Oscar OZZ - AUTUMN 2022 MIXTAPE

Buy/stream: https://kompakt.fm/releases/velvet_desert_music_vol_3_lp_7_dl

Kompakt unveils the third volume of Jörg Burger’s “Velvet Desert Music” compilation series, dedicated to music that hits the sweet spot between the cinematic, the (pop) ambient, and the psychedelic. With “Velvet Desert Music Vol. 3”, Burger and his friends wander afar, taking trips away from, or adjacent to, the dancefloor that’s acted so long as the crucible for the Kompakt aesthetic. Like its predecessors, it’s a gorgeous, lambent collection of late-night mood music.

Because it’s such a broad church, “Velvet Desert Music” admits all kinds of new experiences, as well, with Burger looking for music that “goes beyond the desert to explore different corners of the velvet universe”. Indeed, of all the volumes in the series, this third installment feels closest to an album made by a true collective. The roster has changed, with new contributors Flug 8 and Seb Martel, both with his trio Las Ondas Marteles and with Chocolate Genius and Zsela as La Finca, joining regulars The Novotones, Mount Obsidian, The Golden Bug, Paulor and Sascha Funke.

Burger himself shows up alongside Fritz Ackermann of The Novotones and Max Würden and Thore Pfeiffer, in The Velvet Circle. Their contributions are pure lush life electronica: “Our Tribe” hitches a ride with a low-slung groove, flickering psychedelic reels of acoustic guitar traipsing across moody bass and taffeta layers of drone; their opening remix of Flug 8’s “Puerto Rico” gently introduces the album with softly tangling electronic tones, while guitars, drenched in reverb, pirouette in the background. Mount Obsidian’s remix of Burger´s The Black Frame “Sacrosanct” spins around the listeners ears like a kaleidoscope catching the reflections the sun makes in San Luis Potosí’s ornately decorated churches.

La Finca’s electronics and voice miniature, “What Clouds Say”, is a masterclass in poetic restraint; Martel’s “Dark Mambo”, remixed by Burger, is one of the collection’s big surprises, for it indeed does what the title says, a drifting, surrealist take on the mambo form, full of pensive chords, rich with unrequited longing, a breathy saxophone whispering under the song’s sly rhythmic carriage.

Old friends reappear, too: Golden Bug’s “Es Cucuruc” is a muted slow burner. The Novotones chime in with a slyly propulsive, Krautrock-esque charmer, “Liberty Bell”, and the guitar-led tone-drift of “Valley of Oblivion”; Paulor’s “The Last Coke in the Desert” is a chiming, lilting dreamscape; Mount Obsidian are joined again by vocalist Charlotte Jestaedt for two modern takes on early-hours art song, „Fade“ and „Marole“, the closing track of the compilation, which is a spooked requiem for times passed. Sascha Funke’s “Mathias Rust” is a lavish dancefloor dream, vocal samples drifting through the song as it slowly envelops the listener in its opulent radiance.

What’s most compelling about “Velvet Desert Music Vol. 3”, perhaps, is the way everything sits together so tightly, so neatly – it’s the album in the series so far that feels the most like it’s been made by collaborators in one long, playful session of experiment and exploration; everyone’s on the same page, exploring the fractured wastelands, dust squalls, sunburnt scapes and psychedelic cacti of the psyche; burnt sienna, desert lilies and willows, fairy dusters, yucca and greasewood… an extravagance of blooming, riotous colour, erupting from the sun-cracked landscapes within each of us.

This is just a taste of the rich pleasures of Velvet Desert Music Vol. 3, a triumph of a compilation that takes the psychedelic visions of its predecessors and looks for the desert within, a dusty kiss, a road-movie hallucination flickering on the listener’s eyelids, a cinematic projection from deep inside the mind.

Velvet Desert Music Vol. 3

Seb Martel feat. Las Ondas Marteles (Joerg Burger Mix)

Seb Martel feat. Las Ondas Marteles - Dark Mambo (Joerg Burger Mix)

(free) download this track: https://atomnation.bandcamp.com/album/25

Higher

Free Download

David Douglas - Higher (Weval Remix)

Lose Yourself To Dance  Did Virgo Melo Dub Rmx

Tocotronic - Rebel Boy (Ada Remix)

LANDSIDE

Landside is the debut collaboration between Italian producers Hunter/Game and the Icelandic band Kúra.
The sound draws as much from the deep vibe and melancholy ambience of Kúraʼs reflective, dubby moods, as the more insistent groove of Hunter/Game's dancefloor roots.
Fanney Osk 's vocals are like clear warm breath in a cold mountain breeze. 
Vibrating waves are set against synths and melodic leads that break the languid feel like the arrival of an intense storm.
Landside Part 1
"A visionary journey into uncharted lands, ranging across uncrossed soundscapes, merging abstract atmosphere with boundless emotion" 
In this first remix EP, two wildly different producers offer up their own original takes. 
Max Cooper's remix is as gorgeous and melodic as always, setting Fanney's vocals floating over a sea of warm synth work and surprisingly driving percussion. Benjamin Damage, meanwhile, fires hard into the dancefloor, digging a channel of tough grooves within the ambient melodies and mellow vocals.

