Utterly Fadda Beetz, Creativity Top Notch . . . Many thanks and more more more please 💓🤸🏼‍♂️💓

*** Carpaccio Summer Hits 2022 ***
******* Various Famous Artists ********
**** 100 % HITS, 100% Summer ***** 
**** 100% remixes, edits, covers **** 
*********** 100% Free Love ************

•••••••> @welcomealone

New V/A compilations
Masterised By Guillaume Lespinasse
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visuel : Manon Tombe
model : Jules du Cœur
Graphism : Paul Souviron
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Aventura - Obsesión (Welcome Alone Remix) [CC008] FREE DL

Clara! - XXXTAPE (GRVTSXX - K7)

Release date : 02 June 2022 
Distribution :  boomkat.com

@clara-uno  



"Clara! flashes her club grillz at the behest of Editions Gravats with a properly adroit mixtape diffracting the reggaeton spectrum, from cut-up DJ tools to sexy perreo, rap and raving madness, crammed with blends, edits and loads of her own productions. It’s a properly fluid Hype session - Tipped! The ‘XXX Tape’ follows two volumes of Clara!’s ‘Reggaetoneras’ mixtapes (....)"

Clara! - XXXTAPE

Caïn و Muchi invites their special guest and friend Young Glory to close the residency. Please let us introduce to you this relentless selector from Morocco, through one of his rare apparitions, for one hour of precious and emotional grime and sharp trap instrumentals.

Lyl Radio 10th June 2022 - SHOW #9 W/ YOUNG GLORY

3 tony miału [remix album]

j samouczek - Aloupe remix

Timeslave (II)’ sees Kush Arora’s Only Now project return with renewed intensity, in the sequel to the formative Infinite Machine release ‘Timeslave (I)’.

After the groundbreaking hybridity of the debut volume in the ‘Indian Unclassical’ series, the emphatic riddim-focused explorations of dancehall, bashment, and drill found on the Club Yeke EP ‘Vision’ – released under Arora’s own name – and select live dates alongside the likes of Andy Stott, Debit & Nyege Nyege-affiliated metal pioneers Duma, ‘Timeslave (II)’ finds Arora invigorated by aesthetic variation and constructive collaboration.

Enlisting renowned, specialist percussionists including Iggor Cavalera (co-founding member of Sepultura), Dave Sharma (Sub Swara) & Ravish Momin aka Sunken Cages, Arora adds symbiotic fuel to the fire, infusing the resonant, largescale sound world of the Only Now project with raw, frenetic insurgencies of virtuosic instrumentation.

Set within devastating productions that venture into graphic drone, hyperkinetic drum sequences, dub ruination (‘I Am Remembering’), writhing, cataclysmic noise (‘Shiv – Vengeance 2’, ‘EVP Inversion’), and even, degraded, introspective doom metal interludes (‘Endless Defeat’), the restless rhythms of Arora’s...  more
credits
released November 11, 2022

Artwork by Karmazid
Mastered by Micheal Buchanan
all mixing and composition by Kush Arora, and respective guests for drums on each track
Special thanks to Orogen, Tim Wilson, and all who participated in this.
license

Only Now - Eternal Torch (feat. Iggor Cavalera)

Small pieces to put back together, maybe a chance for change, what really matters in the end. How long does it take for you to fall into a sound that is quite not there?
Then putting pieces back together, you must remember them first, Is that all? Maybe. Would be easier if you could grab a feeling, and translate it into... what? More pieces to put back together, a senseless mosaic, it feels good tho.

Staying away from: DAILY EXISTENTIAL THREATS, the chairs game...

I said this time I would stay away from the chairs game. I wonder where my friends are??! Sometimes it’s so easy and when it is easy it doesn’t mean it’s bad, or unfinished, maybe you can just make good things rather quick.. someone says hi on the streets I don’t even remember their face, Hey Hey, is it always the sound that finds you, not the other way round?

Still some pieces to put back together... Like that works, for a while.

released November 25, 2022

Track 1, 2, 3, 4, 6, 7, 9 Mastered by Pax
Track 5, 10, 11,13, 14 Mastered by Carlos Villamizar
Artwork by Matt Pleizer @r.ndomzine
Tape design by Kate Chen @kate.ai
Creative Direction by @simone.antonioni

V31

FRAGILE

I Hate Your Shadow

Buy :)

3. Bungalovv - I Hate Your Shadow

Ruhail Qaisar - Fatima
Cat. Nr: DN019
Format: DL + 48 page photography & text publication (Urdu / English)
Release Date: January 27, 2023
Buy / stream: dansenoire.ffm.to/fatima

Ruhail Qaisar’s Fatima is a requiem for a dead future. The debut album release by the self-taught artist and producer screams with the trauma and decay of life in his hometown of Leh—a high-altitude plateau region in the contested Ladakh area, extending from the Himalayan to the Kunlun Ranges. Qaisar absorbs this external condition of perpetual conflict between nation states into his internal life and resulting compositions, crossing sound art, noise music and experimental filmmaking. Hauntological drones, power electronics and convulsive post-industrial dissonance create an unnerving sense of fear, anger, and alienation. A broken transistor with a knob tuned to the abyss is bombarded with the cries and bitter laughter of a city’s inhabitants tyrannized, not only by military occupation but the soft-power subjugation of the tourism industry.

