First single out of MORE EAZE, PARDO & GLASS - PARIS PARIS, TEXAS TEXAS forthcoming LP.

https://ooh-sounds.bandcamp.com/album/more-eaze-pardo-glass-paris-paris-texas-texas

OOH-sounds family members more eaze, pardo & glass join forces on a celestial album linking ambient neo-folk, fractured electronics and romantic escapism.

Referencing to Wim Wenders' 1984 road-movie drama masterpiece, ‘paris paris, texas texas’ is a strikingly cinematic tapestry of americana, resampled guitars, glistening electronics, subtle field recordings and processed vocals.

The beginnings of this project date back to the summer of 2022 when pardo and glass started recording some improvisations in a small studio with the aim of making an experimental guitar record. Over time, the drafts developed into mesmerizing slabs of guitar textures, simultaneously immense and intimate. No material was better suited for more eaze to add to the recordings her transversal and sensitive approach, linking the past and the present.

Ranging from gentle ambient folk to winding pedal steel passages, from twinkling electronics to distorted drones, ‘paris paris, texas texas’ is an album that’s not just “atmospheric”, it conjures its own unique atmosphere from thin air. Like a snake shedding its skin, the record slowly mutates from track to track - an epiphany, a transformation, a tangible and perceptible moment. Despite its distant trans- Atlantic origins, it evokes a warmth and intimacy that is hard to deny, an emotion that has perhaps been held back for too long. A landmark release in OOH’s catalogue, capturing the magic of its curation and sensibility in one sublime record.

paris paris, texas texas

A1. more eaze, pardo & glass - still part of the ceiling [OOH-038B]

The committee “Justice pour Sourour” and the Pacifique Records music platform is launching a series of compilations to raise awareness on the fight against police violence and collect funds to ensure justice for Sourour: beloved sister, mother, daughter, and friend, who died in a police station in Brussels on January 12, 2023. For this first volume we’re bringing together friends and allies: artists of the experimental and bass music scene, each presenting a track.   The fight we’re waging is relentless, we need to keep everyone’s attention so that the struggle doesn’t lose momentum, so that even more people feel concerned and join us, and so that similar violence can never happen again. We want to believe in a united, supportive and politicised music scene. As artists, musicians and cultural actors, and with your support, we can play a precious role in this fight.

Thank you for Sourour and the Abouda family.

Matteo Coffetti & Reptilian Expo - Argimuschio

"Electric Hell 2" is the sequel to Australian producer/songwriter Sam Perry’s 2017 experimental electronic album, "Electric Hell", and the first record to be released under his new project, Prophetic Justice Ministry.

Prophetic Justice Ministry - Aleks The Fairy

LAVURN is the debut self-titled album from Lavurn Lee, a singer, songwriter, producer, performer and DJ from the inner suburbs of Toronto. He has also lived and worked in Sydney, Hong Kong and Berlin. His music is an emotionally complex assemblage of processed vocals, filtered pads, surgically programmed drums, haunting melodic fragments and hazy textures. This 13 track album of sparse, emotive and experimental R&B is his second for SUMAC and his first under his own name, following a previous record under the name Fake in 2018. Lavurn was made over three years between Toronto, Berlin and Hong Kong in close dialogue with SUMAC founders DJ Plead and T.Morimoto.

Previously, as Cassius Select, he has established himself as a unique voice in dance music, releasing on cult labels such as Unknown to the Unknown, Accidental Jnr, Hypercolour, Banoffee Pies, Raw Basics and Bruk Records. His side projects include collaborations with vocalists such as VV Pete and Daemon, his previous experimental R&B aliases Guerre and Fake, and BV (alongside Marcus Whale and DJ Plead).


THOUGHTS & REFLECTIONS ON THE MAKING OF LAVURN

“I’m trying to make pop music. Not in the industry sense, but in the way that everyone is making their own type of pop music. It wants to be listenable, so it can create emotions. I come from bedroom song writing in the age of the internet. The lyrical content and sounds reflect my demeanor. Big ego with low sense of self-worth. Constantly posturing. At once both strong and weak. I don’t always trust my abilities. I don’t have the voice to produce contemporary radio R&B. I don’t do traditional harmonies, mine are all over the place.

