Ziúr - Antifate
Format: LP / DL 
Cat.No. PAN 120
Release Date: 7 May 2021
Purchase: pan.lnk.to/Antifate

Ziúr’s music has always been difficult to classify. A longtime fixture in Berlin’s nightlife, the musician, producer and DJ has cut through decades of threads to arrive on a sound that accurately represents her journey. She’s sung, played guitar and drums and reduced club music to a burning cinder; with “Antifate”, her third album under the Ziúr moniker, she approaches electronic music without any preciousness or reverence to genre.
2019’s acclaimed “ATØ” re-introduced songs to her canon, contorting her vocals over an undulating electronic backdrop. On “Antifate”, she takes this idea further, pushing abstracted pop forms into mists of digital euphoria and extracting unexpected instrumental flourishes from collapsing clouds of distorted rhythm. Electronic instrumentation is melted into acoustic sounds and vice-versa, creating a breathing organic universe that’s entirely Ziúr’s.

“Antifate” is an abstract reference to the mythical land of Cockaigne, a utopia where wine flows freely and houses are made of cake, that provided escapist fantasy for medieval peasants. As the space between our private worlds widens, this fantasy becomes alluring once more - a place where we feel free, with the people who allow us that freedom. With this in mind, Ziúr crafts a soundtrack that’s fantastical and magical, hinged on the idea of closeness and connection at a time when distance is mandatory.

Ghostly voices echo wordlessly over clattering beats and dubwise bass on opener ‘Alive, Unless?’, while the album’s title track sings a more epic fanfare, with a chorus of voices echoing into glittering synthesizer pearls and volcanic kicks. “Antifate” is almost even theatrical at times, something never more evident than on the Talk Talk-esque ‘Fringe Casual’ with its dreamy piano and plucked bass and on closing track ‘The Carry’, where flute is introduced into Ziúr’s rapidly expanding narrative.

It’s tempting to say that this is the album Ziúr has been destined to make, but “Antifate” rejects this concept. Rather, this is the album that Ziúr needed to make now, surrounded by the people that have been able to offer her the place to do it. In mapping out her mythical paradise, Ziúr has produced an album that is deeply tender and inescapably human. It’s an album about freedom, and she has never sounded so free.
The album is mixed by James Ginzburg & mastered by Rashad Becker, featuring artwork by Stefan Fähler.

@ziurinhell

Antifate

Ziúr - Antifate (PAN 120)

Ziúr - Antifate
Format: LP / DL
Cat.No. PAN 120
Release Date: 7 May 2021
Purchase: pan.lnk.to/Antifate

Ziúr’s music has always been difficult to classify. A longtime fixture in Berlin’s nightlife, the musician, producer and DJ has cut through decades of threads to arrive on a sound that accurately represents her journey. She’s sung, played guitar and drums and reduced club music to a burning cinder; with “Antifate”, her third album under the Ziúr moniker, she approaches electronic music without any preciousness or reverence to genre.
2019’s acclaimed “ATØ” re-introduced songs to her canon, contorting her vocals over an undulating electronic backdrop. On “Antifate”, she takes this idea further, pushing abstracted pop forms into mists of digital euphoria and extracting unexpected instrumental flourishes from collapsing clouds of distorted rhythm. Electronic instrumentation is melted into acoustic sounds and vice-versa, creating a breathing organic universe that’s entirely Ziúr’s.

“Antifate” is an abstract reference to the mythical land of Cockaigne, a utopia where wine flows freely and houses are made of cake, that provided escapist fantasy for medieval peasants. As the space between our private worlds widens, this fantasy becomes alluring once more - a place where we feel free, with the people who allow us that freedom. With this in mind, Ziúr crafts a soundtrack that’s fantastical and magical, hinged on the idea of closeness and connection at a time when distance is mandatory.

Ghostly voices echo wordlessly over clattering beats and dubwise bass on opener ‘Alive, Unless?’, while the album’s title track sings a more epic fanfare, with a chorus of voices echoing into glittering synthesizer pearls and volcanic kicks. “Antifate” is almost even theatrical at times, something never more evident than on the Talk Talk-esque ‘Fringe Casual’ with its dreamy piano and plucked bass and on closing track ‘The Carry’, where flute is introduced into Ziúr’s rapidly expanding narrative.

It’s tempting to say that this is the album Ziúr has been destined to make, but “Antifate” rejects this concept. Rather, this is the album that Ziúr needed to make now, surrounded by the people that have been able to offer her the place to do it. In mapping out her mythical paradise, Ziúr has produced an album that is deeply tender and inescapably human. It’s an album about freedom, and she has never sounded so free.
The album is mixed by James Ginzburg & mastered by Rashad Becker, featuring artwork by Stefan Fähler.

