play on neuwestberlin on the next time in berlin

hello antwood how are you ? kiss for label bedroom research subjex and my friends connected at planetmu

Best deep sub I've heard in a while, keep it up 

Planet Mu Records

The ever fluxious H2OP returns with ”100 Reasons”, the second installment in their string of EP’s

”100 Reasons” is a release that resembles a two-sided coin—both marine and aerial life blended with subtlety and elegance. It’s all melting rocks on solid ground of human emotion. Lyrical burst of sincerity, powerful naïveté brought to the height of creative expression. In “100 Reasons” H2OP not only ponder on human lives and interactions , they brought us music for gatherings and coming together.

Posh Isolation 260

100 Reasons

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H2OP - 100 Reasons pt. II

Anne Imhof, Eliza Douglas, Billy Bultheel - SEX
Label: PAN
Cat.No. PAN 116
Format: LP / DL
Release Date: 3 September 2021
Purchase: pan.lnk.to/SEX

‘SEX’ is the latest record from acclaimed contemporary artists Anne Imhof, Eliza Douglas and composer Billy Bultheel. It was composed during the development of Imhof’s art exhibition of the same name, previously exhibited at Tate Modern, London, The Art Institute of Chicago and Castello di Rivoli Museo d’Arte Contemporanea.

Music is core to Imhof’s work. It functions not only as a soundtrack to perform to, but rather that music itself, and the act of performing music, becomes a work of visual merit by its very nature. Imhof’s performance work, in collaboration with Douglas, is often described as visually being a futuristic, nihilist take on pop culture citing metal and grunge aesthetics while making connections to thematics of classical painting. The concert itself becomes a visual language in Imhof’s performative work which sits evenly placed with her painting and sculpture.

Imhof, Douglas and Bultheel adapted the songs from how they appeared in the exhibition ‘SEX’, with the result being a compelling record that can act as an imaginative accompaniment to the ‘SEX’ performances, as well as stand alone as a progressive collection of contemporary compositions.
‘SEX’ references punk, industrial and grunge, while boldly juxtaposing these forms with music of the classical and baroque period. ‘SEX’s compositions combine classical formals and orchestration with vocals that are rooted in subcultural traditions, thus beautifully overdrawing and overwriting these classical forms with the composer's own. Harpsichord and oboe are combined with distorted electric guitar, or exuberant string ensembles with heavy industrial drums.

The amalgamation of genres contained in the album was also integral to the choreography of the ‘SEX’ performance, where waltzes and tangos were contrasted with stage diving, slam dancing and moshpits. What resulted was a surreal ballroom, loaded with desire and aggression. In the same vein, the record fearlessly shapeshifts, blending genres and styles to evoke an impressive array of moods. The voices and instruments crush like operatic electric waves throughout wide rages, laughing, shouting, coming close and being far. Oscillating between fragility and flamboyance, Douglas and Imhof’s versatile voices reinvent themselves from one song to the next, while singing songs of love and hate.
The final song on ‘SEX’ ends with a lyric from the band LOW, “All you Pretty People, you’re all gonna die”. This ambiguous moment, a prophecy sung in Douglas’ vibrating baritone voice, rattles the listener despite the mundane truth of the statement. This complexity is reflected in the album itself, allowing for an unusual multiplicity of emotions and interpretations with impressive depth and dynamism.
The record’s release coincides with the final performance of ‘SEX’ at Castello di Rivoli in Turin in September 2021 and the opening of Imhof’s Carte Blanche exhibition ‘Nature Mortes’ currently on view at Palais de Tokyo, Paris through October 2021.

The album is mixed & engineered by Ville Haimala and mastered by Rashad Becker, featuring design by ZAK Group and photography by Nadine Fraczkowski.

Anne Imhof, Eliza Douglas, Billy Bultheel - Too Late (PAN 116)

Lorelei

Perfect Human - 200

A collection of fearless love songs, inspired by Spring and the pains and ecstasies of nesting season. A gallery of lovelorn electronic ballads in the name of heartache. "Wild Love To Grow" is Eastern Nurseries' longest and bravest release to date, as well as the first to be presented physically as a double cassette edition.

"When I was alive, I aimed to be a student not of longing but of light."

EN28

Photo by Toby Ziff
Mastered by Diego Escriche

Burning Pyre & Canadian Rifles - Autobiography Of Burgundy

UNO036 / Feral - Relay EP
1. Swell
2. Relay
3. Ceremony
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thisisferal.com/
twitter.com/thisisferal
facebook.com/thisisferal

Free Download

Ceremony

Existential Vices

https://linktr.ee/schnelian
All rights to Arrietty

「 ✦ Unfixable Outcome ✦ 」

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://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

22 summer storms, 22 celebrations of music from today. 

Posh Isolation turns 10 this year. 
We celebrated in Copenhagen for three days and three nights - Port Out, Starboard Home. Some people could not 
be there, some forms change — we honour them by celebrating again, digitally. 

Make the day come alive again. 

'Summer Storms' wades through the heat, never quite settling, yet taking in every surrounding. Gather everyone 
together, celebrate a shared motif. 

Come stream with us. 

Clear skies. A raving harbour. The best storms cancel plans. 

Make the day come alive again, 

today. 

Dedicated to Ezra 

Posh Isolation 227

Puce Mary & CTM - Release

It's Your Turn To Drive

“Every mystery, enigma or secret, lost or forgotten - Now forged anew in the light of slowly fading incense embers. Artifacts holding echoes from different memories - Their voices now protected from harm in the congregation of sentiment.”

World Canvas proudly presents Lost Memory 01 - A compilation featuring 11 songs from artists and musicians from different backgrounds and corners of the world.

Cover art by Gabriel Boicel

Antwood - Wait For Yengi

Planet Mu Records

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