Following 2016’s Ltalam EP—released under Qaisar’s now-defunct Sister moniker—Fatima serves to transmit memories carried through the events, local mythos and personal recollections of growing up between the remote agrarian villages of Ladakh and the urban center of its joint capital—Leh. The album was mixed between that area, and a DIY home studio in New Delhi, where the artist amalgamates his collected found sounds and field recordings into unrecognizable hybrids. Discordant pads and atmospherics on the dark ambient of “Daily Hunger” is disrupted by a crashing, pounding reverb, while contributor Elvin Brandhi shrieks towards its horrifying conclusion in the squelching, scratching sound of something soft being chewed.

An anti-lingual conjuring of metaphysical totems in music, Fatima is a seething chronicle of experience through the dynamics of riots, violence, colonization, unemployment, PTSD, and self-abuse. The cycling tumult of “Namgang” hosts a menacing whisper that echoes the hissing fury of something like Einstürzende Neubauten and Lydia Lunch’s “Thirsty Animal,” while a trouncing distorted bass line on “Fatima’s Poplar” circles a voice that barks, "The Western Civilization Show has been discontinued."

The Bunker, New Delhi
Choglamsar Village, Ladakh

Mastering by Rashad Becker
Mixing by Julien Racine
Photography by Rana Ghose
Design by Niels Wehrspann

Fatima

buy / stream

Ruhail Qaisar - Seventh Dream (Ramazan's Wedding)

Thoom - Apology ft. Scim

DJ Diaki is Diaki Kone, balani show dj, and radio animator in Sanakoroba, Mali. One of the originators of Balani Show sound system sound, DJ Diaki plays in the style of Balani mix with high energy balafon samples, crashing drums, and live remixes that he calls Balani Fou (Crazy Balani).

“Balani Show” is a Malian phenomena with two decades of history.

Balani Show began in the late 90s, as DJs with sound systems began to animate social ceremonies. The reason was economic – DJs were cheaper then a Balafon group. While this probably occurred simultaneously throughout Mali, the DJ credited as the originator is Seydou Bagayoko. DJ Diaki and DJ Sandji became his apprentices in the late 90s and early 2000s.

Early on, DJs would play cassettes. But to create more dynamic music, they began to augment songs with drum pads: crashing coupé decalé rhythms, cymbals, and whistles. Moriké Keita (DJ Moh) was first with a drum machine. Playing a gig at a nightclub in Bamako, DJs would stop in and dub their remixed versions direct onto new tapes to play at their parties. Over time, more drum pads found their way to Bamako, and DJs begin playing remixes on the fly. This was followed by a brief period of CDJs before the current incarnation of laptop DJs. However, the drum pad is still used, and sometimes even a synthesizer:

Balani Show thrived in the mid-2000s with DJ Senateur performing an official version on Malian television. But in recent years, it has returned to its street culture roots, played in neighborhoods in informal block parties. There is the occasional moral panic, raised by religious leaders, at the site of young people dancing provocatively at night. Occasionally a move will be made to ban Balani Shows, but the legality of the bans are dubious. What the religious opposition has succeeded is in contributing to a general decline of Balani Shows in the capital.

DJ Diaki lives 20km from the Bamako, where Balani Shows are now more common. The village Balani Shows have a completely different element from Bamako – with rapid fire tempos and tranced out loops that extend into mind melting repetition. “It’s much faster in the countryside,” he says. “The people in the village want the music fast. If someone goes to my parties, it’s impossible they dance the whole time.” His video channel illustrates this point. While it may have been the city where Balani Show was born, its back in rural Mali where it has taken on a new form, and where the highest tempo Balani Shows are thriving. 

releases February 20, 2020

NNT019 DJ DIAKI: 'BALAN FOU' ALBUM PREVIEW BUT SHOW DD 1

Experimental track 'outline' lifted off error_lake's forthcoming release on near dark.

Article: https://ins-rt.net/audio/error-lake-outline

Article

Premiere: error_lake – outline [near dark]

This release combines a series of live actions by HHY & The Macumbas, from November 2017 in a club in Barcelos to December 2019 in an oil tank in Tenerife Island, with a June 2019 open air performance featuring Adrian Sherwood on the mix in between.

HHY & The Macumbas emerged in 2008 from the cryptic SOOPA collective from Porto, a group of musicians and artists responsible for the early 00’s local experimental scene explosion. For the last decade, HHY&TM have been actively playing live with various ensemble configurations in venues, clubs and festivals all around Europe (Unsound, Primavera Sound, Supersonic, among many others) and released the albums "Throat Permission Cut" (Silo Rumor, 2014) and "Beheaded Totem" (House Of Mythology, 2018).

HHY & The Macumbas are a shifting musical entity where circular percussive mutations, brass riffs and electronics are dubbed by echoes in often sensory-overload live actions. Founded by Jonathan Saldanha, the ensemble works as a rhythm laboratory, in a constant research involving pressure, exhilaration, alterity and warped time perception.

Releases 03 JUNE, 2020

Edited and mixed by Jonathan Saldanha during Covid-19 lockdown in Kampala.
Recorded by Jos
Mastered at Declared Sound
Graphics by Laurie Pitt

Camouflage Vector: Edits From Live Actions 2017-2019

NNT024 PREVIEW: HHY & THE MACUMBAS Horror Vector

Nyege Nyege Tapes is a Kampala based label exploring, producing and releasing outsider music from around the region.

For bookings email: tapes@nyegenyege.com

NNT024 PREVIEW: HHY & THE MACUMBAS Horror Vector

Nyege Nyege Tapes

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