The Sound of Deconstructed Club ordered by decreasing BPM

Ziúr - Antifate
Format: LP / DL 
Cat.No. PAN 120
Release Date: 7 May 2021
Purchase: pan.lnk.to/Antifate

Ziúr’s music has always been difficult to classify. A longtime fixture in Berlin’s nightlife, the musician, producer and DJ has cut through decades of threads to arrive on a sound that accurately represents her journey. She’s sung, played guitar and drums and reduced club music to a burning cinder; with “Antifate”, her third album under the Ziúr moniker, she approaches electronic music without any preciousness or reverence to genre.
2019’s acclaimed “ATØ” re-introduced songs to her canon, contorting her vocals over an undulating electronic backdrop. On “Antifate”, she takes this idea further, pushing abstracted pop forms into mists of digital euphoria and extracting unexpected instrumental flourishes from collapsing clouds of distorted rhythm. Electronic instrumentation is melted into acoustic sounds and vice-versa, creating a breathing organic universe that’s entirely Ziúr’s.

“Antifate” is an abstract reference to the mythical land of Cockaigne, a utopia where wine flows freely and houses are made of cake, that provided escapist fantasy for medieval peasants. As the space between our private worlds widens, this fantasy becomes alluring once more - a place where we feel free, with the people who allow us that freedom. With this in mind, Ziúr crafts a soundtrack that’s fantastical and magical, hinged on the idea of closeness and connection at a time when distance is mandatory.

Ghostly voices echo wordlessly over clattering beats and dubwise bass on opener ‘Alive, Unless?’, while the album’s title track sings a more epic fanfare, with a chorus of voices echoing into glittering synthesizer pearls and volcanic kicks. “Antifate” is almost even theatrical at times, something never more evident than on the Talk Talk-esque ‘Fringe Casual’ with its dreamy piano and plucked bass and on closing track ‘The Carry’, where flute is introduced into Ziúr’s rapidly expanding narrative.

It’s tempting to say that this is the album Ziúr has been destined to make, but “Antifate” rejects this concept. Rather, this is the album that Ziúr needed to make now, surrounded by the people that have been able to offer her the place to do it. In mapping out her mythical paradise, Ziúr has produced an album that is deeply tender and inescapably human. It’s an album about freedom, and she has never sounded so free.
The album is mixed by James Ginzburg & mastered by Rashad Becker, featuring artwork by Stefan Fähler.

@ziurinhell

Antifate

Ziúr - Antifate (PAN 120)

SS-027 is Spyridia Forum

Access the sensory kinematics of an expired spirit.
Restore the shivers of a fleeting past.

credits
 Music by @gripgirl
 Mastered by @gripgirl
Album art by @LCL_Stream 
Text by Clevelune

Spyridia Forum - NYMPHO2K

London-born Visionist, (Louis Carnell,) has rapidly ascended the ranks of producers and DJs at the forefront of modern club music. Quickly categorized as one of the leaders of the international new school of Grime, However, Visionist looks beyond Grime and into the unknown, crafting a heavenly opus continuing on from his critically acclaimed "I'm Fine" on Lit City Trax. The outcome is his utterly original take on this comprehensive club music spectrum of the past two decades -- hyper-minimal and brooding while remaining ethereal. Visionist's tracks on I’m Fine sound vast, as if mapping vivid, emotional landscapes. His approach to production is introspective, with an eye for detail and an ear for tension, focused on opening up space rather than cluttering it.

Visionist maintains his own record label, Lost Codes, which while rooted in Grime, is centered around the genre-breaking imagination and inventiveness of his artists (SD Laika, Acre, Saga, FIlter Dread, Bloom). Avoiding looking back in time to recreate the past, now he's helping to usher in the new vanguard. Like Visionist, these artists are creating an identity true to themselves.

On I'm Fine, Part II -- the final EP in a twofold installment on Lit City Trax -- Visionist explores each of the stages of grief; denial, anger, bargaining, depression and acceptance -- coming to terms with loss and suffering by deconstructing and rebuilding the past into a myriad of pensive musical styles. 

I'm Fine, Part II attempts to offer resolution for the grief stricken listener, and closure to some of the problems explored on I'm Fine. The opening track "Eye Try" opens the flood gates. An extended intro, coupled with reverb-dripping vocal chops, a heart stopping reese-bass drops into the tune, eventually unravelling into a plaintive female chant.

"More Pain" remains skeletal and hyper-minimal like it's predecessor "Pain" -- the songs call back and forth to each other. Resourceful as ever, Visionist recycles the same vocal to create a moving, skeletal and largely beatless composition. The songs stays in motion,  propelled forward by a divine choir-like lead and bass stabs trailed by sparse, haunting percussion.

"The Way" starts stark and drops into complex, pulsing bass, tied in with heartbreaking cries of "Without You". While not a Grime track, the melodies coupled with the tough bass, are reminiscent of the forward thinking ethic of producers from the days before Grime's inception.

