These are excerpts from the Schneider TM album "The 8 Of Space", out on Editions Mego as LP / CD / download:
https://schneidertm.bandcamp.com/album/the-8-of-space
Promo: 
ed(at)dense(dot)de

www.schneidertm.net
http://editionsmego.com/release/EMEGO-297

With an extensive catalogue under his belt, one may wonder where this one takes us? The 8 of Space orbits the realm of “pop” more overtly than the project has done for 14 years, residing in the line of works that temporarily ended with “Skoda Mluvit“ from 2006. In the age of scattered streaming listening habits The 8 Of Space champions the classic album format with connected tracks that act like chapters adding up to what could be framed as an 'audio-movie‘. The ‘plot' revolves around a post-dystopian landscape which posits the make up of reality in the future. 

The vessel is electronic pop music but one which takes inspiration from the spirit of a multitude of musical forms absorbed into a trans human sound world where biological & technological elements complement each other (We are NOT The Robots!). The music unifies the analog world of acoustic and electric instruments with electronic & digital possibilities that range from heavily processed acoustic & electric guitars and bass, tube organ, analog modular synth units, acoustic drums and percussion, analog & digital drum machines & effect units, hardware and software processing. Experimental & extended musical techniques build a world of musical elements that is sometimes upside down and mirrored. Electric guitar becomes rhythm machine & modular system, voice becomes sound object & synthesizer, effects are used as instruments, acoustic guitars are being modulated by voices etc. Reality and illusion are getting mixed up. One can hear short moments of longer recordings in the tracks which are snapshots of bigger musical pictures that lurk behind what’s actually audible. Generative music, audio spirals like clockworks create ever changing musical combinations; thrown-in sounds, polyrhythms & cascades based on the concept of chance attributed to the service of the SONG. 

The lyrics are a key component. Holistic, associative poetry acts as interactive trigger points for the mechanisms of existence in times of a paradigm shift that are open to the listeners discretion. Autobiographical elements combine with science fiction and dreams, protagonists shift where the ‘I’ or ‘me’ is not necessarily the voice of the artist, nor even the same person. Alongside a more naturalised voice another protagonist appears represented by a processed voice. This character, named iBot, evolved around the start of the millennium and has appeared on some previous Schneider TM recordings. It can be seen as a post-human, or even a trans-human character, a combination of human & technology, uncertain of the future, which lends iBot it’s melancholic tone. 

In the opening song “Light & Grace“ iBot appears in an advanced form of AI, which managed to hack & hijack a commercial space travel program (eg, Virgin Galactic) to invite those rich, who profited most from the destruction of planet earth, for a holiday trip into space to unknowingly fly them directly into the middle of the sun. In this episode it seems to have developed higher ethics than humanity itself with ambition to save the planet with as much of its cooperative life as possible.“Light & Grace“ serves as an intro / opener for this album to be followed by 7 other tracks featuring different windows of consciousness represented by diverse characters & protagonists. 

All the elements on The 8 of Space, the music, sounds, vocals and artwork fit together as a whole, creating a dazzling electro pop future questioning it’s own certainty. This is experimental electroacoustic pop music featuring glorious melodies dancing along human/machine voices, each track is a small universe that triggers the physical mind and tickles the subconsciousness.

The 8 Of Space

The 8 Of Space (album snippets, eMego 2021)

ITSAME

No fair (42T)

Dissent Remixes

Chapter 2 (Peverelist Remix)

The Infinity Dub Sessions

Rock of Creation

LosoTheGhoul - Groove feat. Xeraki (prod.teufel + diego777)

I only want you prod 1h1jaxk x mako

FLOAT launches their new label with first signing Berlin-based artist Andrea Belfi. Titled Ore, the album places drums as its centre of a listening experience where rhythm is combined with electronic textures and haunting sonic details.

Pre Order LP/CD/LTD ETD: www.wearefloat.co.uk/andrea-belfi-ore
Pre Order Digital: http://phonofile.link/ore

26/05/2017

Andrea Belfi - Lead

Efficient Space is honoured to share the little-heard recordings of three Yolngu songmen from Northeast Arnhem Land - Bobby Bunnungurr, Jimmy Djamunba and Peter Milaynga (d. 2007) - working in collaboration with Victorian musician Peter Mumme. Yolngu are the indigenous peoples of Arnhem Land in Northern Territory, Australia; their clans are the Marangu and Malabirr, the languages Djinang and Gannalbingu. Their songs are of instruction, story and ceremony. 

