p*dis sampler 2017.10

Aki Onda "I Tell A Story Of Bodies That Change" from album "South of The Border" Cassette Memories Vol.3

Composed by Aki Onda

Released by Important Records, IMPREC309, USA, 2012

Aki Onda - I Tell A Story Of Bodies That Change, 2012

🔥🔥🔥
[PIRANHA SIBERIA DUB] proudly presents the second chapter of its 79th release: Francesco Tamburrano – The Gambler. Postscript I

Venice shrouded in a haze of electric reflections, canals stretching like lines of fate, masks on faces, and behind them – rhythms that govern the mind. Francesco Tamburrano (@ft-dubtechno) returns with The Gambler. Postscript I – a remix album. Since the original album was a musical reinterpretation of the novel The Gambler by Russian writer Fyodor Dostoevsky, the continuation is conceptually shaped exclusively by Russian dub techno masters. They rewrote the album’s map like chess players maneuvering through time and space. Eight tracks, eight remixes, each crafted by Russian artists fluent in the dialects of shadow, echo, and spatial depth.

The album opens with “Alexei Ivanovich (Nebula Alchemists (@enercube and @x_fr) Intro)” – an atmospheric portal into introspection, a soft gamble of fate. “Madame de Cominges” is transformed twice: the Chain Selector (@chainselector) and Cossmann (@cossmann-music) remixes construct elegant labyrinths of tension and release, where every beat is a strategic move. “Polina Alexandrovna” unfolds in three interpretations: German F (@german_fed), Sergio Sincopa (@sergiosincopa), and Ekstendia (@ekstendia) reveal her melancholic charm and hidden shades, turning the track into a deep dive through layered textures and hypnotic pulses. “Marquis de Grieux (Oldschool_Dubtechno .Producer (@enercube and @x_fr) Flashback Mix)” vibrates with nostalgia and the rhythm of desire. “Mlle Blanche (BLOMAQ (@blomaq) Remix)” closes the cycle, leaving the listener suspended between light and shadow.

Each composition is alchemy: Francesco’s original vibrations blend with the Russian perspective on dub techno, creating an auditory space where time bends and sound becomes matter. The Gambler. Postscript I is not just a remix album – it’s a game with chaos, an exploration of structure, a descent into a hypnotic labyrinth. For [PIRANHA SIBERIA DUB], this release is a symbol of dialogue, transformation, and fearless pursuit of the new. Enter the game anew: every remix is a roll of the dice, every texture a portal to the unknown, every sound a moment of revelation.


Yours in sound and spirit,
The [PIRANHA SIBERIA DUB] Crew.



:::
Francesco Tamburrano - The Gambler. Postscript I
1. Francesco Tamburrano - Alexei Ivanovich (Nebula Alchemists Intro)
2. Francesco Tamburrano - Madame de Cominges (Chain Selector Remix)
3. Francesco Tamburrano - Madame de Cominges (Cossmann Remix)
4. Francesco Tamburrano - Polina Alexandrovna (German F Remix)
5. Francesco Tamburrano - Polina Alexandrovna (Sergio Sincopa Remix)
6. Francesco Tamburrano - Marquis de Grieux (Oldschool_Dubtechno .Producer Flashback Mix)
7. Francesco Tamburrano - Polina Alexandrovna (Ekstendia Remix)
8. Francesco Tamburrano - Mlle Blanche (BLOMAQ Remix)
:::
Label: [PIRANHA SIBERIA DUB] – [PSD079VOLUME2]
Format: Digital
Country: Russia
Release date: 06.09.2025
Genre: Electronic
Style: Dub Techno, Deep Techno, Techno, Ambient
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Mastering by Piranha Bros.
🌲🌲🌲
🌲🌲
🌲
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🎬🎬🎬🎬🎬🎬
Bandcamp: https://piranhasiberiadub.bandcamp.com/album/the-gambler-postscript-i
Beatport: https://www.beatport.com/release/the-gambler-postscript-i/5304445

Francesco Tamburrano - The Gambler. Postscript I [PSD079VOLUME2]

🎹Get your copy🎹

Francesco Tamburrano - Alexei Ivanovich (Nebula Alchemists Intro)

Taken from the album 'Too' released as LP / CD / Download

Klara Lewis 'Us' (EMEGO 210)

