Emotional Response completes its 10th anniversary by welcoming Benedikt Frey to the label with a special release, a fantastic dub-psychedelic cover of Joy Division, delivered in multiple versions, including a wonderful dub-meets-prog reinterpretation from Lucas Croon.

An established producer for over a decade, with a releases for a myriad of respected labels like ESP Institute, Crème Organisation, Hivern Discs, Live At Robert Johnson and Serious Trouble, plus Frey’s own excellent R.I.O Records that is quickly becoming label to watch, it’s pleasure he joins Emotional Response with a fresh, but respectful remake.

Alongside PiL Ltd, Joy Division were the ultimate post punk band, the music, design and untimely passing of lead signer Ian Curtis, creating a mystique around the band that survives today. Opening their second, and final, album Unknown Pleasure, the song is a big part of their history. Frey’s version – with secret vocalist Carla Koller – offer a wide-screen retake, the dub bass and modulated snare wrap around lyrics, while haunting guitar adds to an unease.

Starting with a classic, but perfect Vocal Mix, there is an accompanying Instrumental that together highlight a propulsion and incessant groove, allowing the space between to herald the production’s beauty.

This is backed with a live remake by Lucas Croon. A label fan since his appearances in Stabil Elite, BAR and The Kloom, this Dusseldorf fraternity member continues Emotional Response’s long-standing association with the city. With celebrated releases on Aiwo Recs and Themes From Great Cities, his fireside remix begins as some dub-psyche odyssey before morphing in to a steppas-delight rock out that will capture the open ears and minds.

To close, Frey returns with his own Dub. Possibly the EP’s stand-out, this half step remix sucks the listener to the spaces between, as vocals dissipate and collapse within, bass bins distorting to distraction, the pull of a true and worthy dub symphony.

BANDCAMP

Benedikt Frey - She's Lost Control (ft. Carla Koller)

Memoria

Techno (Raw / Deep / Hypnotic) | Dub
https://go.protonrad.io/rl0Z9-P9Hruqo

003 Toxic Compilation

dyb mørk - Intention (Original Mix)

Velora

Echovolt's brand new series	 of mini‐albums has opened them up to more experimental fare. Templeyard Studios kicked of the series and set the tune with "Messages From A Better Destiny". Now Australian producer Kane Ikin is to follow up with music influenced by science fiction, broken synthesizers and endless horizons. The Melbourne scene keeps on delivering. This time it brings a producer that will take you on a trip through outerspace. Kane Ikin is an experimental musician that will expand your mind by his creation of a six track soundscape. Equal parts narcotic and kinetic, "Sensory Memory” is built as an exploration in the genres and sounds formative  to Kane's sound. This	is what happens if	a young Patrick Cowley had met the L.I.E.S. crew.

Listen on youtube : https://www.youtube.com/watch?v=RiDUm54BcKE&feature=youtu.be

PREMIERE : Kane Ikin - Packet Loss

»decadent yet depraved«, the debut album by belief defect, finds shelter and complicity in raster as home and label.

familiar with the underground music scene and how its skeptical nature can also be an obstacle to overcome, belief defect abandon any claim or credit in an attempt to transcend the limits authorship imposes, avoid the boundaries or expectations earned or self imposed and find the clearest, most direct path to their music for themselves and the listener.

at the core of the album is the music that inspired them, the conclusion of countless recordings listened to in their formative years that ultimately result in a life-long devotion to electronic music: from dance floor to primal anger and self-annihilating noise, to transcendental, ambient escapism and intense self-reflexive sonic layering.

the result is a soundtrack for this apocalyptic time, an uncompromising reflection on the state of mankind and its uncertain future — underscored by a sense of religious and secular demise referenced in track titles, samples, and soundscapes scattered throughout the album.

yet, more than a political statement »decadent yet depraved« is an introspective journey, turning each listener into a spiritual soul-seeker staring into the abyss, reaching for some kind of cathartic truthfulness.

sculpture, prosthetics, photography by sarah sitken.