It's the first time I'm writing about my own life in a literal sense. I spent years writing love songs having never been in a relationship. Whereas this feels very raw as a reflection of my experiences. To me the album sounds insular because it was made that way, in isolation. The vocals are used in a sampled way. A chorus for one track might be chopped and turned into another hook. A verse for one song is half timed and used for the chorus of another. Auto-Tune is used heavily. Some tracks are ‘written’ by pulling different beats, textures and vocals from different tracks and seeing what fits together. I tried to take self-sampling further and further. I was thinking of ways to world-build.

Most of the lyrical content on the album is about dealing with a breakup. But the album doesn’t reflect a break-up because it’s completely one sided. It doesn’t reflect the reality that I was an awful person during the relationship. Really it's an inward study of a reaction to rejection. It’s ambivalent. The attitude is “hey imma do me and improve myself”, while also desperately wanting someone back (for all the wrong reasons). There’s a veneer of self-improvement and healing. But it’s all performance. I used to think all the songs had a kind of toxic intent because of this. Trying to impress someone in a way that would make them want to return to you. In retrospect I understand the songs differently. They’re not perfect. A bit confused in their vulnerability. Maybe quite sweet in a way. I think it’s healthy for me to see the lyrics on the album as directed at myself. It’s an album about self-love. I learnt that making music can be a kind of self-care.” 
credits
released February 16, 2024

Written, recorded, produced and mixed by Lavurn Lee
Mastered by T.Morimoto
Photography by DJ Plead

LAVURN - JK

my arena cybergaze moment
(almost complete)final track on full length coming soon

Metalcore Remembrance

Xperimental duo games release their debut LP, “Great Illusions” — a collage of subversive recording techniques that explore concrete engineering, corroded rhythms and harmonic distortion techniques.

A soundtrack to imploding stars and black hole soup, distilled into compositions that seep into the subconscious through carefully harnessed sonic entropy.

games = @blacksnakewhip + @vasesound

Great Illusions

games - ahx [INDEX:015]

Pollution Opera - s/t
Cat. Nr: DN027
Format: DL / LP 
Release Date: April 24, 2024
Buy / stream: dansenoire.ffm.to/PollutionOpera 

Elvin Brandhi and Nadah El Shazly refuse to turn away from the horror. The intercontinental duo’s Pollution Opera album is an uncompromising futurist depiction of our disfigured, dystopian, and dying reality. Facing hell in full defiance, the experimental noise album catapults itself through a volatile compound of breathless shouts, screams, and screeches, in collision with vocal samples, environmental recordings, and acousmatic sounds. Ten tracks cover the spectrum of electroacoustic fragments and vocalizations, treacherously suspended between the roar of engines and synth distortion, of evocative intonations or guttural retching.

First conceived in 2020, Pollution Opera bubbled up organically from a first tandem motorbike ride through El Shazly’s hometown of Cairo. Singing and screaming through the second-loudest city in the world, Brandhi and Shazly found the extreme noise pollution served as catharsis from the suffocating smog that surrounded them. They then took these sonic specimens into studios across years and countries—from the initial recording and sessions in Egypt to Uganda, where their so-called “cacophony carbon orchestra” would carry into simultaneous but separate residencies at Nyege Nyege in Kampala. There, Brandhi and Shazly reprised the role of the motorbike as their “stage,” in a city where motorbikes are the main mode of public transport. They then developed a live A/V performance from video material captured by Arno Mery, collected from their travels, and reworked by Egyptian artist Omar El Sadek during Banlieues Bleues Festival 2023 in France.

The result is what the artists themselves describe as “an uncompromising world-spew, a shameless alloy of love and hate.” Haptic knocking, barking dogs, and human growls trample El Shazly’s famously evocative Egyptian singing style on “CRÎi Me A River.” Breathless vocal cut-ups and samples are bulldozed by arrhythmic acoustic percussion on “Danse Le Flou.” There are moments of respite within all the chaos, however, whether in the heavily pitched, Auto-Tuned opening of “Pollute Bold” or the wonderfully melodic closer of “Crisp Heart”—its derelict rhythmic thrust giving a listener something to dance about.


