fuzzy / nowt mood

Heavy As A Stone (K-LONE Sleepy Mix)

spuoɯɐıp sǝʞɐɯ ǝɹnssǝɹd
1 Fruits and Flowers 
https://www.youtube.com/watch?v=oQaXNB0TWJ8



Presure Makes Dimonds (Video in Description)

Aphex Twin - 28 Organ

Essaouira

Stream & Download: https://godtet.bandcamp.com/album/godtet

'Ensueño' is the second offering from GODTET; The debut LP and live band project from Sydney guitarist, Producer & Beat-maker Godriguez. Praised for his production on ‘The Great Mixtape’ for Sampa the Great, Godtet sees Godriguez stepping back into the live format of production with a full band.

The self-titled LP is due out October 27th via La Sape (SAPE001).

Andrew Bruce - Piano
Jan Bangma - Bass
Tully Ryan - Drums
Dominic Kirk - Percussion
Godriguez - Guitar

Produced by Godriguez and Jack Prest
Recorded live, no overdubs, in 2016 by Jack Prest, assisted by Antonia Gauci, at Studios 301, Alexandria, Sydney
Mixed and mastered by Jack Prest

GODTET - Ensueño

DED LYK ELVIS (RIP P)

Lifted - 2
Format: LP / Digital
Label: PAN
Cat.No. PAN 85
Release Date: 07 June 2019
Buy: https://bit.ly/2W0yIL6 / https://bit.ly/30OhkwC

PAN welcomes back the Lifted ensemble for a second cross-continental adventure off the grid, simply titled Lifted 2.

Lifted’s latest release expands on the expression of improvised fusion that brought about the spectrum of styles explored on their 2015 debut album for PAN. Expansion is a key theme to Lifted 2, primarily in the musicians involved; Lifted is now a core group of Future Times boss Max D, Matt Papich aka Co La, Jeremy Hyman and Motion Graphics. Expansion also relates to musical ideas Lifted explore and the studio techniques executed.

Whereas the way they approached the idea of improvisation on Lifted 1 was framed in jazz terms, the seven-tracks on this second LP step even further into the vivid unknown. Zero boundaries for the exploratory impulse. “On this record we went a lot deeper into our kind of studio technique,” Lifted say. “We tried to cultivate the sound using the studio as a primary tool, almost a member of the group in a way.”

As with the debut Lifted LP, listening to Lifted 2 is an open invitation to experience the worldwide creative framework surrounding these artists. The collaborators for each track, whether present in the studio or online, show what a fluid and freeform exercise Lifted can be.

Max D’s international crew of Future Timers play deft roles throughout Lifted 2. Jordan GCZ and Dawit Eklund both return for ‘Lifting’ alongside 1432r’s Sami, NYC’s Will DiMaggio and Sao Paulo’s Repetentes 2008. Beatrice Dillon and Bass Clef, two highly-decorated artists from the UK underground, make telling contributions which mark the latest in a long line of celebrated creative collaborations for the pair. Further input comes via Aya, vocalist and bassist for crucial Japanese experimentalists OOIOO, and Martin Kasey, a friend of Papich with a background in Baltimore theatre, summoned for Lifted duty to provide some striking saxophone blasts.

How do all these collaborations manifest on Lifted 2? It’s a sort of inverse process full of blind takes with the results more bruised than polished. “The song stays fluid until the end. We pile the ideas really high and then decimate them,” Lifted say. “We delete until the songs are crystallizing; lay a grid of silences to organize the tracks. The breathing spaces become definitive.”

These seven tracks adroitly weave through mood and vibe, demanding heads lock in with an initial blast of whip sharp percussive hits and contemporary no-wave blowouts before letting off steam with soothing ambient synthesis. “Black Pepper” acts as the album centerpiece, an unhinged mangle of SH101 basslines, freeform flute & saxophone and multiple percussive sources brought to order by Papich’s studio dubs. “Rose 31” edges closest to the kind of jazz fusion that inspired the project from the off, Lifted utilising the various classic instruments deployed by the greats of the game. Closer “Near Future” smartly foregrounds Motion Graphics’ stunning piano talents, gradually stripping away all other elements until all that is left are his swirling notes.

The album is mastered by Rashad Becker, featuring photography by Traianos Pakioufakis and artwork by Johannes Schnatmann & Bill Kouligas.

http://p-a-n.org

Lifted - Now More Than Ever (PAN 85)

Yes Doctor

Some Like It Hot (feat. Throne Boy)

featuring Kuljit Bhamra

Beatrice Dillon - Workaround
Format: LP / DL
Cat.No: PAN 106
Release Date: 07 February 2020
Purchase: bit.ly/33ISoYr

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

The album is mixed by James Rand and mastered by Rashad Becker at Dubplates & Mastering. Artwork by Thomas Ruff, layout by Johannes Schnatmann & Bill Kouligas.

Workaround

Beatrice Dillon - Workaround One (PAN 106)

‘Snake spit defenders , slither drippers , screwed metallic preyers , helicopter drums , pulsing incinerator sounds .’

London producer Jesse Hackett ( Ennanga Vision / Owiny Sigoma band ) and Chicago based artist Mariano Chavez team up with Nyege Nyege Tapes for NNT18 music and art collaboration METAL PREYERS . Hackett and Chavez have been working together for two years on their audio visual project Teeth Agency.  Together a plan was conceived to invite London underground music veteran LORD TUSK to Nyege Nyege’s  head quarters Uganda to work on the project Metal Preyers .

Metal Preyers turned into six weeks of music , art making, directing night shoots, and gin fueled hell rides into the Kampala night world. Hackett had dreamt of making  an industrial / ambient film sound track to accompany the collection of Mariano’s striking visuals and pairing it with Lord Tusks tough sound system sensibilities.

Featuring an all start cast of Ugandan musicians including Acholi singing star OTIM ALPHA, multi instrumentalist LAWRENCE  OKELLO and drummer OMUTABA . Slow chopped screwed slabs of sound, fast paced  to oozing sludge the LP moves between syncopation's with a cut and paste type feel that nods to DIY cassette tape post punk-ism era and  machine-esqe drone ambience.

Metal Preyers

NNT018: Metal Preyers (s/t) Album Preview. The Caller

We are pleased to release a special DJ set by our beloved Flora Yin-Wong. Flora Yin-Wong is a London-born, Chinese-Malaysian multidisciplinary producer and DJ. Sculpting ambient field recordings into dissonant pastiches informed by the synthetic framework of club influences, Flora Yin-Wong’s body of work cycles through the emotional spectrum. Informed by life experiences spanning through East Asia and beyond, her aural collages vibrate with personal, social and spiritual history—sampling temple chimes, the Chinese Yangqin stringed instrument, Cantonese pop music and pulling from her family’s history of involvement with opera. Instinctually powerful, her work touches on existential themes of death, transmission and rebirth in a way that can crawl under a listener’s skin. Her releases on PTP, Pan and C.A.N.V.A.S. really inspired us to make this session happens. This time Flora delivered a beautiful wide range set - CSS068. 

Read full article feature and interview on:
https://cultivatedsound.com/068-Flora-Yin-Wong

fuzzy / nowt mood

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