Name: André Bratten - Witching Hour by Smalltown Supersound in With lines unseen
Duration: 4 min 26 s
Description: From the upcoming album "Silvester" out July 24th on Smalltown Supersound

With lines unseen

Welsh artist Kelly Lee Owens has a special grasp on techno. She can make it sound wild and naturalistic, like wind blowing through a dense forest, or make it feel cold and sleek, like a gleaming slab of chrome. Either way, though, it's always full of emotion, thanks to the intricate textures and distinctive tones of her voice. You might even say she takes a singer-songwriter approach to techno, but that doesn't mean her music isn't suited for the dance floor.

Her most recent album, <a href=/reviews/34853 target="_blank"><i>LP.8</i></a>, marks a step away from the dance floor, however, and into a place a little more dark, more unpredictable. It's also some of her most gorgeous work, centering around "Anadlu," an eight-minute cut that feels perfectly pitched between ambient and techno, with heavy, lumbering drums but an otherwise lightweight, almost wispy feel.
 Owens' RA Podcast occupies this zone almost perfectly. Beginning with 11th century music from Hildegard von Bingen, it ties all sorts of traditions together, from Pan Sonic to Throbbing Gristle to Marco Shuttle to Oneohtrix Point Never & Rosalía. It floats, it accelerates, it loops and doubles back in on itself, an hour of gripping electronics from one of techno's most distinctive voices.

Read more at https://ra.co/podcast/841

RA podcast

RA.841 Kelly Lee Owens

Another Barker masterclass.

Sam Barker asks more from techno. The artist known simply as Barker is one of electronic music's most consistently conscientious and curious producers, challenging listeners to question the norms we accept about our shared culture—whether it's the music that fills the room, the process behind it, or the purpose of the space itself.

British-born yet based in Berlin since 2007, Barker forged a connection to many of the city's leading institutions, including Ostgut Ton, and over the course of a long and fruitful relationship, he carved out one of the more singular paths on the club and label's roster.

Not one for orthodoxy, Barker challenged four-to-the-floor techno framework in favor of melodic experimentation. By decentering or completely stripping away the typical trappings of kick drums and claps, his productions are both light and immersive, buoyant in low-end presence and shimmering in weightless space.

Six years after Utility, his sophomore album Stochastic Drift arrives this month. Shaped by pandemic-driven reinvention, it burrows deeper into harmonic twists and freeform drift. "At some point I became conscious of the process," he wrote of his latest album. "The only thing you can do is embrace the uncertainty and see every change as a potential positive.”

Consider his RA Podcast another sequel. Like his much-beloved 2019 mix for FACT, it's a collage of live recordings and a fitting expression of the artist's own internal spring. RA.982 radiates wide-eyed optimism: percussion cloaked in foggy, swirling pads and trance-like chords, neatly synched in synthetic glimmers. 

All in all, it's an hour of music crafted for contemplation, collective euphoria, or heads-down epiphany—or for that matter, any moment, really, its emotive depth seemingly endless.

@voltek

Find the tracklist and Q&A at ra.co/podcast/982

RA.982 Barker

There are few names as widely loved in clubland as Bristol-based producer Omar McCutcheon, AKA Batu.

His label Timedance, currently celebrating its ten-year anniversary, has been instrumental in shaping a certain corner of contemporary electronic music. It champions a mutant, rhythmic, UK-flavoured sound that escapes any obvious genre touchstones, as well as spotlighting the careers of artists like Verraco, Ploy and Hodge who push musical and cultural boundaries.

In this Exchange, McCutcheon sat down with Resident Advisor's editor, Gabriel Szatan, in London to reflect on the label's Afrofuturist philosophy, its journey over the past decade and the sense of purpose and direction that have developed over time. He spoke about the impact that scenes beyond the UK—such as China, South Africa, Brazil and Mexico—have had on his productions and label curation, and how they offer fresh perspectives that contrast with Europe's sometimes overly nostalgic take on dance music. He also discussed finding positivity in a dark time, and music's enduring potential to inspire and connect.

EX.778 Batu

Taken from #Explorer3
More about Deena Abdelwahed  : http://deenaabdelwahed.com/
Listen : https://soundcloud.com/deenaabdelwahed

Deena Abdelwahed now on Tour

02/09/16 | Masãfãt 2016 - Londres, UK

17/09/16 | ZDB - Lisbon, Portugal

18/09/16 | Global Street Sounds - Ancienne Belgique - Brussels, Belgium

24/09/16 | RBMA Festival - Badaboum - Paris, France

01/10/16 | Pantropical x Aarb Camera - Roodkapje - Rotterdam, Netherlands

02/10/16 | Islemunda - Rotterdam, Netherlands

09/10/16 | ORF musikprotokoll - Graz, Austria

04/11/2016 | Institut du Monde Arabe - Paris, France

12/11/16 | Sound of Stockholm - Stockholm, Sweden

03/12/16 | Trans Musicales - Rennes, France

#Explorer 3

Deena Abdelwahed - Space​+​Kadhab  فضاء​+​كذّاب  (Tunisia / France)

Taken from Rips' forthcoming self-titled debut LP. Released by Faux Discx on June 16. Pre-order here: www.fauxdiscx.com/shop/rips
-------------------------------------------------------------
Brooklyn based Rips have quickly built a reputation amongst NYC showgoers, winning them over with their virtuous melodies and sheer ferocity amidst an endless flurry of shows. Their songs may channel late '70s New York City bands like Television and The Feelies, but Rips propels these references into something new. Their self-titled debut, produced by Austin Brown of Parquet Courts, is eleven tracks of buzzing guitar riffs driven by a charged rhythm section, all set under lyrics that are actually worth a damn.