@ziurinhell

Ziúr - Gravity's Gravity, Clout Is Clout (PAN 120)

Ziúr - Orange Cream Drip (PAN 120)

Ziúr - Alive, Unless? (PAN 120)

Pan Daijing - Jade 玉观音
Format: LP / DL
Cat.No. PAN 113
Release Date: 4 June 2021
Purchase: pan.lnk.to/Jade

What if a song was not a culmination but a singe, an imprint, or a crater left in the wake of creative process? On her new record “Jade”, Pan Daijing composes at a different scale than that we’ve come to know. Since the release of her groundbreaking LP “Lack” in 2017, Daijing has expanded her operatic vision into a series of major commissioned exhibition-performances at institutions including the Tate Modern, Martin Gropius Bau, and the Haus der Kulturen der Welt. Developed for full casts of opera singers and dancers, and reaching for an all-encompassing durational experience of intensity for both performer and audience, the development of these works was for Daijing as emotionally disarming as it was thrilling. In order to continue accessing her own limits, Daijing had to develop a place of sanctuary within her own practice.

Its nine tracks written and recorded over the last three years, “Jade” is the sound of solitary release and refuge, of creative self-sustenance. Written without the imperatives of direct address to performers or audience, “Jade” speaks inward, while inviting a kind of rhetorical listening. The artist draws on materials familiar from her previous work: namely, ascetic electronic textures that rumble and pierce, and voice bent in irreverent directions. In place of catharsis, however, her arrangements here linger in tension, extending curiosity towards the delicate void that nourishes extremes. They toy with the minor capacities of song: repetition, chant, observations that conclude without resolving.

“Jade” comes from a vulnerable place, tender as in an undressed wound caught in the midst of healing over. Vocals, mostly Daijing’s own, arrive as wordless sequences of notes soaring alongside a drone, or plain laughter, or in a few places spoken word. What is said or sung provides fragments of experience and reflection. In the process of piecing together these fragments, the listener is confronted with the tender parts of her own. “Solitude is like an immense lake you’re swimming through,” says Daijing of these songs. “Sometimes you dip your head in and sometimes you lift it above. On album centerpiece “Let,” she speaks to us over the sound of rippling water, returning between anxious scenes to a refrain: “I take my bath in the ocean.” We are not just consuming Daijing’s story; we are being invited to join her in the water.

The album is mixed and mastered by Rashad Becker, featuring artwork by Pan Daijing, cinematography by Dzhovani & design by NMR.

@pan-daijing

Jade 玉观音

Pan Daijing - Ran 乱 (PAN 113)

