Name: A3. Zeroth-Order Approximation by Lorenzo Senni in failure to reply
Duration: 2 min 20 s
Description: - taken from "Superimpositions" (BKEDIT010)

failure to reply

catch me when you're ready i don't wanna wait
"what's the move?"
think somebody knows a place
don't know where we're going
but i'm on the, on the way
when i’m with you, it's got me, it’s got you, it’s got us 

jumpin'

Artwork by DOSS© & ANDYPANTS
Mixed & Mastered by Gabriel Schuman
Performed by Joi Cardwell & DOSS©
Lyrics by DOSS©

Duet © 2022

http://www.doss.world
It’s the music ♫

Jumpin'

The second EP from Jack Dice sees a huge leap in ambition for the project, a 5 track session that’s more addictive, direct and heady than its predecessor.
‘Sip Paint’ centres around ‘Stash’s Theme’ featuring rapper and producer Stash Marina, a track that deploys crisp triplets and saturated production straddling mainstream signatures on the one hand and a world of analogue/deviant recording techniques on the other. It’s an odd, hyper-addictive track - available here in both vocal and instrumental versions.
‘Low Glo’, ‘Kerosene’ and ‘Radium Dial’ are more subdued and immersive; you could draw lines straight through the material here to a number of different projects Twells has been involved with through the last decade, though he seems to benefit immeasurably from Chambliss’ presence. The pair find a perfect balance between their respective disciplines, resulting in an EP that at different points throws stylistic references to everything from Prince’s Black Album to The Art of Noise, Drake, Philip Jeck and Evian Christ’s DUGA 3 sessions - without ever sounding overworked or too knowing, a feat in itself.

Stash's Theme (Feat. Stash Marina)

here's the next single off my new ep featuring my friend https://soundcloud.com/user-170065298

out now via Sumoclic: https://bfan.link/no-nein

Socials:
https://www.facebook.com/1tbsp.dj 
https://soundcloud.com/1tbsp
https://twitter.com/1tbsp1 
https://www.instagram.com/1tbsp.dj

Credits: 
Production & Mixing by Maxwell Byrne
Co-Written by Mietze Conte

No Nein (feat. Mietze Conte)

first single off my upcoming album. 

Out now via Sumoclic: https://bfan.link/sleeves-touch-my-elbows

1tbsp:
https://www.facebook.com/1tbsp.dj 
https://soundcloud.com/1tbsp
https://twitter.com/1tbsp1 
https://www.instagram.com/1tbsp.dj
https://www.tiktok.com/@ma.xwell.b 

Mora y los metegoles:
https://www.facebook.com/moraylosmetegoles
https://twitter.com/moraylosmetego
https://www.instagram.com/moraylosmetegoles/

Credits:  
Co-produced by Maxwell Byrne & George Nicholas
Vocal sample of ‘Gran remera’ by Mora Y Los Metegoles
Mixing by Maxwell Byrne
Mastering by Doug Wright & Ryan Schwabe
Artwork by Junwoo Park
Press Photos by James Caswell

Stream

Sleeves Touch My Elbows

- taken from "Superimpositions" (BKEDIT010)

A3. Zeroth-Order Approximation

Hudson Mohawke & Nikki Nair
April 2024 Tour

April 14th - Coachella - Do LaB
April 18th - Portland - Holocene
April 19th - Vancouver - Fortune Sound
April 20th - Seattle - Substation
April 26th - San Fran - 1015 Folsom
April 27th - LA - El Rey

Tickets
bit.ly/NikkiXHudmoTour

Pre-Save 'Set The Remixes'
https://hudmo.ffm.to/str-remixes

Hudson Mohawke & Nikki Nair - Set The Roof (Homer Simpson Remix)

out now via Sumoclic: 
https://bfan.link/the-city-never-felt-so-good

Socials:
https://www.facebook.com/1tbsp.dj 
https://soundcloud.com/1tbsp
https://twitter.com/1tbsp1 
https://www.instagram.com/1tbsp.dj
https://www.tiktok.com/@ma.xwell.b 

Credits:  
Co-Written & Co-Produced by Maxwell Byrne, mietze conte & Noé Reichert
Mixing by Doug Wright
Mastering by Ryan Schwabe
Artwork by Paula Grenouille
Press Photos by James Caswell

Megacity1000

The City Never Felt So Good

Curve 1

giddyup

Screen Cleaner

Stream: 
https://bfan.link/wet-peak-stars 

1tbsp: 
https://linktr.ee/1tbsp

Meth Math: 
https://linktr.ee/methmath

Credits:
Written & Produced by Maxwell Byrne
Co-Written by Maxwell Byrne & Angel Ballesteros
Mixing by Doug Wright
Mastering by Ryan Schwabe

Wet Peak Stars

Stream/Buy

Wet Peak Stars (feat. Meth Math)

Karla Borecky • The Passing of Clouds

Melodiesinfonie - Lo Pop Fi (feat. Kyoundso)

feat. Laurel Halo, Kuljit Bhamra, Jonny Lam, Verity Susman, Untold

Beatrice Dillon - Workaround
Format: LP / DL
Cat.No: PAN 106
Release Date: 07 February 2020
Purchase: bit.ly/33ISoYr

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

The album is mixed by James Rand and mastered by Rashad Becker at Dubplates & Mastering. Artwork by Thomas Ruff, layout by Johannes Schnatmann & Bill Kouligas.

Workaround

Beatrice Dillon - Workaround Two (PAN 106)

Buy in US:    - iTunes: http://bit.ly/_DM371      -Beatport: http://btprt.dj/WtpWnE
Buy Worldwide:    -iTunes: http://bit.ly/ZYdQmz      -Beatport: http://btprt.dj/ROlbke

The new single from Proxy’s debut LP, MUSIC FROM THE EASTBLOCK JUNGLES PT. 1, “Junk” is a maelstrom of old-skool breaks and wailing synth-sirens, featuring a brilliant cut-up vocal sample commanding your synapses to give up and break down. This is the kind of atom-smashing cortex-ruiner that only Proxy can deliver, offering a taste of the years-in-the-making arms buildup contained on his album. 

Label:
Turbo – Turbo 136, Dim Mak Records – DM371
Released:
20 Nov 2012


01 Proxy - Junk (Original Mix)

Following on from a pair of Extended Players released in 2011 ("Passed Me By" / "We Stay Together") Andy Stott returns to Modern Love with 'Luxury Problems', an 8 track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you'll have heard from him before. 'Numb' opens the album with Alison's voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more f*cked. 'Lost and Found' follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. 'Sleepless' started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of 'Passed Me By', here re-tooled and re-built for its next evolutionary phase. 'Hatch The Plan' ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow - it's just a beautifuly inverted pop song. The second half opens with 'Expecting', the most recognisably 'Stott' moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. 'Luxury Problems' is next and offers up the album's most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the box" switches up the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.

A3. Zeroth-Order Approximation

Lorenzo Senni

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