Pre-order : https://ar-fm.bandcamp.com/album/stakhanov
Release date: June 2, 2021

One year and a half after Jaroska’s ’Red Room Offering’ release, Lyon-based AR/FM label is back with the fourth imprint of its catalog, due for June 2021.
Following the label’s aim of exploring a widened techno spectrum while working with and promoting unsung talented friends, AR/FM is about to provide another beautiful piece of music, this time from ephemeral trio Stakhanov.

This eponymous LP offers 55 minutes of dense, fluctuant electronic experimentations, taking inspirations in the relentless Soviet worker myth. Its frantic and industrial overall atmosphere, set by sharp yet harsh paces, is eventually pulled to pieces by murky and hallucinated ambient acts, depicting a way darker story than the one told by the USSR propaganda.  
Thus, one rhetorical question remains: Could this unhealthy man-a-machine glorification come to any different end than madness?

Based upon Hugo Charpentier’s drawings, that can be found both on inner and outer sleeves, the 7-track album definitely takes advantage of its visual dimension, resulting in an elegant double-12” black-&-white gatefold layout. 

Releasing Stakhanov was also for AR/FM a way to pay tribute to the golden era of Lyon alternative electronic scene around 2013-2016, of which the project-members were three of the many faces. 
Through their different collectives and labels (CLFT Militia, SILO, Palma…) amongst others, all the instigators of this creative craze considerably contributed to the constitution of a new generation of Lyon-scene protagonists, AR/FM being one of them.

Release Infos:
Date of announcement: Monday, May 17, 2021 
Date of release: Wednesday, June 2, 2021.
Styles: Deep Techno, Dub Techno, Ambient, Industrial, Acid, Downtempo, Drone
Limited-edition of 150 double-12” Gatefold vinyls, including download code and 30*30cm insert by Hugo Charpentier.
Public price: 26 € + shipping.

Credits:
Music: Mathieu Reynaud, Léo Paillard & Fabien Ainardi 
Mastering: Lorenzo Targhetta
Artworks & Design: Hugo Charpentier 

AR/FM Links:
Bandcamp: https://ar-fm.bandcamp.com
SoundCloud: https://soundcloud.com/aroomfmuzik 
Facebook: https://www.facebook.com/ARoomFMuzik
Discogs: https://www.discogs.com/fr/label/1457939-ARFM 
Contact: contact.arfm@gmail.com

AR/FM#004 - Stakhanov LP - Previews (OUT JUNE 2, 2021)

AUDIO VISUAL DIGITAL EVENT MACHINE WOMAN

Ascultă episodul 38 al podcastului nostru, cu DYL.

Mai multe detalii: https://www.electronicbeats.ro/podcast/

Telekom Electronic Beats Podcast 38 - DYL

Tracklist:

Mabe Fratti feat. Claire Rousay - Hacia el Vacío
Patrick Lysaght - Rio
Irena and Vojtěch Havlovi - Růženka
Astrid Øster Mortensen - Hvor Kommer Mørkret Fra?
Dustin Wong - Assorted Jellies at Pink Pond
Phonophani - Lavenderloops
H. R. Giger's Studiolo - Harpsichord of Ptolemy
Nigel Rolfe - Made In Japan
C. Coiffure - Cave Moss
Indopepsychics & Kit Crayton - Phasor
TNT Roots - The Anthem
Wetman - Lagoon Dub
Georgia - Deployable Mental (Clitic Version) 
AceMoMA - A Future
Soichi Terada (Sumo Jungle) - Grand Senshuuraku
Etch - Loose In The Asylum
Dj F16 Falcon - You Make Me Feel So Good
Sweater - Take A Dip
CiM - Lead Point
Yem Gel - Personwater 2
Ben & Roy ft. Kieran - Showers Are Good
S A D - Enye's Mirages
Dialect - Ringing The Web
Die Welttraumforscher - Ein Feuer Aus Licht Und Liebe (Klangwart Remix)

LCR @ Lahmacun Radio /// Fool's Blouse /// [22.04.21.]

This month Adam Barkley was joined by London and Paris based electronic composer, Nexcyia, to bring 60 minutes of experimental and ambient sounds, featuring tracks from Lea Bertucci, Gaspar Peralta and Neon Genesis.

