@djmessiah:  His producton skills are allway a educational worthwhile study. 

You have some nice music and i like it :) Sorry if i spam you, but the newcomer DJ Juanchez needs your "like": www.facebook.com/juanchezofficial

sick mix! love tipper. and thanks for the info as well.

This track has fuckin awesome sounds in it, props

Awesome drums and brilliant sqeaks, what do I need more?!!

Presenting BMSS018 - Ficus + Nyquist - Botanical Mechanicals

Very excited to premiere a killer tune from Ficus and Nyquist, our newly found fam representing Chrysalis Collective. Blending lush melodies, ominous undertones, and a significant percussive influence, this track may leave you in wonder and disbelief! 

Artwork by @swesdo

follow Ficus:
https://soundcloud.com/planetficus
https://planetficus.bandcamp.com/releases
facebook.com/planetficus
instagram.com/planetficus/

follow Nyquist:
https://soundcloud.com/nyquistsmusic
https://nyquiststheory.bandcamp.com/
https://linktr.ee/nyquistmusic

follow Chrysalis Collective:
https://soundcloud.com/chrysaliscollective
https://chrysaliscollective.bandcamp.com/

follow us:
@blackmoonsyndicate
https://blackmoonsyndicate.bandcamp.com/
audius.co/blackmoonsynd
facebook.com/blackmoonsyndicate
instagram.com/blackmoonsyndicate
twitter.com/blackmoonsynd

contact: blackmoonsyndicate@gmail.com
submssions: blackmoonsubmissions@gmail.com

Botanical Mechanicals

s u p p o r t

Ficus + Nyquist - Botanical Mechanicals

@Kalahamusic

Rolling out riveting blends of Anatolian rock, contemporary synthesis, orchestral swells, and Turkish folk music, the Danish supergroup Kalaha has become a frequent flier on The Rust’s radar and the global listening bandwidth. Their 2021 record Mystafa was a nose dive into a blend and flavor of traditional and contemporary Turkish music, spiced up and retrofitted with the brain power of both Kalaha’s Rumpistol and Spejderrobot, combined with the Aurhus Jazz Orchestra and numerous vocalists. After leaving behind a soaring impression, they’ve returned with A.J.H. in toe, as well as the addition of vocalist Hilal Kaya, to press their latest LP, Tutku. In anticipation of the LP’s landfall, The Rust is incredibly honored to host the premiere of the focal track "Ince Ince".

The track wastes no time ramping up to speed, with the burly riffs and horn lines that open "Ince Ince" chugging in throaty syncopation. The infusion of Hilal Kaya's legato vocal lines overtop the classic A.J.H. brew of brass gives the song an earthen intensity, elevating the composition with dashes of a rock opera's traditional tension. At the height of the ride, the spotlight shines for only so long a dizzying synth solo, bringing together every disparate part of the Kalaha ethos in a mad dash to the song's conclusion. Far beyond the usual cut of our catalog, "Ince Ince" is a pristine slice of the contemporary fusion music, putting a new twist on the possibilities when stirring together a world's worth of influence into one simmering pot.

Kalaha - Hilal Kaya And The Aarhus Jazz Orchestra - Ince Ince [EXCLUSIVE PREMIERE]

My new track titled “Callisto” is out now on @mindspring_music 's new VA compilation called Garden Of Symbiosis. Big ups to @entangled_mind for curating this fire compilation and to all the artists who submitted some true magic to this release. Check it out now on bandcamp! Album will be on all platforms Oct 28th but you can get the release now on Bandcamp till then. LINK IN BIO! 👽✌️

Title: Garden Of Symbiosis
Compiled by Entangled Mind
~
Artists:
Vallou
Ohmar
Slaycub
Panda On The Bamboo Tree
Gleekch
Faelow
DeathMomenT
Arcturus
Darklord Gob
~

Mastering by: @coam_music
Cover Art by: @daydreemerstudios

Purchase

Callisto

R2 - 2022

From: Llips. ‎– Dos Partes
http://www.discogs.com/Llips-Dos-Partes/master/186886

Llips. ‎– Unalaska (Remixed By Lusine Icl)

https://zonra.bandcamp.com/album/third-eye-winks

Third Eye Winks

Homebody

Tipper (real name David Tipper, born ca. 1976[1]) is a British composer and producer specializing in electronic music that ranges from Ambient, through Trip Hop, to uptempo Nuskool Breakbeat. His live performances consist largely of his own unreleased compositions, and he is highly regarded for scratching his own sounds over his music, creating a live element of turntablism stemming from prowess early in his career as a vinyl DJ.

