Much appreciation for @jlin after reading this:http://pitchfork.com/features/profile/10071-jlin-woman-of-steel/

🔥🔥🎹❤🎹💪💪⚡🔝🌋📡🔝🔝

🔥🔥🎹❤🎹✊👊🌋⚡📡💪🔝🔝🌹

Planet Mu Records

Lorelei

Contours

qwqwqwqwa - Contours

mastering by audiodrag
cover by ratx.cc

@mx-tune

k1nd4

mxtune - cmds

@theory-therapy
@djbirdbath

BC: https://theorytherapy.bandcamp.com/album/memory-empathy

"Memory Empathy" is a meditation on the past: how it shapes us and how we shape it in turn. Over 12 tracks, New Zealand-based producer DJ Birdbath draws from a varied palette of samples, both real and unreal, conjuring a colourful narrative patchwork. Some tracks are fragmented, with gurgling rhythms built from clipped vocals, like 'Another Day'. Others resemble deconstructed versions of sounds the producer grew up listening to in the UK. Take for example the breakbeat in the euphoric album opener 'Kitsch Memory' or the shoegaze-tinged vocals on 'Flames'.

While a sense of optimism radiates throughout the album — in particular on 'Leftover Igloo', 'Being There' and 'Last Time' — it’s the weird breakages and vaguely organic sounds which add to the complexity of the release and, in turn, make it feel more truthful. The imperfect mimesis is part of the appeal: with repeated listens "Memory Empathy" yields new surprises.

pi pi pi premiere: DJ Birdbath - Holiday Scrapbook (Theory Therapy)

Aiwa - SEEYA(pp222)

The Next Kingdom LP (SER001)

Jonnnah - New Normal

SATA invite Malta Corrosiva - Əverything(?) Not Yet (Janvier 2025)

10 For 10 Vol.2

Bob That Back

Falling

Jlin returns with the first fruits of her new work since last years ‘Free Fall’ EP. ’Dark Lotus’ is a transition between 'Dark Energy’, her debut album, and her forthcoming ‘Black Origami’ full-length. 

A-side ’The Escape of the Blvck Rxbbit (ft. Avril Stormy Unger)’ is the more traditional of the two tracks, starting off proceedings with a constantly switching rhythmic structure and a stop-start sweeping hoover stab panning between the speakers, descending bleeps and Avril's vocals cut into shapes and pushed through effects.

B-side ‘Nyakinyua Rise’ races headlong into uncharted territory, with a fierce barrage of djembe drums over pounding bass, punchy war cries and jubilant uluations that paint a tension between hot aggression and weightless ecstasy.

Nyakinyua Rise

https://jlin.bandcamp.com/album/black-origami

Planet Mu are very excited to announce Jlin's long awaited second album “Black Origami”. A percussion-led tour de force, it's a creation that seals her reputation as a unique producer with an exceptional ability to make riveting rhythmic music.

“Black Origami” is driven by a deep creative thirst which she describes as “this driving feeling that I wanted to do something different, something that challenged me to my core. Black Origami for me, comes from letting go creatively, creating with no boundaries. The simple definition of origami is the art of folding and constructing paper into a beautiful, yet complex design. Composing music for me is like origami, only I'm replacing paper with sound. I chose to title the album "Black Origami" because like "Dark Energy" I still create from the beauty of darkness and blackness. The willingness to go into the hardest places within myself to create for me means that I can touch the Infinity.” 

Spirituality and movement are both at the core of “Black Origami”, inspired largely by her ongoing collaborations with Indian dancer/movement artist Avril Stormy Unger whom she met and collaborated with at her debut performance for the Unsound festival – ”There is a fine line between me entertaining a person and my spirituality. Avril, who collaborates with me by means of dance, feels the exact same way. Movement played a great role in Black Origami. The track "Carbon 7" is very inspired by the way Avril moves and dances. Our rhythms are so in sync at times it kind of scares us. When there is something I can't quite figure out when it comes to my production, it’s like she senses it. Her response to me is always "You'll figure it out". Once I figure it out it's like time and space no longer exist.” 