Both artists lend their unique positioning and idiosyncrasies to Pollution Opera, whether it’s in artist, vocalist, and musician Brandhi’s avant-garde noise music pedigree as both a solo artist and member of father-daughter duo Yeah You, or
singer, composer, and producer El Shazly’s hybrid catalogue combining electronic music with contemporary classical. Together, in asking the question of what a postmodern opera might sound like, the duo offer their existential answer in the true spirit of the often playful and ironic philosophical position by offering no answer at all. 

Voice & electronics: Elvin Brandhi & Nadah El Shazly
Violin on ‘Crisp Heart’: Ocen James
Soprano on ‘Attention’: Marie Requa Gailey

Artwork by Omar El Sadek & Niels Wehrspann 
Mastering by Rashad Becker

Pollution Opera

buy / stream

Pollution Opera - Cairo ???

'Closer', taken from 'You Said You'd Hold My Hand Through The Fire', 🔥 a collaboration between Iceboy Violet & Nueen 
 Out on 7th June, CD LP/ Digi
Available to preorder now: 
https://iceboyandnueen.lnk.to/holdmyhandthroughthefire

You Said You'd Hold My Hand Through The Fire

Closer

Preorder Album

Iceboy Violet & Nueen - Closer

The first vinyl release from Doyenne Books via Boomkat Editions arrives as an anthology of love song covers - release date: 11th April 2024.

Taking its name from the etymology behind the well known myth of ‘Aphrodite’, meaning: “sea-foam", "risen from the foam" - the fifth release from Doyenne brings together friends, lovers and the broken-hearted under one premise. The commission was to make a ‘love song cover’, in which each artist has had free reign in the interpretation of ‘love’ as well as the style and rendition of their favourite musical pieces on love: Agape (unconditional love), unrequited love, philautia (self love), lost love, mania (obsessive love).

From bygone sea shanties to 90s r’n’b, post-punk, jazz greats, indie pop and 19th century classical, Doyenne label mates Christina Vantzou, Susu Laroche, and Spivak, are joined by a diverse cast of friends new and old. Alex Zhang Hungtai’s deconstructed cover of Sinatra sits beside Aya’s darkened Lovesong, whilst Claire Rousay, Wild Terrier Orchestra’s Jay Glass Dubs and Dania Shihab of Paralaxe Editions take on soft vocal covers of iconic alt bands. Manchester’s Teresa Winter does British folk, and South Korean duo Salamanda rework Debussy.

Cover artwork by Basia Strzezek

SUSU LAROCHE - BLACK IS THE COLOUR [DOYENNE05]

Slagwerk w/ Basile3 @ Kiosk Radio 18.04.2024

ᴀʙᴏᴜᴛ ᴛʜᴇ ᴀʀᴛɪꜱᴛ

Aho Ssan is the artist name of Paris based Niamké Désiré. After studying graphic design and cinema, he began to com-pose electronic music and create his own digital instruments. Shortly thereafter he went on to win the Foundation France television prize for his soundtrack to the film of Ingha Mago in 2015 and has worked on several projects related to IRCAM/GRM in France. His debut LP «Simulacrum» was released on the 7th of February 2020 via Subtext Recordings.Based on the concept of Jean Baudrillard, it navigates through society’s presentation of inclusivity and equality against my own experience of growing up black in France.

https://soundcloud.com/ahossan
https://ahossan.bandcamp.com/music
https://www.instagram.com/aho_ssan/

🌿 ᴀʙᴏᴜᴛ ꜱᴏɴɪᴄ ᴀɢᴇɴᴄʏ

Spurred on by the acuteness of current global events, we are raising our voices in solidarity with the oppressed, the tortured, the silenced, and the unheard. While humanity is at stake, and our values are on trial, in moments of despair, rage and endless grief, acts of solidarity are needed more than ever. The events that shake Palestine and Israel are resulting in an ever-tighter spiral of violence and desperation. They are a horrific wake-up call that brutally brings the precarious situation on our planet to the fore. The humanitarian catastrophe in Gaza, and Israel’s collective punishment of Palestinian civilians are intolerable. On top of that, the military actions threaten the lives of the remaining hostages in the Gaza-Strip, and even more innocent people in Gaza.

…being together, in community

Read the full curatorial statement here
strumandiodine.com/article/sonic-agency/

A1. more eaze, pardo & glass - still part of the ceiling [OOH-038B]

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