Career
He is widely respected as a Surround Sound composer, releasing one of the first albums composed, produced, and intended for the DualDisc format, in addition to providing content for multichannel[disambiguation needed ] music industry leaders DTS, Inc.. His talents at Sound Design (his work is included in several of the major music making software programs[2]), and in Digital Audio Mastering, are also in great demand. His catalog has been consistently licensed for use as background in a variety of mainstream television programs,[3] and also featured in commercials[4] and cable television projects.
Tipper was ‘discovered’ as a teenager DJing in a London nightclub by soon to be manager Richie Warren. Their earliest conversations centered on bass frequencies and rhythms underlying beats, and they began researching the science involved in creating the most effective dance music. An arranged meeting with Funktion-One sound guru Tony Andrews imbued Tipper’s ongoing and unwavering philosophy of producing the highest quality of music,[5] and delivering this sound to the best of its capability. Richie founded Fuel Records (UK), and Tipper released the first of several vinyl EP’s in 1997. Renault licensed one of these, Twister, for a European Ad campaign. Soon thereafter, Sony UK signed Tipper to their fledgling dance music label, Higher Ground.
Higher Ground
In the late 90’s Tipper completed numerous remix projects of his Higher Ground label mates, and released several singles, each highlighting his penchant for electronic dance music with extreme bass frequencies and intricate polyrhythms; this sound helped usher in a popular new music genre referred to as Nuskool Breakbeat, and Tipper is recognized as one of the pioneering producers of this movement. In 1999 Tipper released his first album The Critical Path. It was not, however, the ‘breakbeat’ dance record that the label hoped for. Tipper’s vision was decidedly more artistic than anticipated, confusing the label as to how to promote it, and disappointing sales led to an amicable parting of ways (with Sony).
The Fuel Years
During the late 90’s while Tipper was busy in the studio, Richie Warren & Co conceptualized The Fuel Sound System. This consisted of 2 identical black 1970's Dodge Challengers, both fitted with 6 x18" subwoofers (replacing where the back seats had previously been) and a Funktion One mid/tops speaker unit, that could be raised out of the trunk on hydraulics with the flick of a switch from the driver's dashboard. These cars were able to run independently, without the need for an electrical generator, using 6 batteries charged via an alternator salvaged out of a lorry. With a totally discreet and fully mobile sound system, the Fuel crew, assuming the role of sonic pranksters, began a pilgrimage of sound that took them on tour to various music festivals, parties & spontaneous gatherings, setting them up outside events and garnering much attention for the label and its artists. One of the ‘urban myths’ surrounding these appearances recounts the incident at the 1997 V Festival, when Richie Warren received complaints from The Prodigy's stage manager, because the band couldn't hear itself due to the excess volume.[6]
With this activity as a backdrop, Tipper released his second album Holding Pattern in early 2001. Many of the individual tracks from this album found their way into DJ boxes internationally, and accordingly Tipper began touring extensively through Europe, the USA and Australia. Reflecting his travels was the DJ Mix album Sound Off which he completed for Fuel later the same year. Tipper focused on the music, and Richie promoted a lifestyle – taking the cars wherever possible to create a happening around both.
[edit] MyUtopia
While touring across the USA in 2003 with the Fuel Cars, Tipper began composing tracks for what would become his first album intended entirely as a surround sound listening experience. Surrounded was released in 2004 by fledgling 5.1 venture MyUtopia Recordings;[7] eventually nominated as Best Album Intended for Surround Sound [8] this Downtempo album also marked a turn in Tipper’s musical output away from the NuSkool genre which he was more widely associated with. It was during this period that digital music sales and/or reproduction usurped the music industry, and ultimately Fuel Records (UK) met its demise. As Tipper toured and performed his album in 5.1 wherever possible, Richie re-focused his talents towards advanced Auto parts, and Tipper set off on a non-stop touring schedule for two years, with London only a temporary base between tours. Constantly seen living out of his suitcase, and keeping his ‘studio’ in his backpack, earned him the temporary moniker The Global Nomad.
Late 2004 saw his Surrounded album re-released as a DualDisc title, and this in turn led to the creation of his personal MP3 Surround Sound Player,[9] by mp3 rights holders Fraunhofer Society. Highly regarded as one of the foremost composers in the multichannel[disambiguation needed ] realm, Tipper continues to provide content for an exclusive number of companies who use his highly detailed productions to demonstrate their own advanced technologies.
[edit] Tippermusic
2005 witnessed the establishment of his own imprint Tippermusic (one word, not two), and he embraced the digital music revolution for the freedom it gave musicians to finally determine their own path. No longer constrained by label requirements, Tipper set about releasing his music independently, mostly via online stores. Some investment was made in CD’s and Vinyl, but ultimately online sales figures showed their declining relevance for his style of output.
Tipper began releasing albums at an accelerated rate. First off was the ground breaking Tip Hop, which focused on merging Hip Hop production with electronic trickery and helped usher in a new genre referred to as Glitch Hop. He immediately followed up with Relish The Trough which was material consisting of compositions from his catalog used primarily for his performances on tour. Both albums found favor in Hollywood, and a number of tracks were used as background in prime time television shows.[3]
His second full downtempo release The Seamless Unspeakable Something debuted in 2006, with Tipper in full guise as an electronica trip hop wizard; tracks from this album also found favor as background music on TV. In 2007 he digitally re-mastered his old vinyl catalogue and quietly released Fuel Years and Higher Ground to the delight of DJ’s globally who had been requesting the very same for years. In early 2008 he decided to make available more of his unreleased ‘performance catalogue’ and thus Tertiary Noise was ushered in.
His 9th studio album Wobble Factor would be unveiled later in 2008, and solidified Tipper’s influence on the burgeoning ‘glitch-hop’ musical movement, especially in the USA.[10] Shortly after its release, his health demanded his immediate focus, curtailing his studio time and forcing cancellation of all tour dates. While recuperating over time, he labored on his new ambient/downtempo LP The Broken Soul Jamboree . Four years in the making, this album showcases many facets of Tipper’s composition and production style, with striking artwork for the album cover and a limited edition poster accompanying the initial CD run.[11]