Similar time shifting/folding/disrupting effects can be heard throughout the record – especially on “Holy Child” an unlikely collaboration with minimalist legend William Basinski. She also collaborates again with Holly Herndon on “1%”, while Halcyon Veil producer Fawkes' voice is on “Calcination“ and Cape Town rapper Dope Saint Jude provides vocals for “Never Created, Never Destroyed“.

Jlin will be touring extensively this year and is currently lining up appearances including Sonar festival. She also has plans to collaborate with acclaimed UK choreographer Wayne McGregor who played her music recently on Radio 4’s Desert Island Discs and described her music as “quite rare and so exciting”.

Black Origami

Jlin - Holy Child

https://planetmu.bleepstores.com/release/85964-antwood-sponsored-content

@margaret-antwood

Antwood (a.k.a. Canada's Tristan Douglas) returns to Planet Mu with his second album 'Sponsored Content'. The album is more reflective than his debut, last year's 'Virtuous.scr'. The relentless mood of the first album has given way to a more melodic, stripped out sound. It still shakes with speed and energy, but with more space, more moments of delicate sadness and strange cyborg pop. What comes to the fore in 'Sponsored Content' is Tristan's gift for melody, coupled with the uncanny feeling that somehow his strange music is an entire ecosystem of it’s own. It's best explained by Tristan himself:

"This record was made during a very challenging year. Some of these challenges were for the best, some were not, most were both, others were neither. The music is inextricably tied to these events, whether I like it or not, and I’ve begun peeking out from behind my self-imposed veil of heavy conceptualization; revealing things about myself that my previous album Virtuous.scr didn’t."   "In the past year, I found that ASMR, which I had previously used as a source of foley in my music, was a fairly effective sleep aid. I’d been using the videos in this way for a few months, when I noticed a popular ASMR YouTuber announced a plan to incorporate ads into her videos; quiet, subtle ads, woven into the content. What bothered me about this was that these ads would target viewers, such as myself, during times of semi lucid vulnerability. This disturbed me, and I unsubscribed."

"Sponsored Content explores this idea of subversive advertisement, at least superficially. It’s obviously about the ubiquity of ads and the commodification of online content. The unlikely placement of ads in the music aims to force the listener to become hyper-aware of being advertised to rather than passively internalizing it. But after the record was finished, it became undeniable that really it wasn’t so much a “concept record” about advertisement; it’s as much about intentionally devaluing the things I’ve invested myself into, and over-complicating my work. When I realized this, I considered taking the ads out, and playing the music straight. But I left the record as it is: honest, flawed, with a little humour, and slightly up its own ass."

"I collaborated with El Popo Sangre (a.k.a. Paulin Rogues) for the visuals after he showed me his short film “Fantasy” which used several tracks from Virtuous.scr. He and his team at UNICORN added a depth to the project I could never have done on my own."

Antwood - Wait For Yengi

Taken from Ziúr's debut of the same name, released 6th October 2017 on Planet Mu / Objects Ltd.

Buy: https://planetmu.bleepstores.com/release/87000-zir-u-feel-anything

Ziúr - U Feel Anything? Released - 6th October 2017

Claude Speeed’s ‘Other Infinities’ is a diverse companion release to the well-received ‘Infinity Ultra’ LP from earlier this year.

Speeed says "I see this mainly as an alternative take on how the album could've turned out, one of the many paths it might’ve gone down. But it also serves as a neat ending, closing off that period by releasing the other material that's been kicking about my mind and harddrives for the last 5 years."

The material on ‘Other Infinities’ reaches into the darker corners of the world portrayed in ‘Infinity Ultra’, the uncanny valleys of the near future. Obliterated rave sits alongside twisted computer-generated prog rock; cathartic noise is pitted against submersed piano and dreamy, night-time synthscapes. New age meditation and lonely autumnal sadness compete with the intense drumming of a neo-tokyo cult.

Other Infinities

Claude Speeed - Spectral Trance

East Man is a new project from Anthoney Hart and its material predates his previous work as Basic Rhythm. His unique take on grime reduces the sound to its steely fundamentals, bringing in influences from dancehall, drum and bass and techno to gird the voices of the MCs he works with. His own name for this hardcore continuum mongrel is 'Hi Tek'.