In quick contrast, "First Love" is a direct ode to the Grime of Visionist's youth. This most percussion heavy track on the whole record yet the emphasis somehow remains on an overwhelming, chopped vocal melody. The syncopated beat and bass drop and urge you to move. This is soon followed by two sharply contrasting bass leads, bringing this constantly evolving track to its peak.

Playing off a UK Funky groove, "Acceptance" once again is a forward thinking take on this undeniably British sound. Immediately the kick drum leads you into more complex polyrhythms between the shakers, low end and kicks. Another concise track, Visionist gets directly to the point. "Acceptance" is a unique club banger, using his own distinct palette.

I'm Fine, Part II closes with "Something Old, Something New", which was Visionist's earliest foray in this manner. Beginning with a spacious pulse, what has become his signature vocal chops, swiftly begin to unravel into progressive, ethereal harmonies. The track culminates with the most direct vocal. "Make me float" rings out, concluding the EP and suggesting a resolution to the grief portrayed throughout the "I'm Fine" series -- a new beginning.

With I'm Fine, Part II, Visionist creates something far greater than the sum of its parts. The record is jarring and undeniably British.  I'm Fine Part II explores heavy vocal manipulation, appropriating samples into powerful melodic tools. The record is an ode to Visionist’s dark musical past and a love note to his bright future.

Whither is fled the visionary gleam?
Where is it now, the glory and the dream?
       -Wordsworth

Visionist - First Love

Taken from SBKT055: TRANCE BAND - Entrancing
Release date: 3rd March 2023

In a global landscape that increasingly prioritizes individuality over collaborative expression, TRANCE is a distinctive project. Initiated by Chinese multidisciplinary artist Tianzhuo Chen, best known for his work with Asian Dope Boys, TRANCE is as artistically amorphous as its constantly evolving line-up, that fluctuates as it shimmers across borders and time-zones. In 2019, the project was demoed in Beijing as part of a solo exhibition from Chen, a 12-hour durational performance that examined the altered states of living and dying and pondered the sounds, sensations, bodies and spaces that notion might suggest. On hold for three years due to COVID-19 restrictions, TRANCE was eventually premiered in Hamburg at the Kampnagel Theatre last year where it was presented as a surreal three-day ceremony. This time around the Trance Band was made up of Berlin-based noisemaker and vocalist Dis Fig, Indonesia's Gabber Modus Operandi, musician and MC KIM KHAN, guitarist and engineer Felix-Florian Tödtloff, and Vancouver-based percussionist and producer CITY. Chen directed the show, channeling each artist's unique energy into an alliance that highlighted their independent skills while pushing towards ideas that simply couldn't have been realized discretely.

"Entrancing" is a live documentation of that incendiary Hamburg session, powered by the performative fireworks that came from having the project halted for two years before it was allowed to burst into life once more. Just as with previous iterations of TRANCE, the space was terraformed into an alien landscape that allowed the collective to enact a carnivalesque display that was tightly controlled but creatively boundless. Musical u-turns were accompanied by monumental stage overhauls that reshaped a muddy, fog-filled outdoor riverscape into an arena, or a sweaty nightclub. This theatrical impact can't be visualized as clearly on the record, but musical cues do just enough heavy lifting to provide a tantalizing contour. When the alluring electro-acoustic plucks and resonant sustained string tones of 'There's a Ghost in the Lantern' cascade into cinematic drone metal on 'Ylva's Theme', it's impossible not to be drawn into the TRANCE narrative. Sonic stage lights flicker with uncommon intensity as the nebulous group rewrite their collective personal stories into stirring, synergistic poetry.

"Something changes!" KIM KHAN calls out on 'Soft and Black', cutting through warbling synths and itchy beatbox percussion. The track builds quickly, reaching a sizzling crescendo of buzzsaw noise and acidic electronics. It's a stylistic sea change that channels the group's kinetic energy into a rock show, and CITY picks up the message on 'Trance Genesis', adding rapid-fire drums to a barrage of guitar skronk. 'Shaolin Affliction' glues Trance Band's jagged artistic edges to a vintage metal template, gradually dissolving into throaty post-hardcore, while 'My Fortress' brings the show to a powerful conclusion with Dis Fig assuming the role of grunge balladeer, bellowing into the void over cacophonous live instrumentation. Unbound by musical and artistic conventions, TRANCE peers out from the basement, the gallery and the playhouse to forge an expression that's all of this and something new entirely. It's refreshing, witty, exhilarating and most of all, completely unpredictable.

Entrancing

v1984 & City - Parallel Phrases [digital only]

∎ @swinedaily presents the first track from the selection of electronic compositions and improvisations recorded live during 2023 by Buenos Aires-based digital hardcore duo @aguja6167756a61 ⤻ A collaborative project of multidisciplinary artists and experimental musicians @astrosuka & @sofffja

∎ The narrative of "Música Electrónica I" derived from the live performances unfolds a dynamic interplay between defined structures, sometimes reminiscent of certain dance music genres, and unpredictable abstractions. 