-̴̪̗̳͖̇̇̃̀̍̓̓̓̍̇̄̕͝͝͠-̵̫̻̲́̌͝-̵̦̎̓̀̀̈́-̴̨͈̦͎̳̮͈̯̖̰̥̰̤̔̐͛͌͛ͅ-̵̧̢͉̳̰͓̝͈͓̼̺̼̤̇̍̒̍͗͒̌̅͘̕-̵͔͔̫̺̮̰̘̫͇͇́̇͌̽̐͂͂͠-̴̲͉̤͈͕͚͇̻̠̺͔͂͂̇̐-̷̳͖̺̋̔̎͆-̶̻̮̺͉͔̭̻̃́̓̃-̵̣͙̗͓͎̪͇̯͎̳̘͇͊͋͐̀̋̐͛́͛̾̋̿̕-̶̱̰͈̮̪̔͐̿̈́̎̈͊̕-̶̥͈͓͈̗̫͎͈̏̊̆͂̿̒͆͂̕͝-̵̨̛̛͖̬̪̲̱̟̜̦̘̱̓̃̌̓̅̅̓̌͂̕͜͝-̵̨̧̮̗̯̮̜͙̦͇̻͂̌̀͌̽-̴͇̮͖̰̤͕̱͎̣̭̽́̇̿̈̽̾͋̏̌-̵̢̟͋̈͋̌̄̈̔͗͂-̵̢̢̥͙̮̻̘̀-̸̧̨̪̩̠̘͖̯̣̼͇̑-̵̢͒̈́̍̋̋̊͘͝͝-̵͉̤͉̩̻̱͑̈́̔͒̒͑͑̾̚̕͠-̵̜̖̟̞̭͔͆́̏̂́̚̕͝͠
-̴̪̗̳͖̇̇̃̀̍̓̓̓̍̇̄̕͝͝͠-̵̫̻̲́̌͝-̵̦̎̓̀̀̈́-̴̨͈̦͎̳̮͈̯̖̰̥̰̤̔̐͛͌͛ͅ-̵̧̢͉̳̰͓̝͈͓̼̺̼̤̇̍̒̍͗͒̌̅͘̕-̵͔͔̫̺̮̰̘̫͇͇́̇͌̽̐͂͂͠-̴̲͉̤͈͕͚͇̻̠̺͔͂͂̇̐-̷̳͖̺̋̔̎͆-̶̻̮̺͉͔̭̻̃́̓̃-̵̣͙̗͓͎̪͇̯͎̳̘͇͊͋͐̀̋̐͛́͛̾̋̿̕-̶̱̰͈̮̪̔͐̿̈́̎̈͊̕-̶̥͈͓͈̗̫͎͈̏̊̆͂̿̒͆͂̕͝-̵̨̛̛͖̬̪̲̱̟̜̦̘̱̓̃̌̓̅̅̓̌͂̕͜͝-̵̨̧̮̗̯̮̜͙̦͇̻͂̌̀͌̽-̴͇̮͖̰̤͕̱͎̣̭̽́̇̿̈̽̾͋̏̌-̵̢̟͋̈͋̌̄̈̔͗͂-̵̢̢̥͙̮̻̘̀-̸̧̨̪̩̠̘͖̯̣̼͇̑-̵̢͒̈́̍̋̋̊͘͝͝-̵͉̤͉̩̻̱͑̈́̔͒̒͑͑̾̚̕͠-̵̜̖̟̞̭͔͆́̏̂́̚̕͝͠      @muchosueno
-̴̪̗̳͖̇̇̃̀̍̓̓̓̍̇̄̕͝͝͠-̵̫̻̲́̌͝-̵̦̎̓̀̀̈́-̴̨͈̦͎̳̮͈̯̖̰̥̰̤̔̐͛͌͛ͅ-̵̧̢͉̳̰͓̝͈͓̼̺̼̤̇̍̒̍͗͒̌̅͘̕-̵͔͔̫̺̮̰̘̫͇͇́̇͌̽̐͂͂͠-̴̲͉̤͈͕͚͇̻̠̺͔͂͂̇̐-̷̳͖̺̋̔̎͆

Entender los métodos post digitales de vida a los cuales estamos conectados como una multiplicidad sobre codificada-estimulada de herramientas y existencias en crisis propias de un carácter fluido repetitivo que construye un sentimiento inestable y frágil. Contaminación y mal funcionamiento y , posibles armas que sirven para regenerar nuestro tejido techno-orgánico dañano son abiertas y dispuestas para nuestro mas reconstructivo uso. Sintetizando en que los dispositivos disminuyen los limites entre las tecnologías-postdigital y lo que podría denominarse como eco-regeneración en un ciberespacio determinado.
estrategias de supervivencia cyber terrorista en un entorno electrónico simulado y espiritual y religiosamente contaminado
Protesis bioelectro-mecanica como esquema social útil y funcional con propósito de optimizar las capacidades cerebrales y cosmológicas
Una quimera caótica cybernetica, hIbrIdo extendido hacia un mundo eléctrico fantasmal


-̴̪̗̳͖̇̇̃̀̍̓̓̓̍̇̄̕͝͝͠-̵̫̻̲́̌͝-̵̦̎̓̀̀̈́-̴̨͈̦͎̳̮͈̯̖̰̥̰̤̔̐͛͌͛ͅ-̵̧̢͉̳̰͓̝͈͓̼̺̼̤̇̍̒̍͗͒̌̅͘̕-̵͔͔̫̺̮̰̘̫͇͇́̇͌̽̐͂͂͠-̴̲͉̤͈͕͚͇̻̠͂͂̇̐-̷̳͖̺̋̔̎͆-̶̻̮̺͉͔̭̻̃́̓̃-̵̣͙̗͓͎̪͇̯͎̳̘͇͊͋͐̀̋̐͛́͛̾̋̿̕-̶̱̰͈̮̪̔͐̿̈́̎̈͊̕-̶̥͈͓͈̗̫͎͈̏̊̆͂̿̒͆͂̕͝-̵̨̛̛͖̬̪̲̱̟̜̦̘̱̓̃̌̓̅̅̓̌͂̕͜͝-̵̮̗̯̮̜͙̦͇͂̌̀͌̽-̴͇̮͖̰̤͕̱͎̣̭̽́̇̿̈̽̾͋̏̌-̵̢̟͋̈͋̌̄̈̔͗͂-̵̢̢̥͙̮̻̘̀-̸̧̨̪̩̠̘͖̯̣̼͇̑-̵̢͒̈́̍̋̋̊͘͝͝-̵͉̤͉̩̻̱͑̈́̔͒̒͑͑̾̚̕͠-̵͆́̏̂̚͝͠
-̴̪̗̳͖̇̇̃̀̍̓̓̓̍̇̄̕͝͝͠-̵̫̻̲́̌͝-̵̦̎̓̀̀̈́-̴̨͈̦͎̳̮͈̯̖̰̥̰̤̔̐͛͌͛ͅ-̵̧̢͉̳̰͓̝͈͓̼̺̼̤̇̍̒̍͗͒̌̅͘̕-̵͔͔̫̺̮̰̘̫͇͇́̇͌̽̐͂͂͠-̴̲͉̤͈͕͚͇̻̠̺͔͂͂̇̐-̷̳͖̺̋̔̎͆-̶̻̮̺͉͔̭̻̃́̓̃-̵̣͙̗͓͎̪͇̯͎̳̘͇͊͋͐̀̋̐͛́͛̾̋̿̕-̶̔͐̿̈́̎̈͊̕-̵̨̧̮̗̯̮̜͙̦͇̻͂̌̀͌̽-̴͇̮͖̰̤͕̱͎̣̭̽́̇̿̈̽̾͋̏̌-̵̢̟͋̈͋̌̄̈̔͗͂-̵̢̢̥͙̮̻̘̀-̸̧̨̪̩̠̘͖̯̣̼͇̑-̵̢͒̈́̍̋̋̊͘͝͝-̵͉̤͉̩̻̱͑̈́̔͒̒͑͑̾̚̕͠-̵̜̖̟̞̭͆́̏̂́̚̕͝͠