TIPPER rx for Satamile_Full VERSION!

Pre-order Foodtruck Fugitive here:
https://gaddymusic.bandcamp.com/album/foodtruck-fugitive

@gaddymusic
FB: https://www.facebook.com/gaddymusicofficial/
BC: https://gaddymusic.bandcamp.com/
IG: https://www.instagram.com/gadd.zooks/
YT: https://www.youtube.com/channel/UCK_kRye2BUKyAUzbwwRDk8g
TW: https://twitter.com/Gaddy13278018

The Houston-born beats archivist Gaddy returns to The Rust Music with another sidewalk-stomping project, the five-track Foodtruck Fugitive. Approaching electronic music via the back-door of hip-hop, Gaddy possesses one of the most refreshing sounds in alternative electronic music, a beautiful blend of urban Americana and semi-psychedelic bass that sounds both rough and refined on this release. 

With Foodtruck Fugitive Gaddy builds out his beats into fully-fledged compositions that have smooth edges, dark corners, and wide horizons. One minute you’re cooling and rocking a sensual head-nod with some lurky sampled strings. The next minute your mind is gyrating hither and thither, tumbling inside a crashing wave of cerebral bass. After honing in on the essence of his groove, Gaddy takes risks and has fun with it. This calculated yet care-free approach creates music with wide appeal, perfect for pounding the pavement or for spacing out. 

