Racine - Amitiés
Cat. Nr: DN022
Format: CD / DL
Release Date: January 21, 2022
Buy / stream: dansenoire.ffm.to/Racine

There’s a lived-in quality to the sound of Racine’s Amitiés. Named after the French word for friendship, the Montréal-based Quebecois artist follows an extended time spent indoors to contemplate what it means to be isolated and in one’s own body, while also staying connected. The album is a follow-up of sorts to Quelque chose tombe (“Something Falls”), released in February 2020 and a kind of accidental prophecy for the crisis that was to come.
Amitiés disintegrates before your very eyes. Opening with a roughshod iPhone recording of Racine playing his parent’s harmonium, the creaky acoustics of "Mon amour je ne guéris jamais" slowly degrade into digital simulations of dreadful organic beauty. That track and the rest of the LP gives the feeling of an abandoned building; a sense of frayed, earthiness dusted with the wisdom of time. And yet, it’s almost entirely made from simulations. Clipped Native Instruments violin patches punctuate the churning atmospherics of “Arête coincée dans une amygdale”. The lonely gongs and bells of “Grosso” resonate in a gust of synthesised ambient. Vocal plugins and the very occasional YouTube samples of a recorded voice are sped-up, glitched, pitched and scrambled into indecipherability. These vocal apparitions rise and fall into the sonic ether like individual ghosts of human contact. They’re bold and expressive, deeply melancholy and yet full of the potential for joy and an awareness of life’s beauty.

It’s in this dearth of social interaction—the heady psychosis of too much solitude—that Amitiés’s tone and mood lies. A score for the numb dissociation from internal chaos and alienation, the album’s sense of acute distress is assuaged only by the small network of collaborators and influences it draws from. Long-time friend and peer Justin Leduc-Frenette (aka Keru Not Ever) contributes drum programming to “Mon amour je ne guéris jamais”. A last-minute reworking of the untitled “Sans titre” by German duo Arigto matches the weight and timbre of Racine’s sooty post-classical soundscapes.

Ultimately, Amitiés is a very human response to an inhuman environment. It’s an intimate homage to friends and the mysterious effects of distance, while somehow finding healing in hardship.

Mastered by Rashad Becker, artwork by Niels Wehrspann

@julienracine

Amitiés

Racine - Arête coincée dans une amygdale

Ewa Awe - Spiderloop

Heith - Your Element (a spell of equality)
Label: PAN
Cat.No. PAN 119S
Format: DL
Release Date: 26 July 2022
Purchase: pan.lnk.to/YourElement

X, Wheel

Heith - Your Element (a spell of equality) (PAN 119S)

Honour - BEG 4 MERCY
Label: PAN
Cat.No.: PAN 122
Release Date: 09 December 2022
Purchase: PAN.lnk.to/BEG4MERCY

There's not much we can say about Honour that makes complete sense. They may or may not have grown up in the US, making beats with a cousin who sang in a church band; they might have toured as a roadie with platinum-selling R&B outfit Pretty Ricky before acing regional videogame tournaments and moving to NYC; they could have sold their life story to children's book author C.S. Adler and signed to Violator management; and maybe they ended up stationed in London, working as a runner on music promos. But however plausible it is, the breadcrumb trail provides us with a detailed cultural framework for "Beg 4 Mercy", a dense fog of pop and underground references that's as inescapable as it is enticing. It's a rare debut that engulfs even the most cautious listener, sweeping through tongue-in-cheek Wild West bravado and psychedelic, overdriven club rap, bifurcating into crumbly DIY noise and vaporous euphoric soul. Sometimes barbed and cynical, but just as often deliriously warm-hearted, it's a record of contradictions that's as puzzling to unpick as the artist's baffling backstory, imprinted with more hidden messages than a Renaissance painting. Who needs to play identity bingo when the art's screaming so loudly?

Production, writing, and composition by Honour
Additional production on SEVEN SEALS by Bridegroom
Poem on 2Yung2Die written and recited by Gwendolyn Brooks
Mastered by Miles Whittaker

BEG 4 MERCY mp3

Honour - SEVEN SEALS (PAN 122)

Accordian Nostalgia

Cloaked

Re:Conceive is a collection of tracks from artists living in Tiohtiá:ke:, so-called 'montréal', which is raising money for The Native Women's Shelter and The Just Solutions Clinic. It aims to activate solidarity between indigenous peoples, settlers, immigrants and refugees alike. Electronic music is a potent conduit in this process, in reclaiming space where just realities might be cultivated or imagined. With the arrival of the rising global tide of right wing politics in 'québec', and the unaddressed history and continuance of colonialism and structural white supremacy in 'canada' at large, it is high time that we reconceive of our history, our present, and our way forward. 
~ 
All revenue generated by this compilation will be donated 50/50 to The Native Women's Shelter of Montréal and The Just Solutions Clinic. 
~ 
Re:Conceive est une collection de pièces d’artistes habitant Tiohtiá:ke, appelée «montréal». Le but de cette initiative est de lever des fonds pour The Native Women's Shelter of Montreal et l’organisme Clinique des Solutions Justes. 
Ce projet à pour but d’activer la solidarité entre les peuples autochtones, les colonisateurs, les immigrants de même que les réfugiés. La musique électronique est un conduit puissant dans ce processus, en réclamant l’espace où les réalitées équitables pourraient être cultivées ou imaginées. Avec l’arrivée d’une vague globale de politique de droite au «québec» ainsi que l’histoire et la continuation du colonialisme et de la suprématie blanche au «canada» qui n’ont toujours pas été adressés, il est grand temps de reconcevoir ensemble notre histoire, notre présent et notre chemin vers l’avant. 
~ 
Tout revenu généré par cette compilation seront donné 50/50 entre Native Women's Shelter of Montréal et Clinique des Solutions Justes 
~ 
Grosse thanks to Andy Poblete (@anpob) for his evocation of the political situation in 'québec'.
~
Mastered by Cristobal Urbina
https://www.facebook.com/SeeYouMastering