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Tracks 4, 9, 10, 11 & 17 mastered by Ioannis Nafpliotis (xato)
Tracks 14 & 16 mastered by Galen Tipton

text by v3 and bacteriasesina

Mucho Sueño - Hora De Oro

ships in lock

It is time to let go of your fear and doubts. You must learn to embrace the darkness of your soul, for it is a light beacon of hope for humanity. Your soul wants to show itself in its truest form, strength, perseverance, courage and determination of spirit. In this lifetime your soul needs to cleanse and open its feelings for katharsis.

With the double compilation “Infinite Summer: Ekstase & Fantasi”, katharsis celebrates the return of raves and concerts to society after a long period of pandemic shutdown. A magical summer has past filled with a great pallet of emotional material, ready to be expressed. Therefore, we encouraged a collection of artists we adore to channel their imagination of the greatest way to conclude an endless summer night with into a piece of music.

This resulted in a grand assemblage of harmonious manifestations, naturally splitting into two divisions with opposing focuses. In contrast to the first part of the duology “Ekstase”, which focused on euphoric and dancefloor-oriented outputs, this second part “Fantasi” has a more serene and introverted focal point. The majority of the tracks seem to be meant to stop time in deep reflection with a placid sunrise as the backdrop, exemplified by the purgative opener “salomé” by Aestum, but the listener will find occasional rhythmic outpourings like the unhurried clubby vibes on awbluu’s “Rosalyne (Voxen)” or the beautiful melodic “we will get where?” by Beham.

Infinite Summer: Fantasi

When All Else Fails

Bademjan - When All Else Fails

Second single from @shiwashiwa's debut full-length release "I'm Here," out 24/07/20 on @primordial_void.

Pre-order: https://primordialvoid.bandcamp.com/album/im-here

I'm Here

PREMIERE: shiwashiwa - New Hometown [PV-08]

EE3 is a suggestive succession of strangely assembled pieces of micromondo miscellanea as small bizarre objects and surreal items right for Artetetra’s continuously metastasizing outré wunderkammer. 

A showcase of heterogeneous materials that cover an entire imaginal ecosystem going from the grotesque to the hazy, to the hypnagogic and absurd til the utterly whimsical; often resulting in non-linear audio experiences with humoristic and paradoxical outcomes. Abstract exotica, amphibian footwork, compositional audio-jokes, brutal counterpoint metal, aquatic sci-fi shredding, steel-cold cognitive fado, glossolalia madrigals, metaphysical hip-hop, sunitty conglomerations, abrasive warfare cartoon OSTs. All and all, let’s just call it Quinto Mondo. 

But let's get down to the nitty-gritty: 
STILL NOT MUCH 3 SAY 
NEO°GEO 3.0 
30 TRACKS 
30 IMAGINAL FAMILY SUPERSTARS 
2H OF HAILE MUZAK FROM THE FLOATING WORLD 
FUN IS THE MF GUN 

Compiled and curated by Artetetra 
Illustrations and design by RIccardo Redeghieri 
Mastered by Giancarlo Brambilla

Ziúr - Gravity's Gravity, Clout Is Clout (PAN 120)

PAN

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