A connection first initiated by Yolngu actor David Gulpilil, Waak Waak Djungi’s mid-90s recordings were preceded by years of respectful sharing of culture. Mumme explains that “the aim was to produce something that is new, not in the sense of a breakthrough, but what emerges from the combining of existing ideas”. What developed was sonically unique - sprawling vocal/electronic soundscapes and field recordings that reimagine the traditional songs of black crows and white cockatoos, sharing, creation spirits and of leaving and returning home to country. Spacious and patiently durational, the songs resound in a big land with a big story to tell. 

On the 1997 Waak Waak Djungi album Crow Fire Music, these interpretations were assembled with traditional recordings and additional material from Sebastian Jörgensen and Sally Grice. Falling short of generating public interest, it became well known in the Yolngu homeland. Nearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three year investigation to meet the people behind the music. 

Waak Waak ga Min Min (Black Crow, White Cockatoo) combines the previously unreleased Gandi Bawong with five contemporary versions from the original album, with a new cover painting by Bobby Bunnungurr. Tracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration.

Waak Waak ga Min Min

04 Waak Waak Djungi - Mother, I'm Going 8:18 (ES006)

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DC Promo Tracks #501: "Echo Earth" by Akasha System is part of the release "Echo Earth" on 100% Silk @100percentsilk  @ssyysstteemmss

Buy Now: https://akashasystem.bandcamp.com/album/echo-earth 

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DC Promo Tracks #501: Akasha System "Echo Earth"

<b>Stray - When It Rains

Preorder at <a href="http://www.blumarten.com/shop">www.blumarten.com/shop</a> (free mp3s with every vinyl)

Release date: 28th Jan 2013

Vinyl & digital

Label: <a href="http://http://soundcloud.com/blumartenmusic">www.soundcloud.com/blumartenmusic</a>

<a href="http://www.facebook.com/straydnb">www.facebook.com/straydnb</a>

<a href="http://www.facebook.com/BluMarTenMusic">www.facebook.com/BluMarTenMusic</a>

</b>

Preorder

Stray - When It Rains (forthcoming BMTM)

This SoundCloud contains rough mixes,  side projects, live & field recordings, remixes, collaborations etc.. 

Schneider TM is a multidimensional music project by Dirk Dresselhaus that oscillates extensively between experimental electronic avant-pop and rather abstract and improvisational material, occasionally bringing these and other seemingly opposing elements together.

Since the mid 90s he released albums on labels like City Slang / Mute, Bureau B, Editions Mego or Karlrecords under this moniker, including singles like ‘Reality Check’, ‘Frogtoise’ or a cover version of a song by The Smiths called ‘The Light 3000’, a collaboration with Kptmichigan that was hugely acclaimed by the alternative media (like John Peel, The Wire etc.) and have made him been credited as one of the main innovators of a music genre called Indietronica.

Solo or as group, Schneider TM has performed a couple of hundreds live concerts around the globe including renowned international festivals like CTM (Berlin), Sonar (Barcelona, Rome, Tokyo), Mutek (Montreal, Mexico City), Roskilde-Festival (DK), Hultsfred Festival (Hultsfred), Frieze Art Fair (London), Phonem Festival (Istanbul), Les Siestes Électroniques (Toulouse), Melt Festival (Gräfenhainichen), Midi Festival (Hyéres), Motomix Festival (Sao Paolo), Todaysart Festival (Den Haag), Dark Mofo (Hobart) and others.

Dirk Dresselhaus’ rather unusual musical methods like e.g. the combination of electroacoustic guitars with modular electronics have practically led him to explore unknown territory on each new release, solo or in diverse short- and long-term collaborations and projects with the likes of Ilpo Väisänen (die Angel, ex-Pan sonic), Zappi W Diermaier (Faust), Reinhold Friedl (zeitkratzer), Oren Ambarchi, Hildur Guðnadóttir, BJ Nilsen, Lucio Capece, Elena Poulou (ex-The Fall), Damo Suzuki (ex-Can), John Duncan (LAFMS), Conrad Schnitzler, Jochen Arbeit & Andrew Unruh (Einstürzende Neubauten) as well as to numerous works in the field of film music, radio plays, (performance-) theater, contemporary dance and general studio production.

Much of this back catalogue and more can be discovered via MirrorWorldMusic, which is an expanding archive, label, and publishing imprint for diverse idiosyncratic music projects that are linked in some way by their protagonists: https://mirrorworldmusic.bandcamp.com
www.mirrorworldmusic.com

For regular Schneider TM releases please go here:
www.schneidertm.net
www.schneidertm.bandcamp.com