Art by Nick Castonguay
https://www.nickcastonguay.com

Logo design by Kristian Spears
https://tephrael.tumblr.com/

Bandcamp

Racine - De Son Vrai Nom (Naguère(s))

Teresa Winter - Emptiness Is Also An Excess [RAVE031]

Taken from 'Deserted / Reclaimed'(G&P015), out September 16, 2020

With a handful of releases out on various pioneering imprints (including longplays RISC Chip and Meme Booth via Conditional Records or the latest contribution to the groove series by Warsaw based label outlines), the producer, programmer and live-coder Mike Hodnick is one of the leading figures representing a movement of computer-centred music production, recently labeled as algorave. Since we are devoted fans for quite some time, the Platonic's are proud to present Mike Hodnick´s latest project under the prolific Kindohm alias - 'Deserted / Reclaimed'.
Sequenced live on a drum machine, the diptych stretches across four vast sonic plains, bounded by curvy dunes formed by countless TidalCycles code bits, constantly pouring over like the grains of scorching and shiny sand. Full of paradoxical rhythm twists planted into the ever-bending landscape, Deserted / Reclaimed reads as a fragmented and sometimes petrifying ride towards the chaotic percepts of the monumental surroundings, dissolving in the thermal inversion somewhere far on the horizon.

Written, produced & mastered by Mike Hodnick
www.kindohm.com
@kindohm

Artwork by Jiri Macku
jirimacku.tumblr.com

🦂

Deserted / Reclaimed

Digital & Cassette

Kindohm - Reclaimed 2

Haunter Records is proud to present Left My Brain @ Can Paixano (La Xampanyeria) OST. A project five years in the making, dotted by contributions from dear friends Asaël Robitaille, v1984 and Marie Davidson; it is Osborne-Lanthier’s most ambitious work to date and, in many ways, an elegiac record. Largely composed and produced in the shadow of his mother’s passing, it also contains an another sort of elegy: to a infamous Barcelona restaurant that functioned as a daily stop for Osborne-Lanthier during a stay in Catalunya. It was in the midst of  that trip that he started adding sardonic, deranged experiments to his then-overtly serious, academic work. After his mother’s passing in 2016, nostalgia drove him to revisit a body of old recordings where he discovered something new: the sarcasm, self-effacing humour and proficient technicality he’d found so funny originally was now just a mask for insecurity and sadness. He set out to rework those recordings, reprocessing them over and over until their structures completely changed, until they’d gained such texture and depth they were no longer recognizable.
 
The music’s journey construes a multi-layered story, one only he can tell. The record smacks with a wet nostalgia that soaks into the concrete dryness of Osborne-Lanthier’s sound design, maintains a taste for intensity as a tool for immersive engagement. There’s a widescreen romanticism to these compositions, reminiscent of a vivid dream: the tracks are tactile and elastic, morphing rapidly from uncanny-valley EDM tropes to vast, sweeping expanses of sincere choral synths. Osborne-Lanthier sees the album as something of a concept cemetery; an overgrown plot that slowly filled to the brim with dead ideas; a mycelial network of thoughts and plans that never came true. The fruiting body of a fungus born from the nutrients of dead plants: an opus born from trash. 
 
For all of its absurd alien beauty, this is as much a record about being a musician as it is a record about making fun of music: as much an expert-level exploration of technical chops as it is an assault on the stupidity of technicality. Beautiful film-like ambient passages flow directly into weapons-grade riffs, fluid whirlpools drain into chattering synths and shrieking frequency envelopes. Ugliness and immaturity are not only preserved but elevated. The result is Osborne-Lanthier’s most finely-honed record to date — a reflection of what it is to be human: divinely uncategorizable.

Composed between 2015 and 2020 in Montreal, New York, Paris, Berlin, Barcelona, Milan, Tokyo, Stockholm, Osaka and Shanghai by Jesse Osborne-Lanthier.
Produced in Montreal by Jesse Osborne-Lanthier.
Additional production and arrangement assistance by Asaël Robitaille.
Mastered by Heba Kadry.
Design, layout and additional art by Jesse Osborne-Lanthier.
Art installation and photographs by Adrian Altman, courtesy of the artist.

Cat. No. SPCTR015/PTTDIABL001 – All rights reserved.
℗ & © Haunter Records 2020

Left My Brain @ Can Paixano (La Xampanyeria) OST

Catchment Areas (Spiritual Pollution)

Jesse Osborne-Lanthier - Catchment Areas (Spiritual Pollution)

(‾̴̴͡͡▿•‾̴̴͡͡ʃƪ) 30 min live/dj set for Nice Setting on Skylab radio- chopped up loops.,60% my own productions & loops & cut up samples
12.2020

Racine - De Son Vrai Nom (Naguère(s))

Re:Conceive

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