I forgot I had this skittish, rolling piece of 160bpm old-skool influenced electro breakbeat sitting on the hard drive. 
More tunes coming in the first part of this year!

Obese - The Dark Inside

we dive into autechre, focusing mainly on their music in the past 10 years

"splonk" is a brand new series where for each episode, one artist is celebrated for an hour or two

splonk 2 // autechre mix

Taken from SBKT055: TRANCE BAND - Entrancing
Release date: 3rd March 2023

'A Seagull's Hymn'
Electric guitar - Felix-Florian Tödtloff
Drums – Will Ballantyne
Bass – KIM KHAN
Chains & vocals – Ican Harem

In a global landscape that increasingly prioritizes individuality over collaborative expression, TRANCE is a distinctive project. Initiated by Chinese multidisciplinary artist Tianzhuo Chen, best known for his work with Asian Dope Boys, TRANCE is as artistically amorphous as its constantly evolving line-up, that fluctuates as it shimmers across borders and time-zones. In 2019, the project was demoed in Beijing as part of a solo exhibition from Chen, a 12-hour durational performance that examined the altered states of living and dying and pondered the sounds, sensations, bodies and spaces that notion might suggest. On hold for three years due to COVID-19 restrictions, TRANCE was eventually premiered in Hamburg at the Kampnagel Theatre last year where it was presented as a surreal three-day ceremony. This time around the Trance Band was made up of Berlin-based noisemaker and vocalist Dis Fig, Indonesia's Gabber Modus Operandi, musician and MC KIM KHAN, guitarist and engineer Felix-Florian Tödtloff, and Vancouver-based percussionist and producer CITY. Chen directed the show, channeling each artist's unique energy into an alliance that highlighted their independent skills while pushing towards ideas that simply couldn't have been realized discretely.

"Entrancing" is a live documentation of that incendiary Hamburg session, powered by the performative fireworks that came from having the project halted for two years before it was allowed to burst into life once more. Just as with previous iterations of TRANCE, the space was terraformed into an alien landscape that allowed the collective to enact a carnivalesque display that was tightly controlled but creatively boundless. Musical u-turns were accompanied by monumental stage overhauls that reshaped a muddy, fog-filled outdoor riverscape into an arena, or a sweaty nightclub. This theatrical impact can't be visualized as clearly on the record, but musical cues do just enough heavy lifting to provide a tantalizing contour. When the alluring electro-acoustic plucks and resonant sustained string tones of 'There's a Ghost in the Lantern' cascade into cinematic drone metal on 'Ylva's Theme', it's impossible not to be drawn into the TRANCE narrative. Sonic stage lights flicker with uncommon intensity as the nebulous group rewrite their collective personal stories into stirring, synergistic poetry.

"Something changes!" KIM KHAN calls out on 'Soft and Black', cutting through warbling synths and itchy beatbox percussion. The track builds quickly, reaching a sizzling crescendo of buzzsaw noise and acidic electronics. It's a stylistic sea change that channels the group's kinetic energy into a rock show, and CITY picks up the message on 'Trance Genesis', adding rapid-fire drums to a barrage of guitar skronk. 'Shaolin Affliction' glues Trance Band's jagged artistic edges to a vintage metal template, gradually dissolving into throaty post-hardcore, while 'My Fortress' brings the show to a powerful conclusion with Dis Fig assuming the role of grunge balladeer, bellowing into the void over cacophonous live instrumentation. Unbound by musical and artistic conventions, TRANCE peers out from the basement, the gallery and the playhouse to forge an expression that's all of this and something new entirely. It's refreshing, witty, exhilarating and most of all, completely unpredictable.

Entrancing

TRANCE BAND - A Seagull's Hymn

mental load [„XOXO, c’est la résistance“]

Eternal Delight w/ Lost Helmet - 14/07/2023

Il était une fois l'histoire d'un bulot, à qui l'on proposa une simple mayo.

Son nom était Killog, roi des mers, de la tempête et des abysses. Il aimait le parterre, la trompette et la glisse. Avec les bavoux du coin, il se retrouvait tout les matins devant la terrasse du Calicoco pour une journée de de style entre gastéropotes. Pour accompagné cette session pleine de tricks, Kill apportait toujours sa bonne compil' pleine de tracks. Un gros mélange de sonorités décrit par le vieux buccin du village comme « Une variation de hits bourrés de hats tentaculaire auxquelles s'opposent le son de basse à la texture caniculaire. Un assemblage de glitch noise par des mollusques avisés, des breaks déstructuré pour des voisins en manque de fiouls, du club de fêtard dopé au tempo. » Il ajoutait également que « cette musique sample le combats contre les cycloptères sournois d'en haut et leurs milices de crustacé.
On peut y entendre des expérimentations sonores et électrique, des phases hétérogènes pour djs en panique. »

Et sur ces paroles, il regardait les coquilles partir en chantonnant « Pas le temps de boire la tasse ».

ENG : Once upon a time, there was a whelk who was offered a simple mayo. His name was Killog, king of the seas, storm and abyss. He loved the parterre, the trumpet and the slide. Every morning, he and the local chavoux met in front of the Calicoco terrace for a day of gastropot style. To accompany this session full of tricks, Kill always brought along his good compil' full of tracks. A chunky mix of sounds described by the village old whelk as "A variation of hits packed with sprawling hats contrasted with the sound of heat-textured bass. An assemblage of glitch noise by savvy mollusks, unstructured breaks for neighbors in need of fuel, tempo-doped party club." He also added that "This music samples the fight against the devious cyclopterans above and their crustacean militias. You can hear sonic and electric experimentation, heterogeneous phases for dj's in panic."

And with these words, he watched the shells leave, singing "No time to swallow water".

BULOT RIDER, sortie le 18/09/2023.

ARTISTS : https://soundcloud.com/meconium
& Patré Patrik

MASTERING : @a-sim1988

RELEASED BY : @armencrewassociation @garage83c @lagrandegudule

COVER : cocomag29 (www.instagram.com/cocomag29/)

NYP Bandcamp

[PREMIERE] Méconium Feat. Patré Patrik - Bouge Tranquille

Track A1 titled Welcome to Violence from the 12" EP with the same name, originally released in 1997 with the catalogue number Praxis 27.

Written and produced by Christoph Fringeli

Check out more details and all relevant links on the Praxis Discography page of this release:
https://praxis-records.net/base-force-one-welcome-to-violence/

Check out the 2023 remix of this track by Alex Buess, also on our SounCloud/Bandcamp/YouTube!

Welcome to Violence

Buy on Bandcamp

Base Force One: Welcome To Violence [Praxis 27, 1997]

https://soundcloud.com/oblinof

https://www.retreatradio.net/liminal

Liminal #8 w/ Oblinof (09/11/23)

Overdrive Ritual

Crowd Killer (Original Mix)

A remix of we are number one by lazy town. enjoy!

Free Download

Lazy Town - We Are Number One (Hypopher Edit)

SUCK MY DUCK.

Praxis is a record label dedicated to experimental hardcore and radical breaks and other forms of challenging electronic music and noise. Founded in 1992 by Christoph Fringeli in London, Praxis is now based in Berlin, where we also run the Praxis online shop and distribution.
We also publish Datacide - the magazine for noise & politics in print and online.

Base Force One: Welcome To Violence [Praxis 27, 1997]

Praxis Records

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