<p>Following on from their debut album '<a href="http://not-applicable.bandcamp.com/album/no-fiction-now" target="_blank">No Fiction Now!</a>' and in anticipation of their new slowly developing album, <a href="http://www.fiium-shaarrk.com" target="_blank">Fiium Shaarrk</a> have opened this compendium documenting re-imaginations of their released material in the form of eclectic versions by members of the band, remixes by esteemed friends and colleagues and new visions and hallucinations in the form of mashups. The set opens with the percussion marathon of Maurizio Ravalico's version of 'Fear Of Mapping' and will be added to periodically ... tune in by following  Fiium Shaarrk on either <a href="https://www.facebook.com/Fiium.Shaarrk" target="_blank">Facebook</a>, <a href="https://twitter.com/fiiumshaarrk" target="_blank">Twitter</a> or Not Applicable on <a href="https://soundcloud.com/notapplicable" target="_blank">Soundcloud</a>.</p>

Fiium Shaarrk - Versions, Remixes and Mashups

Map it

Xango Musis Release #25, 2018

This track, included in the EP “A Momentary Convergence of Differently Paced Trajectories”, is Maurizio Ravalico’s personal take on “Fear of Mapping”, one of the tracks on “No Fiction Now!”, the debut album of his notorious trio Fiium Shaarrk.


Credits:

Drumkit - Rudi Fischerlehner
Electronics - Isambard Khroustaliov
All additional snares, all samba instruments and field-recorded sounds - Maurizio Ravalico
Produced and mixed by Maurizio Ravalico
Track's image: detail from a collage by Katrin Plavcak

You can buy Maurizio's EP here:
https://maurizioravalico.bandcamp.com/album/a-momentary-convergence-of-differently-paced-trajectories
Or ask your local retailer if you live outside of the UK.

Listen to the original Fiium Shaarrk track here:
http://not-applicable.bandcamp.com/track/fear-of-mapping

Fear of Mapping (Maurizio Ravalico's Left Handed Marching Army version)

Bad Mapping
From "Transform& Unite EP" on USA Import Music

http://www.beatport.com/release/transform-and-unite/378378

Bad mapping [USA IMPORT Music 0934]

Our Fav Tracks from novalima´s album "Karimba" ,  released on ESL Music 2012.

Zarambe - novalima

Mayoral - novalima

Anderson Noise - Mapping (radio tv edit) - [Noise Music]

Turbo 57
DMX Krew
Bass Drop EP

We at Turbo are longtime fans of DMX Krew, so it's a real honor to work with him again 6 years after his last contribution to our now defunct sub-label 'White Leather'. We don't normally trace an artist's history or include much biography in our press releases, but we feel the need in this case to pay our respects to a long and brilliant career. With all the crap that gets paraded around nowadays it's easy to forget who the real masters are... ED DMX is one of them. 

I've always held a soft spot for Ed, he was one of my favorite producers in the proto-electro heyday. Hearing his live version of the Knight Rider theme at Sona (Tiga's club circa '96) was (believe it or not) a revelation. Of all the artists I'd met up until then, he was the coolest: he could play synths better than anyone I'd ever heard, he had the balls to do vocals in his live-set, but he was a sweet, soft-spoken, and super funny guy.  

For reasons I've never understood, Ed's pop side didn't seem to take off and for awhile things took a distinctly experimental turn... interesting stuff, but a departure from the bright immediacy I loved in his earlier records. I was starting to put him into that category of genius artist that pissed me off because they weren't making the music I wanted them to make, but were on some brain-trip doing things I didn't understand (think Aphex Twin, Prince, Jori Hulkkonen...). So I let him fall off my radar... And THEN...

2007 rolls around and his alias 101 Force drops " 'Tha Return', followed shortly thereafter by 'SH101 Triggers MS10', easily two of my favorite records of the year and some of the best acid house ever made. Buy them now. I could blather on and on about how incredible those records are, but the important thing is that we took action and signed 'The Bass Drop.'

This EP doesn’t reference or pay homage to Acid House so much as it embodies it. This is the real deal. 

It is with great pride that we bring you DMX Krew, same as he ever was, the analog don back to school all you blog-turds in the art of the acid groove.


Bass Drop EP

DMX Krew - Texture Mapping

Check out my new remix for S H I R A N - Nifrah Farah! OUT NOW on Batov Records. (Vinyl / CD / Digital)
https://batovrecords.bandcamp.com/album/s-h-i-r-a-n

S H I R A N

Buy Vinyl

S H I R A N - Nifrah Farah (DJ Kobayashi Remix)

Taken from 'La otra mitad' album 
Order CD/LP/DL: https://goo.gl/1Tdkkr 
Digital/Stream: https://idol.lnk.to/La_otra_mitad 

The Basque sculptor Eduardo Chillida said, more or less, that "an artist should always try to do what he still does not know how to do.” Without actually knowing this quotation but only the sensation and the wakefulness behind it, Refree’s musical art seems to subscribe word for word to Chillida’s edict. 

In 2017 Refree undertook the production of two instrumental leaning 10-inch solo EPs. Jai Alai vol.01, is mostly a collection of reflective solo guitar music, with each title named according to the instrument used on the track and the date on which it was played (“Ramirez 11012017” / “Telecaster 01032017b”). The second Jai Alai volume is quite a different proposition, with the material coming from a soundtrack project, and the sound palette expanded to include recordings of street music, voices and a subtle electronic dimension.

“I started the first 10" collection because I didn’t feel like waiting for an album to be recorded and I was feeling more attached to showing what I was doing, and how I was feeling about music, right then. More like a work in progress. I also thought it was more related to the way music works nowadays. But after Jai Alai vol.2 I thought these two releases had a strong relation between them, in the way one is the evolution of the other. I wanted to do instrumental music, but at the same time I wanted vocal recordings to be the inspiration of some compositions. There's no singer but there is one. There's no more than just me on every song but at times there's something like a whole orchestra.” 

It is revealing that much of La Otra Mitad is music made for a movie. Or maybe, it could be called music from a movie (not all songs appear in the film). Or, perhaps also, music made during the construction of a movie. The film in question is "Entre dos aguas” by Isaki Lacuesta. The director Lacuesta explains the soundtrack’s unconventional creative process: "

It was very good that Raül came to the filming in San Fernando, because he worked in the field just like us. Sometimes he was there during the filming of a scene and kept a recording of the voice of one of the characters, which then became a piece of music. On other occasions we showed him something in the editing room and worked the sound part right there, like Neil Young when he played music for Jim Jarmusch's ‘Dead Man,’ which is a reference that I always had in mind during this process.” 

The soundtrack pieces are an exercise in voices found and then converted into samples: that of flamenco singer Rocío Márquez, that of El Bolita, a boy who participated in the film and who spontaneously started singing in front of Raül, or the discarded vocal sketches from El Niño de Elche’s celebrated “Antología del Cante Flamenco Heterodoxo” which was co-composed and produced by Refree. 

"I was very interested in the idea of making music with voices that were not recorded on purpose for this record," says Raül. "They had to be recorded in other contexts, with another objective. This decision made me much more open to unforeseen things happening. And, in the end, this spirit fit with a line of work that I had been exploring for some time: to see what other areas can be reached with flamenco, something based on a certain idea of the South's environment.” 

Throughout the process of making La Otra Mitad, Raül Refree also found another voice: his own; always changing, always expanding in richness and always open to saying, what he does not yet know.