Go Thru Your Phone

Full Side A stream of my new album "New Tab". Purchase cassette and digital: https://heart.bandcamp.com/album/new-tab

Khotin - New Tab 

Side A:
1. Canada Line 
2. Wheeler Road 
3. Dialogue 6 
4. Dotty
5. Something is happening to me

Side B:
6. Always Glad
7. Frog Fractions 
8. Fever Loop
9. Health Pack
10. New Window

≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈≈

Buy Cassette/Digital

New Tab (Side A)

Taken from the album 'Aster' released as 2LP and Download

Aster

Kassel Jaeger 'Rose Poussière' (EMEGO 235)

Pre-order 'Blurred' on LP/DL: http://phonofile.link/blurred

Kiasmos mark their return in 2017 with a new 12” EP titled Blurred — available worldwide on October 6th via Erased Tapes.

Since their 2015 Swept EP, the duo have been performing shows extensively across the world. After writing and recording together in their native Iceland this year, the pair will be bringing a glimpse of light to a particularly gloomy time of year as their light sounds are brighter than ever.

Words from Ólafur and Janus, August 2017: 
￼ 
￼￼“To write new material felt like a new beginning for us after two years of touring. The plan was to ￼write something a tad darker than our previous stuff. Spring in Reykjavík had other plans though, as this turned out to be our brightest release to date.” — Janus Rasmussen

￼“Stimming was one of the reasons we started making four-on-the-floor music and we have been listening to Bonobo since we were young, so it was a great honour that they wanted to contribute remixes for the EP.” — Ólafur Arnalds

￼The EP closes with remixes from British producer Bonobo and German electronic musician Stimming, taking tracks Blurred and Paused into different coloured realms.

The cover art featuring the iconic Kiasmos symbol is by long-time Erased Tapes collaborator Torsten Posselt at FELD.

TRACK LISTING

1. Shed 
2. Blurred
3. Jarred 
4. Paused 
5. Blurred (Bonobo Remix) 
6. Paused (Stimming Remix)

WEBSITE: www.kiasmos.is

Kiasmos - Blurred

Sugai Ken - Wochikaeri to Uzume

Learn more at RVNG: http://smarturl.it/rvngnl40-rvng
Add to your collection at Bandcamp: http://smarturl.it/rvngnl40-bcamp

©2017 RVNG Intl. / igetrvng.com

UkabazUmorezU (RVNGNL40 - 320 - Promo)

Sugai Ken - Wochikaeri to Uzume

hugvilla 1st album【hug】

1.踊り子
2.しろいとり
3.絵画の中の女神feat. owtn.
4.かたち
5.arigatou
6.踊り子 (koji itoyama Remix)
7.しろいとり (moskitoo Remix)
8.絵画の中の女神 (Daichi Mori from Temple of Kahn Remix)
9.かたち (Yunomi Remix)
10.arigatou (Keisuke Nakazawa from Meme Remix)

_____________________________________________________________________

Mixed&Supervisor (green)
artwork (Kanade Fukazawa)
artdirection (saori yamada)

●踊り子●
《Voice》
Kanade Fukazawa

●絵画の中の女神●
《Lyrics and Voice》
owtn.

●arigatou●
《Voice》
Hisako Quinn, Coco
Aya Sasaki
Emily Miyahara
Ferri (kilk records)
Mark Suenaga (INFANTS in EINDHOVEN)
《ティン・ホイッスル》
green
《Oboe》
ナナ

●Remixies●
しろいとり (moskitoo Remix)
絵画の中の女神 (Daichi Mori from Temple of Kahn Remix)
arigatou (Keisuke Nakazawa from Meme Remix)
かたち (Yunomi Remix)
踊り子 (koji itoyama Remix)

●しろいとり●
《絵本》
文:hugvilla
絵 :日外たよた
英語訳 :Takafumi Owatari, Steven Hellebust
アートディレクション :ヤマダサヲリ

『hug』ダイジェスト音源

From the Neptunalia LP compilation (LAL-92 / IKU-054). Edition of 300. Release day hopefully July 23rd.

NEPTUNALIA, a festival of Neptune, celebrated at Rome, of which
very little is known. The day on which it was held, was probably the 23rd
of July. The festival was celebrated with games. Respecting the ceremonies
of this festival nothing is known, except that the people used to build
huts of branches and foliage, in which they probably feasted, drank, and
amused themselves.
From a "Dictionary of Greek and Roman Antiquities" by John Murray, London,
1875.

