vocal gymnastics are still present with DIEMAJIN, most notably in the gurgling start to “UYAMUYA”, but they’re reeled into far more ominous, apparitional ends. MA rants and cackles over DJ DIE SOON’s coarse electronic tones and incessant minimal patterns. The producer’s mutated synths and warped samples embrace a more textural, less explicitly rhythmic terrain than his recent productions. Beats do come in, such as on “GYAFOOON” or “MOSHI MOSHI”, but they serve to amplify rather than release the scuffed and eerie gait seeping through the album.

Daisuke mentions two more movies, Jigoku and Kwaidan, which ventured into folk-horror terrain but used similar production techniques to Tokusatsu, as also being influential on DIEMAJIN. While DIEMAJIN don’t sample from these films, they emulate their ambiences. It can be heard in the heavy compression through the album and the cracked yet vivid space the voice and sounds erect. “These films have a special texture, they’re beautiful despite the old-fashioned technologies and processes they used to make them,” Daisuke continues. “But also, when you see these movies now, they’ve really degraded with age. When someone screams, the sound distorts.”

It is this quality: a scream from the past becoming distorted through the medium of its transmission, perhaps, that DIEMAJIN most concretely channel in their music. A sense of some cursed broadcast leaking broken and mangled into the present. There’s a long thread connecting hip-hop to cinema. From Wu-Tang Clan’s kung-fu movie samples through to the Horrorcore of Geto Boys and Gravediggaz. DIEMAJIN plug into this history but bring in their own reference points. In doing so, they fixate on the disturbing mechanics of foreboding itself. Slow-building disquiet rather than shock and gore, they leave a mark far more pervasive than a momentary jump-scare.

MA / Vocals, Lyrics and Samples
DJ DIE SOON / Synths, Drums and Samples
Mastering by Rashad Becker
Cover Art by DJ DIE SOON
Text by Daryl Worthington

DBL32CT

DIEMAJIN

DIEMAJIN - MADARA

wₒᵣd ₒf cₒₘₘₐₙd 🧿 NTS 18.09.24

Taken from Action - Live At Black Tower Projects [SELNLIVE01]
Out now: https://selnrecordings.bandcamp.com/album/live-at-black-tower-projects

Debut release from SELN’s very own “Action”.

Action is SELN founders Conrad Pack & DJ Gonz’s live project. Combining DIY electronics with something somewhat more “New Age”, purposeful and fulfilling. After all, what is DIY electronics but just shorthand for noise?

“Live At Black Tower Projects” showcases the recording from Action’s debut live show held in Sydenham, London during October 2023. Spanning Drone, Bleep, Rhythmic Noise & more this sonic-masterpiece-cum-cult-classic-to-be casts a sinister sonic world laden with tension, cosmic-intent and more.

Available as digital download + Limited Edition CD.

Mastered by Jason Goz at Transition.

With thanks to Phil, Fliss, Hannah, Astrid and Clara.

Action - The Strangest Apology

Lee Gamble in his ‘Motor System’ moniker bringing you the sound of his forward facing, club ready DJ sets exploring contemporary dance floor-mechanics. Expect futuristic club bangers.. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/motor-system/episodes/motor-system-30th-september-2024

Motor System 300924

https://evel.bandcamp.com/album/gobelin-stitches

Press Release :
I feel the same way I did when I released Hexalyne last September, completely amazed by the musical quality of these artists, not only at the compositional or production level or the spectacular quality of the sound but above all the quality of the people, it is a blessing to be able to work with them.

This album has all the elements that I, at least, have always looked for in a good composition, syncopated and complex rhythms + Glitches, deep bass (the more the better), exciting melodies that make me travel to another place, and that the elements, synthesizers, etc. take a step forward in the treatment of sound.
As you well know, this is fucking difficult, which makes you think that the composer is pure genius.

This is what you will find in Gobelin Stitches, Thomas has woven an album so easy to listen to and understand that you wish it had at least 20 more songs.
Our deepest gratitude to this artist who has given us this masterpiece.
crédits
paru le 9 novembre 2024

W&P: THOMAS PUJOLS
ARTWORK: APLAUSO ESTUDIO
MASTER: EVEL

Gobelin Stitches

Zig Zag _ [ from Gobelin Stitches >>> new album out 09.11.2024 ]

@b0t23 + INOPERATIVE SYSTEM ™© (@user-137870698)
Iluvia (Hexalyne Remodel)

Reticle Remixed Pt. 1

b0t23 + Inoperative System - Iluvia (Hexalyne Remodel)

What happens when dubby drum & bass meets Dischord’s post-punk colossus Black Eyes? “Break” is the new EP from NY’s Relaxer, the long running alias of Daniel Martin-McCormick (Black Eyes, Ital and co-founder of Dripping), and it signals a decisive shift in his music.

Prompted by friends to write a drum & bass live set just as Black Eyes was reuniting, the results didn’t quite fit the d&b genre. But it felt right. Quick, nimble, with room for the ferocity of his favorite post punk and some of the spaciousness of dub. Evergreen vibes, really, but seen from a fresh perspective.

Honed over a period of two years, the five tracks on “Break” fuse Relaxer’s careening, technoid sounds with free jazz-tinted drum programming, snarling sound design and spacious echo trails. It’s a perfect fit for 29 Speedway’s future-facing, exploratory anti-genre approach to electronics. The tape features two remixes by the singular DJ Marcelle and mastering by Dubplates & Mastering. Daniel tells his side of the story below:

“Two years ago my friends who run the drum ‘n’ bass party Headznite asked me to write a live set for a Ukraine fundraiser they were putting on. Right at the same time, my punk band Black Eyes was having our first practices in 20 years, which meant I was re-training my body to scream at top volume and high registers and to lay into my guitar at full force. In those same months, Dripping was forming and ideas were flying for crazy, boundary-pushing lineups. I had just finished writing the meditative composition suite “In Softening Air” and was feeling the call; it was time to let it rip.

Everything poured into that live set for Headznite, and a new style was born. Relaxer had begun as a decisively techno project, but pushing the BPMs and working in drum breaks tweaked the formula enough to cut any lingering ties with that ethos.

Over the next two years I kept on it, writing more, recording, pushing the technique and exploring the sound. “Break” is the first time any of this work has been made public. Sometimes a detour can hack your brain. My first dance 12” as Ital was supposed to be a one-off side project to my punk band and it ended up taking over my life. Now punk music is calling asking for the debt to be repaid. Fuck it.”

Written & recorded by Daniel Martin-McCormick, 2022-2024.
Mixed by Daniel Martin-McCormick & Sol León, with assistance from Sphente Shepherd.
Mastered at Dubplates & Mastering.
Art & design by Brian Mark.
Thanks to Headznite for the prompt.

Chasing Your Own Tail (DJ Marcelle's Strong Tale Remix)

Battery acid (ultra slowed+reverb+echo)

@bergsonist

Purchase on Bandcamp >> https://traumgarten.bandcamp.com/track/bergsonist-bioterrorism

🌐  www.traumgarten.world 🧚‍♂️

Bergsonist — BioTerrorism

https://nebulo.bandcamp.com/

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