Rips (the record) takes cues from the moonlighting era of rock, while delivering a set of songs distinctly fit for the modern age. Once described as a “hyperreal rock n’ roll group”, the phrase “borne forward ceaselessly into the future" is more what they’re going for here.

So break an old habit. Let your hair down (or up). Rips will take you there.

Rips

Rips – Delay

Taken from The Sticks' forthcoming tape 'Why Bother' out 02/06/17 via Faux Discx. ORDER HERE >>> http://www.fauxdiscx.com/shop/the-sticks-why-bother

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Why Bother is an unearthed, long-forgotten, and previously unreleased album that was due to see the light-of-day some years ago, by The Sticks; a Brighton institution.

A rarely spotted, but much-loved group which shares members with The Pheromoans and King Alfred Man of Leisure. They are a stripped-down garage party band, they bash drums, sway on the bass and claw at guitar - often swapping over instruments between songs live - and yelp with melodic abandon and delight. The Sticks were once dubbed as 'semi-amateur', this may be true. With cheap, unreliable equipment they manage to tease out a cacophony of crashing drums and raucous guitar melodies.

The key elements of the trio's sound are undoubtedly drawn from the rudimentary ideas found in the more inept efforts of mid-sixties teen bands such as The Chimney Sweeps and The Keggs. They then take a touch of The Raincoats, and finally dribble some comparisons with modern (ish) day equivalents The Black Lips, The Coachwhips or The Hospitals.

THE STICKS – Come Back

“Its sureness and subtlety say more than a few gauche early pullquotes” | PITCHFORK
http://pitchfork.com/reviews/albums/17355-persistent-malaise/

“The songs do this wonderful thing, where they just gnaw on you” | DAYTROTTER
http://www.daytrotter.com/#!/concert/cold-pumas/20056359-37383554

“The methodically planned looseness of ‘Persistent Malaise’s constant groove is thoroughly captivating” | LOUD AND QUIET
http://www.loudandquiet.com/2012/11/cold-pumas-persistent-malaise/

“I can’t think of a better album from a British band all year” | NORMAN RECORDS
http://www.normanrecords.com/records/136796-cold-pumas-persistent-malaise

Fog Cutter

Sherry Island

Rayon Gris

Taken from the upcoming album Both Lines Will Be Blue, out July 12th on Smalltown Supersound. Produced by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Observable Future

Taken off the forthcoming album 'Both Lines Will Be Blue' out July 12th on Smalltown Supersound. Produced and mixed by Carmen Villain. Flute performed by Johanna Scheie Orellana. Mastered by Matt Colton.

Type

Taken off an upcoming remix 12". The album 'Both Lines Will Be Blue' is out now on Smalltown Supersound. Mastered by Matt Karmil.

I Trust You (Dj Python Remix)

TRACKLISTING / INFO:
self-titledmag.com/carmen-villain-feature-needle-exchange-mix/

NE292: Carmen Villain

'Both Lines Will Be Blue - Remixed' is out February 28th via Smalltown Supersoud.

Observable Future (Parris Remix)

From the upcoming album "Silvester" out July 24th on Smalltown Supersound

André Bratten - Witching Hour

Purchase: bit.ly/35jLaxx
Catalog #: GN63
October 1, 2020
2xCASS+DIGI

The midnight hour crept unto thee with hasty caution, revealing 'A Little Night Music: Aural Apparitions from the Geographic North', our third putrid prowl into Halloween-inspired sounds to torment and tantalize throughout the season. For this bout of distinguished dementia, we culled 31 brand new tracks of haunted hysteria conjured by some of the most alluring ambientists and outer auteurs from around the world. 

Spanning over two hours across two cassettes, 'A Little Night Music…’ unfurls itself in a literary horror structure, appearing and disappearing through a stirring Prologue and Epilogue by London-based cellist Oliver Coates, with each side of the cassettes introducing its Chapter with a chilling dirge courtesy of the inscrutable Geographic North House Band.  

What fills the ensuing pages is a mirthful tale concocted by an assembly exploring a realm all at once mournful and fatalist at its core. Entries from Clarice Jensen, Malibu, and the collaboration of Like a Villain and Christina Vantzou bring about endless glacial landscapes accented by pitch-grey skies. Conversely, transmissions from Michael Valentine West, M. Sage, Gregg Kowalsky, and Austrian ambient stalwart Fennesz explore richly textured mines of foreboding glee. 

Suspicion is the word when considering Zelienople’s eerie horse-carriage clip-clop, Nick Malkin’s neon-lit noir-jazz, or Carmen Villain’s gripping dub excursion. Elsewhere Ki Oni, Takagi Masakatsu, and Mary Lattimore (joined here by Paul Sukeena) provide glimmers of warmth amidst a tortured chill. 

Notable is the resurrection of Lotus Plaza and his solemnly hopeful piano composition, while barren hallucinations courtesy of Alex Zhang Hungtai, Ilyas Ahmed, and Danny Paul Grody set the stage for a third act confrontation from Atlantans Fit of Body and Algiers, providing a one-two serving of sensual unrest and cautionary homily.  

With hope and resolve shimmering through the final moments of our journey, know that all proceeds from the digital and cassette editions go directly toward Feminist Women's Health Center, an Atlanta-based nonprofit providing safe, accessible, and compassionate abortion and gynecological care to all those who need it without judgement.

feministcenter.org

André Bratten - Witching Hour

Smalltown Supersound

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