Moon Observations

California Poppy

Exotica XL

The Island

From the forthcoming album "Gaussian Curve - Clouds" 2014 © Music From Memory

Gaussian Curve - Red Light (6:03)

SLOWBLUES PRZEMIANA- TRANSFORMATION

10. Whispering Walls

7029 Swing

@weval @margot @kasperbjorke @redaxes

buy link: https://KompaktRecords.lnk.to/WevalRemixesSD

A massively successful 2016 saw Dutch duo WEVAL release their chart-topping debut album (KOMPAKT 352 CD 131) while touring the USA, Canada, Germany, Spain, UK and more, crossing frequencies with acclaimed artists such as Dixon, Michael Mayer or Danny Daze. Reflecting Weval's unique sound cosmos, its impressive versatility, genre-bending appeal and catchy melodic genius, we brought together Israeli masterminds RED AXES, Danish club Mozart KASPER BJØRKE and Italian tag team MARGOT to put their own distinct spin on album highlights WAYS TO GO and YOU'RE MINE - resulting in an enticing, dance-ready bundle of reworks that will scratch your clubbing itch while retaining that very special, almost intimate feeling of the original cuts. A perfect way for Weval to head into a new year that will see them grow even more, with upcoming live performances at Sonar Istanbul, Primavera Sound Festival and DGTL Amsterdam already lined up.
LIMITED EDITION 12” ONLY AVAILABLE AT IN OUR RECORD STORE AND MAILORDER

Weval - Ways To Go (Margot Mix)

https://musicyourdadsmake.com | https://pieater.net
LYRICS: #1 Dads - 4bit (Golden Repair LP | 2020)
Your gaze is down, your face is red
There’s crystals forming in your eyes
The shadows swim in your pillow’s indent
Your blood’s all blue again.
The lines dance on your favourite bedspread
You always like to straighten them out
I guess you got that from your dad.
 
I feigned love to fall in it
I called a spade a spade and now I’m all ashamed
And I was raised to make the best of all I have
Now what’s my best good for?
 
Ooh, for a four bit love
Ooh, for a four bit love
Ooh, for a four bit love
And on and on we go
 
Who’s down in the garden tonight
Every drink’s on you but not the joke
You take stock of all the laughing
And every flower bows as you walk by.
You painted pickets in a cul-de-sac
And looked out on the street that stretched out forever
And day followed night and on it went
And you wished your friends all the best.
 
I feigned love to fall in it…
 
Ooh, for a four bit love…
 
Tracing eyes with your eyes as you watch the news
Tragedy is everywhere
Okay for some and better for you, I s’pose.
And you can slide like the grease on a gun
Always clicking with your mouth
And your lips can kiss and they like to
Gotta find a sweet girl.
 
High and low I don’t know them
Bridges over water I don’t trouble myself
And I was raised to make the best of all I have
Now what’s my best good for?
 
Ooh, for a four bit love…
 
Rounding corners just to round back again
Your mind really loves to drive
But you’re talking green and the lights are red
Eyeballs scour the sidewalk.
And your week is an ocean, the -end: an island
And you’ve been swimming all damn day
Yeh we all bottom out when we have to feed
And you’ve worked up quite an appetite
 
I feigned love…
 
Ooh, for a four bit love

#1 Dads - 4bit (Golden Repair LP | 2020)

Chronon

Buy/stream: https://kompakt.fm/releases/videosphere

Videosphere, the debut album by Kompakt’s latest signing, the London-based artist Lake Turner (aka Andrew Halford), swoons into focus with “The Sunbird”, a teasing drift of lilting, ambient tones, riding out a submerged piston-pulse rhythm. Across its brief 109 seconds, it manages to traverse evocative terrain – something mythopoetic, something both humble and grandiose, a glimpse of the other behind the sky’s curtain. “I wanted to conjure up something resembling an ancient ceremony or death procession,” Turner nods. “Like a hymn to the surroundings of a faraway hill.” It’s both sky-bound and earthen, a ritual incantation to call in the music of the spheres.

Turner was introduced to the Kompakt family by his sometime collaborator Yannis Philippakis of Foals. He’d previously made music in post-punk and indie groups Great Eskimo Hoax and Trophy Wife, but Videosphere is the first time he’s fully articulated his own vision of electronic music, aside from one limited lathe-cut 12”, 2018’s Prime Mover EP, on Algebra. The lush ambient-disco-techno dreams of Videosphere were constructed and completed in his London studio and at his parents’ arable and sheep farm in Worcestershire, which might help explain the hazy, unhurried pastoralism of the album.

“There was a slight bittersweetness in finishing the record (in Worcestershire) as my parents were in the middle of selling my childhood home,” he sighs, before quipping, “on the plus, I ended up shearing a lot of sheep over the summer.” A student of archaeology and ancient history, Turner is no doubt carefully attuned to the twisting cogs of history and memory, and it’s no surprise that Videosphere has a nostalgic, melancholic cast; much of its beauty rests in the way it tugs, gently, at the heart strings – see the tear-stained cheeks of the lush, dappled “Honeycomb”, or the sweetly sad electro-roundelay of “No Way Back Forever.”

It’s not all drift-dream hypnosis, though – Videosphere is very much grounded in the now. ““No Way Back Forever” is a nod to the linear nature of time,” Turner explains by way of example, “and the tipping point of the world climate crisis that scientists have now declared.” Jayne Powell’s vocals are sent spinning through the song, wound like candyfloss; she takes centre stage on the techno hymnal title track, too. Throughout, there’s a sense of forward movement, despite the life stasis we find ourselves collectively bound by in mid-2020; there’s also a yearning for the communal, for community, that’s captured in the album title, a nod to an object Turner encountered at London’s Geoffrey Museum, “a television set in the shape of a spaceman’s helmet from the 1970s.”

“The vision I loosely had was to make an electronic record that had a communal warmth and almost ceremonial or ritual feel. I wanted to examine the relationship of our archaic minds in the trappings of the modern world,” Turner concludes. “What the Videosphere also symbolizes for me is the oneness of humanity and community, prevailing.”

The Island

Sim Nagai

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