Here is something new for hip-hop heads, and something fresh for electronic fans. And if you listen close enough, you can almost hear the sense of humor of the foodtruck fugitive himself, slinging jokes, tacos, and fat bass beats from behind the fryers.

Mastering by Know Matter
Artwork by Only Motif

Foodtruck Fugitive

Gaddy - Jeff Gandhi (ft. Know Matter)

Jafu & Dillard - The Divination (Clip)

Track 6 from the new @zonra LP "Self Online" 

Mastering by @mindex
Artwork by BlackArtsViper

Zonra - Bruise On Ice

Anything as Always

Electro , what is it, and its  history with Satamile Records. Almost everyone in electronic music has heard of 
Kraftwerk, and it really was these Germans that set the DNA for which the genre of Electro would spawn in the years to follow. Electro during this time in the USA was more breakbeat oriented with a multitude of them coming out of NY, and later Hip Hop (much slower tempo) spawned partially from Electro. Much of the main inspiration came from Kraftwerk during its US tour at this time, early eighties. This DNA consisited of some certain defining charachteristics such as, Synthesizers, Sequencers, vocoders of which at this time were all analog. For gear, think Roland-909,808,606 (little electro firecracker), Oberheim, Doepfer, Juno-106 and Akai samplers. Another main characteristic to define Electro  was its heavy endeavor to Science Fiction or "into the future" characteristics.  Its important not to confuse Electro with Synth Pop, New Wave , Industrial or breaks, these are all seperate genres defined by their own unique DNA and fans  (Ecspecially Electro House, and ElectroClash, both of which are not Electro).  So in short, think pop-in and lock-in robots, on the Enterprise as they break it down for their head-spins into the future Galaxy. 

Satamile Records was born out of the Rave scene of the very early 90's, which in itself had qucikly adopted the Electro genre for the rave Events giving a boost and creation of countless Electro labels, that only released Electro. We are sort of a new Electro or hybrid electro is some case's taking the best from the past and creating a bigger and fuller sound for the times.  We also really owe alot to Ravers and Promoters during this time,  for their open minds ,DIY ethic and sharp foresight into "Whats Hot". It was these pioneers that supported so many new underground genres, such Breaks, Techno, Electro
Tekhouse, Dubtek (Minimal) and Ambient (IDM) and NOT the major label executives in their cushy offices so you  really have to give a bow to the first wave of ravers and the promoters,,,the best music entrepreneurs of their time. Many labels today simply would not exist today if these people did not support the music and the politics of Law did not stop these events from happening. 

In our early years Satamile was will on the way with its involvement in Electronic music production and live performance .  We were a consistent presence in the NY underground scene and alternative Club scene. Performing live with Modulars and drummachines, Dj'ing, throwing events, sponsoring Graphic artist for flyers, all of which re-presented in some way the new electronic culture.  Hosting nights at Filter 14 (Jacky 60), The Cooler, Baktun, The Kitchen, Gas Station, Robots, Open Air, and many more. We have produced over 400 Club events in NY city for artist such as Ellen Alien, ADULT, Monolake, Pole, 
Schematics, Tipper, Mixmaster Morris, Andrew Weatherall, Keith Tenniswood, Mark Broom, Orbital, Keith Tucker, and many more.

Staying true to its nature Satamile allways pressed Vinyl along with its CD release's. Vinyl is a superior medium, and the taste of DJ ' worldwide for its
superb qualities and usability.  We had CD's in the early 90's , but who wanted to play them, when you cold play vinyl instead, it was so much cooler than a 
CD, it spawned Train Spotting, and was far better for dj'ing. Toady most of our vinyl is pressed at Brooklyn Phono, 225,000 pounds per square inch. This is still true for today  so buy vinyl when you can it rules the night waves and you wont have to worry about your computer crashing on Final Scratch. 

Today satamile exist as one of the leading Electro labels in the world with over 25 artist from all around the world on the label it will be coming up on our 60th release shortly.  Along with the main label Satamile we also have sub-labels, Bot and SatRX  to serve different purposes, Bot for downtempo projects, and SatRX for remix's. 


TIPPER rx for Satamile_Full VERSION!

satamile

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