Side A:
David Edren - Whale Bubbler
H. Takahashi - Deep
Nuslux - Hippocampi
Olli Aarni - Eliksiiri A & B
Ilpo Numminen - Speleothem

Side B:
H. Takahashi - Coral
Non Local Society - Latiaxis Mawae
Kuupuu - Jään alle
Marja Ahti - Silent Floor
Miaux - Rip Current at Avalon Beach

Compiled by Roope Eronen
Cover Art by Leon Sadler
Mastered by Tommi Keränen
Laquer cut at Duplates and Mastering

Lal Lal Lal & Ikuisuus, 2018

Miaux - Rip Current at Avalon Beach

AGF Producktion: agfproducktion.com

instrumental version for spoken word/ rap artist Dalib:
https://agf-poemproducer.bandcamp.com/album/syntax-mirror

Syntax Mirror

DSCHUNGEL (instrumental)

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her
solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop
minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated
on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On
manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of
air and light; infectious, melodic and off-the-cuff.
Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth
belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language –
divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel
guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes,
realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the
undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like
the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps
and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of
perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of
repetitive listening.
Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist
mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist
becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at
the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces
Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless,
conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go
outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be
honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting.
The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and
grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a
loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble
provides aural snakes for the listener’s ear to follow.

R. Elizabeth - SPIRITUAL TO SYMPHONY (from Every And All We Voyage On)

Some Limited And Waning Memory (Milan W Remix)

http://www.folkloretapes.co.uk/product/ethereal-transects-the-lore-of-celestial-objects

Ethereal Transects - The Lore of Celestial Objects

Track title: I Caught A Glimps Of The Sea Trough The Leafy Boughs Of The Pines (excerpt)

Kim Myhr & Australian Art Orchestra announce new album due for release on April 17: Vesper 

Recorded live as part of the Melbourne International Jazz Festival in June 2018, 'Vesper' is guitarist/composer Kim Myhr’s collaboration with the world-renowned Australian Art Orchestra, led by Peter Knight. A long-form, immersive work consisting of three movements that add up to a combined running time of just under one hour, it further demonstrates Myhr’s masterly command of complex musical resources and extended duration. ‘Vesper’ - which means “evening” in classical Latin - also reunites Myhr with drummer and percussionist Tony Buck, of Australia’s legendary improv trio The Necks. Buck was one of the three guest drummers featured on Myhr’s acclaimed Hubro recording ‘You | me’, shortlisted for the 2018 Nordic Music Prize alongside Bjørk and Susanne Sundfør.

"I had been thinking for a while to do a night piece”, Kim Myhr says about the genesis of ‘Vesper'. "The music I’ve listened to the most, and which is perhaps the closest to me, is the music that I listen to in the hour before going to bed, when the tempo is a bit slower, and the expectations of the day are fading. Daniel Lanois talked about how they recorded Bob Dylan’s 'Oh Mercy' only in the night-time, because musicians tend to be more patient and relaxed then, and even play a few bpms slower. Although this is a nice idea, I was more focused on the music itself rather than the methodology. What interested me was the private spaces of night time, when the listener knows that nothing more will happen for the rest of the day. It’s an embracing and immersive space, where we can be at our most private and intimate.”

The music for ‘Vesper’ is embracing and immersive too, with an associative, dream-like quality that fits the night-time context to perfection. While each of the three movements could be said to follow its own internal logic and sense of development, capable of functioning as stand alone pieces if required, the overall span of the composition as a whole is suitably epic. The range of sounds is equally vast, from Kim Myhr’s own electric 12-string guitar with its special tunings, to the incredibly versatile resources of the ensemble - actually a septet for this date, but sounding far larger. Live instrumental parts for brass, woodwind, strings and percussion are complemented by re-processing from Joe Talia on Revox tape deck and electronics, with Peter Knight covering electronics and hammered dulcimer as well as trumpet. Combined with Tony Buck’s maelstrom of percussion, the overall effect is thrillingly intense, with each mounting climax coming close to a sensory overload, while quieter stretches can seem to roll by timelessly in a somnambulant haze.

Kim Myhr & Australian Art Orchestra: I Caught A Glimpse Of The Sea Through The... (Excerpt)

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Sugai Ken - Wochikaeri to Uzume

RVNG Intl.

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