∎ Raw, emotional, distorted, melancholic, playful, dark & euphoric — the mixtape reveals an overlap of intensities pushing in multiple, often opposing directions ⊹

You can read more here ⤻ https://swinedaily.com/aguja-swine-premiere/

❖

[Swine Premiere] Aguja - 13 42 57 68

From 'If This Be Not I', out June 7th on TT.

HERE YOU WILL BUY: https://tobagotracks.bandcamp.com/album/if-this-be-not-i

@paigonbard 👑
@tobago-tracks 🏩

A life of deprivation, a life of lack. A valley of experience, where others crest pon mountain summits of things seen and felt and inserted. Abject perceptual paucity. No more. For it's Paigon Bard's 'Ozempic'. For it's for you. For it's for the forlorn and forecasts more. It's on TT. It's on 'If This Be Not I'. It's out June 7th. It's liked and shared and reposted to oblivion by you. It's all is well.

If This Be Not I

here you will buy

Paigon Bard - Ozempic [MK PREMIERE]

Taken from the forthcoming EP 'Heterocetera'.
Out March 3rd 2015 digitally and on 12".

Lotic - Heterocetera

The debut release from Chicago underground hardware duo easygoingtech-- at the intersection between the rich dance traditions of the midwest and the world.  Released by Mages Guild, composed by Anais Ortiz and Jozie Wilbanks.  Thanks to Seanni B (Sean Barry) for mastering, care_online (Care Fixmer) for creative direction and release support, Jon, Mina, Chris, Gunner, Jay, Tomas, Josue.  <3

3 mdrum111

como te soñé

Art work by XXtrablood

Track list:

1.Surgical Blades 00:00
2.NeuroMutilation 01:33
3.Lengua Muerta 03:50
4.Corte Circuito 05:22
5.Fracture 06:45
6.Silver 07:19
7.Anesthesia 09:35
8.Castigo 10:25
9.Tox1c Memorial 11:30
10.Cognitiv Phenomena 13:15

XXTRABLOOD_LOBOTOMIA_MiX  10032025

Army Dreamers edit

Hello from planet Earth

https://robione9.wixsite.com/kenroby-dj
https://music.apple.com/artist/1842049267
https://open.spotify.com/artist/5sNfeQgI70HS9lcCgOtAFc
https://music.amazon.com/artists/B0FSKHG63H/kenroby-dj
https://www.deezer.com/it/artist/347746891

Created using Suno AI under a commercial license.  
I am the original creator and rights holder of this track.  
Suno profile: hiroshishiba1968 (@kenroby_dj)  
All rights reserved by KenRoby DJ.

DEMON SLAYER START ENERGY

80s Move - Rework Project (Demo)

Taken from 'Corra Linn', out on Numbers and available everywhere today. 
https://nmb.rs/la-corra-linn • https://l-a-n-a-r-k.net • @lanark-artefax

‘Corra Linn’ on Vinyl & Digital:
Bandcamp – http://nmb.rs/la-corra-linn/bandcamp
Bleep – https://nmb.rs/la-corra-linn/bleep
Boomkat – http://nmb.rs/la-corra-linn/boomkatrecords
Spotify – http://nmb.rs/la-corra-linn/spotify
Apple Music – http://nmb.rs/la-corra-linn/applemusic
iTunes – http://nmb.rs/la-corra-linn/itunes

Follow Lanark Artefax:
Mailing list - http://l-a-n-a-r-k.net
Spotify - https://smarturl.it/la-spotify
Instagram - https://www.instagram.com/l_a_n_a_r_k
Twitter - https://twitter.com/l_a_n_a_r_k

Follow Numbers:
Mailing list - http://nmbrs.net/home/subscribe
Instagram - https://nmb.rs/ig
Twitter - https://nmb.rs/tw

Corra Linn

Moo Orphaned Drift

Lanark Artefax - Moo Orphaned Drift (clip)

Aiming to enhance a future that connects us across the boundaries of class and race. Fight fascism & racism - in every space and on every level! Ravers for a culture in solidarity and resistance. All proceeds of the U.R.A.F. Tape (and Digital) sales will be donated to these no profit associations: Seebrücke, the Auschwitz Memorial and to the fundraiser of Aboubakar Soumahoro.

Seebrücke. A movement who created (among other things) save habours in over 62 european municipalities in which citys welcome refuges who have been recued from distress at sea. seebruecke.org/leavenoonebehind/aktionen/

A fundraiser by Aboubakar Soumahoro who aims to support the black farmhands working in the agricultural fields of the Italian South and provide them with food, basic necessities and medical supplies.
www.gofundme.com/f/portiamo-il-cibo-in-tavola-ma-abbiamo-fame

The Auschwitz Memorial and Museum which is a place of great importance to remember the atrocities and consequences of fascism.
auschwitz.org

U.R.A.F. — a compilation of music with a strong political thought.
credits
releases June 19, 2020

v1984 & City - Parallel Phrases [digital only]

SVBKVLT

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