Sun In Your Head w/ Adam Barkley & Nexcyia - May 2021

A pillar of bass music since the early 2000s, DJ & producer Flore has made a name for herself in the landscape of French electronic music.Since 2014, she’s been hosting her @polaarsounds show on Rinse France, on which she invites her current musical crushes, and promotes a complex-free approach to club music.
Tune in for POLAAR every 3rd Sunday of the month, from 20h to 22h [CET] on rinse.fr

Rinse France Podcast

Download

POLAAR avec Nahash et Jan Loup - 30 Mai 2021

@deepclub_us
June's Deep Club Radio with @lonedancer weaving through a hot summer mix of Reggae, Dub, Dancehall, and Jungle

Deep Club Radio with Lone Dancer 6 - 11 - 21

Outside

This uses natural and simple elements to create an environment of an oceanic breeze.

Mariana Gulf- Rest With Me Ashore

a three sided record telling the story of a man driven to madness as he navigates a temporal loop of cosmic proportions

B6. By stars benign.

Acclaimed UK electronic musician Kevin Richard Martin (The Bug, King Midas Sound) releases a stunningly powerful rescore of Andrei Tarkovsky’s seminal 1972 movie Solaris on Phantom Limb.

In May 2020, British musician Kevin Martin was invited by the Vooruit arts centre in Gent, Belgium to compose a new score for a film of his choice. Having been long inspired by pioneering Soviet filmmaker Andrei Tarkovsky, Martin tells us that his 1972 masterpiece Solaris was the “natural choice”. The film is an unattested giant, not only of science fiction and Soviet film, but also in the annals cinematic history. And its original score, composed by regular Tarkovsky collaborator and early Soviet electronic musician Eduard Artemyev, is a magnificent work of haunting majesty, a key element to the film’s brilliance. Martin’s challenge was great: “it was with a certain amount of trepidation I stepped into such large footprints,” he writes.

The results - an all new score entitled Return to Solaris - are breathtaking. The film is intense, psychologically devastating and bleakly compelling. Interweaving themes of love, horror, sorrow, nostalgia, memory and dystopia, Martin’s score expertly mirrors this expansive breadth of psychic weight, from existential dread to heartbreaking poignancy, with immense emotional gravity. Drawn to its “narrative struggle between organic, pastoral memories of a lost past, and the harsh, dystopian realities of a futuristic hell,” Martin employs atonal noise, simmering waves of distorted synthesis, undulating drones and otherworldly, astronomic sound-design to crushing effect. Subtly submerged recurring motifs - reflections of individual characters - rise and fall amidst the fog, occasionally illuminating the doom like motes of starlight, before settling back into the density of space.

Album opener “Theme for Kris'' begins with a shimmering, alien tone, mimicking a disembodied, metallic choralsong that creeps and snakes about an unsettling frequency range. Ghosts aboard a deserted space station. The hissing, technological dystopia of subsequent track “Solaris'' sends evaporating torrents of steam through bulging, clanging, echoing chords, while later on the record, “In Love With A Ghost” revisits these same passages of seething doom, but now refocused into billowing, droning clouds of noise.

Determined that his score should retain the eerie, dreamlike mood of the film and authenticity to its era and origin, Kevin mined his analogue lab for suitable instruments and recording equipment, favouring antiquated, hands-on hardware over computer-based production techniques. With Voorhuit’s help, he acquired an original Pulsar 23 drum machine, created by cult Russian synth builders SOMA Laboratory. Appropriately, much of his rescore is centred around its spectral, strung-out sounds.

The project represents many firsts for Kevin: his first commissioned soundtrack; his first composition to picture; his first work in his new Belgian home after a move from Berlin; his first live performance to film screening. On completion, he performed Return to Solaris to picture over sold out two nights in October 2020, in the beautiful Voorhuit concert theatre of Gent, Belgium. And, with huge personal significance, this was his first public performance of the Covid era. He performed to a socially distanced crowd, many of whom unaware of his existing profile, “which made the rapturous reception and incredible feedback to the performance all the more memorable,” he writes.

Tarkovsky’s Solaris won the Grand Prix Spécial du Jury at the 1972 Cannes Film Festival and was screened for an incredible fifteen years uninterrupted in the Soviet Union. It is placed highly in “greatest movies of all time” lists published by Empire and the BBC, among others. Steven Soderburgh directed a Hollywood remake in 2002, starring George Clooney, and scored by Cliff Martinez.

In Love With A Ghost

Phantom Limb

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