Anthoney struck a friendship with the academic and theorist Paul Gilroy, who wrote the album introduction below, after starting personal research on representations of working class and mixed race families. He asked Paul for some help after coming across his work via Stuart Hall, Paul's mentor. Their discussions and friendship developed, and it dawned on Anthoney that his research and the East Man album had some synergy, so he asked Paul to write a piece conveying that. 

 - - -

London’s young people have been seen as a problem by governments for many generations now. Their distinctive street cultures stretch back into the nineteenth century when, just like today, a stylish public presence signified danger to respectable people. At that time, Britain’s class conflicts were being re-made amidst all the glorious fruits of a global empire. Divisions like class and sex had different shapes and tempos that hardly resemble the machinery of our increasingly networked and unequal world. Religion, racism and nationalism were all important, but work, exploitation and poverty supplied the fiery core of politricks.

These days, Britain’s imperial wealth and prestige are long gone. Today’s young people are excluded and marginalized, confined and criminalized, yet they remain at the heart of the vital, energetic best of our city. Their energy and imagination drive London’s convivial culture. They duck and dive just like their predecessors. They hustle, they suffer and they survive. Even where knives are common, most of the problems that come up get resolved without murderous violence. The defining experience of their precarious situation is more likely to be fear or anxiety than warfare between gangs. Their violence is more likely to turn inwards on to their loved ones and family members. There are many forms of self harm and self medication.

Yet the space in which those youthful lives unfold has contracted. The scale on which life is lived has shrunk. Moving around can be expensive. Surveillance is constant. Dignity and certainty are difficult to find and hold on to. It can be hard to feel comfortable outside the spaces and places you know best. Those familiar circuits are marked out by the roadside shrines of dead flowers that show just how vulnerable you can quickly become.

We have been losing London to Babylon but we are busy making a new place. The edges of the city have become fertile. The weeds grow up explosively between palisaded concrete boxes and the litter-strewn greenery. This is not zones 1 and 2 where houses and flats are capital rather than buildings to live in. The music that comes out of that edgy world isn’t what it was a generation ago, but it’s still fundamental--necessary for life.

These shocking sounds can be a part of healing and repair while staying faithful to the pressures that forged them. Musicians can’t make a living from their creativity, but their listeners can’t understand this historical moment unless they get to grips with its local rules, meanings and poetry. This is not America. Even without words, this music speaks for itself and tells a story. It calls out to be understood while seeking ways to escape interpretation.

We are always more than either this or that. We are more than either black or white. 

Paul Gilroy 2017.

Red, White & Zero

East Man & Darkos Strife - Look & Listen

Asyncro is a record label launched by Moscow's electronic music producer OL in 2019. The opening release is an LP by Serwed – the debut collaborative project from @olegbuyanov and his Gost Zvuk label-mate @producedbyflaty. This record offers precise cuts with a wide range of rhythmic structures and  granulated backgrounds, based on the duo’s explorations of free-form generative sound. 

1 SERWED - Initial 
2 SERWED - Angular 
3 SERWED - Ceramic 
4 SERWED - Radiant 
5 SERWED - Ground 
6 SERWED - Linear 
7 SERWED - Bias  
8 SERWED - Rrand  

Out 26 April 2019
Produced by OL & Flaty
© Asyncro, Moscow 2019.

Purchase:
https://asyncro.bandcamp.com/album/serwed
https://boomkat.com/products/serwed
https://bleep.com/release/126706-serwed-serwed

SERWED - I [ASYNC-01]

Russian sonic marauders Flaty & OL serve up the second edition of their SERWED project for West Mineral. 

Distributed by Boomkat
Vinyl & Digital out MARCH 2020


**********************************

•
Initial 2                  (2:29)
Plastm                   (4:29)
Save vs. Spell       (3:24)
Grip                       (3:56)
In Spare                (2:40)
••
Lima                      (2:31)
Shade Lyra           (4:49)
Live Cut 01.06.19 (1:35)
Plane                     (4:54)
Promises               (4:11)


www.westmineral.ltd
www.serwed.com
OL www.soundcloud.com/moneyisagas
Flaty www.soundcloud.com/producedbyflaty

Jlin - Holy Child

Planet Mu Records

Recent comments

syntrovert

~deciBelle

RYS

Poppy1996

Related tracks