Decadent Yet Depraved

belief defect »deliverance« taken from »decadent yet depraved«

with »redsuperstructure«, robert lippok created a new foundation for his musical endeavors. now – 7 years later – this system properly comes to life on »applied autonomy«. the title of the new album is a clear indicator as to what the berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks.

»applied autonomy« orchestrates a certain state of frantic standstill, which occurs once a structure is set. has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy. the more light one lets in, the more layers become visible.

layers are key when it comes to understanding »applied autonomy«. big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance.

rather than meticulously devising each and every detail, lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage. based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. an album culminating in a collaboration with klara lewis, with whom lippok spent 2 days at the EMS studios in stockholm, approaching the idea of autonomy from yet another angle. during the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. the result is »samtal«, 14 minutes of a constantly evolving state of poise, magically connecting all the dots lippok had already defined as »applied autonomy«.

the artwork for »applied autonomy« has been created by the berlin-based argentinian artist luca gutierrez. over the last couple of years, he has made a name for himself with his spectacular AV performances.

Applied Autonomy

robert lippok »all objects are moving« taken from »applied autonomy«

Time for something different - Ben Bertrand is armed with a bass clarinet and backed with sound effects, aiming in the direction of the contemporary classical section of your record collection. Dreamlike compositions that take you to his warm and minimal world.

https://soundcloud.com/ben-bertrand-bxl
https://facebook.com/benbertrand.music/
https://www.facebook.com/ateliersclaus

Buy here!

PRÉMIÈRE: Ben Bertrand - V380 Orionis [Les Albums Claus]

Blue Veil - Another Day (D005)

It all started with a fan letter…

“Hey Peter, just noticed you on a Rhys Chatham link. Just want to say I adore your work, I had a release on DFA recently, and they sent me some of your releases you did with Jonathan - so brilliant! I’ve had “Condo” track for a while, this completely catches my personality and when I feel disillusioned or need comfort, I always put this on, and it makes me feel good and strong.....i will stop gushing now! Thank you!

Nik Colk Void x”

This was Peter’s reaction…

“I was quite flattered and was glad that ‘Condo’, one of my lesser-know tracks, was being appreciated. (I was also curious, because the most-viewed clip of ‘Condo’ on Youtube is actually a slowed down version: someone played the 12” 45rpm EP at 33 rpm. The result, however, is quite beautiful.)

I responded, said I hoped we could meet the next time I am in London, and Nik then suggested that she had a track that she was working on, and would I like to listen to it and possibly collaborate. I am always game for a new challenge, so I said sure and Nik sent an mp3.

I was immediately struck by the haunting and evocative nature of the track, the analog synths feeling fresh and familiar at the same time, the vocals having a primal quality of breath and phrasing. I loaded the track into Ableton and instinctively began recording some overdubs. I used analog (Prophet 5) and digital (Moog iPad) synths and a soprano saxophone. I then sent a mix to Nik.

Nik responded quite positively, and over the next few weeks we exchanged files back and forth, experimenting with different mixes and submixes. After a couple of dozen rough mixes, accompanied by email discussions among the three of us (Gabe had entered the process after the first few exchanges,) we settled on a final mix. Shortly after we had a final mix, I synchronized the track with a video that my partner Kit Fitzgerald was working on. This long extended shot fit the music perfectly, and we had a video for ‘Beachcombing’. (A still from this video serves as the artwork for the 12”.)

Initially, there was going to be a one-sided 12”, with ‘Beachcombing’ the only track. Nik then wrote to me that Dominic was also interested in working on a track, and would I be interested in working on a B-side with Dom. Of course, I readily agreed, and I received an mp3 of synth tracks. As previously, I began building up tracks, using the alto sax (rather than the sopranino used on Beachcombing) and the addition of a vintage Korg vocoder.

Once again, a series of file exchanges of mixes, submixes and discreet tracks ensued, and we finally settled on mix #26a. There is kind of a sweet quality which surprised the both of us.”

The result is before you now and forthcoming on Optimo Music. Modern collaborations with magical results!

www.optimomusic.com

Peter Gordon and Factory Floor - Beachcombing

INIT - Wrong Coded

official soundcloud page of raster - artistic platform.