Digital - Landslide - Wasteland (Extrawelt Extended Version Remix)

Nicolas Jaar

♫ Read More ♫:
http://www.deephouseamsterdam.com/premiere-sau-polar-esperits-lor-remix

LOR brings together elements of techno, electronica and house to create his individual sound.

The Belfast producer announced his arrival late last year with remixes of classics by Arthur Russell and Kraftwerk, which were supported by the likes of Âme, Gerd Janson, Bicep, John Talabot and more.

As a DJ, LOR is rapidly on the rise, moving from Belfast Underground Radio, to various festivals this summer including AVA in Belfast, Celtronic in Derry and Tramlines in Sheffield.

On the production front, LOR’s first official remix, of Sau Poler’s ‘Esperits’ is due on leading Dutch label, Atomnation in September, of which we exclusively premiere.

"Esperits" is available 23 September on Atomnation

https://soundcloud.com/sau-poler
https://soundcloud.com/LOR_Belfast

♫ MORE ♫

Premiere: Sau Poler - Esperits (LOR Remix)

info text:::

There is a purpose behind ambient music: it is utility music. Brian Eno made that clear once and for all with ‘Music for Airports’ – the utilitarian nature of this music can already be found in the title. But way before that, in 1920, Erik Satie composed ‘Musique d’ameublement’ – furniture music. Satie created true background music as a reaction against the misuse of classical music as a carpet of sound. The purpose of his furniture music was also to bridge the awkward gaps in conversation in social situations. In turn, Eno’s airport music is meant to serve as background music while sounding interesting enough for listeners to become absorbed. If we go by Eno’s definition, the music on T.Raumschmiere’s new album is not ambient. Although – or in fact, because – each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. T.Raumschmiere sucks the listener into the perceptible endlessness of his pulsating sounds, even though the music does not actually expect anything from the listener. It is not demanding, it does not sound lofty or ethereal. It is in constant movement and evolution while sounding grounded at the same time. The tracks are not weightless; they have body.
A darkly beating pulse works like a machine through the surging pads of ‘Dampfer.’ Synths drone languidly on ‘Anker.’ T.Raumschmiere deftly manages to avoid succumbing to the kitsch that often arises from these kinds of sounds. ‘Grotznogg’ has an inner stillness within the rustling and scattered clattering and clanging. ‘Zwischenstopp’ provides the perfect soundtrack for a submarine ride, complete with depth sounder and an undercurrent of anxiety. The track ‘007’ is a post-industrial masterpiece – warm, heavy, and latently threatening. And the list goes on.
Clearly a new meaning of the term ambient is needed to describe the music on this album more accurately. It is music that never sounds deliberate yet at the same time is so compelling, which might have something to do with the fact that Shitkatapult label founder Marco Haas aka T.Raumschmiere is the one behind it. As T.Raumschmiere, Haas produces a sound with influences ranging from bass music and
punk rock to industrial; the names of his records speak best for themselves: Monstertruckdriver, Sick Like Me, I Tank U… everyone knows what the deal is here. It is only logical that his new album is just called ‘T.Raumschmiere.’ This record is certainly an excellent lubricant for dreams.
Haas is known for his take-no-prisoners approach to his live sets, which feature distorted beats, grueling basses, and steep descents. Now for the flipside, the negative image of the sound that made T.Raumschmiere famous, the sound that has allowed us to get closer to the understanding of this magic ambient music. The shadow of T.Raumschmiere does not come in with massive beats and basses, yet it
is so imposing and so dark that it seems within our grasp.
In addition to his duties as label manager, musician, and DJ, Haas has also worked as a producer for other artists such as Dieter Meier, Fraktus, Barbara Morgenstern, Das Bierbeben, and Ofrin over the past
few years. The new album by Shrubbn!!, his collaboration with Ulli Bomans, will be released on
Shitkatapult.

T.Raumschmiere

Do Not Open The Hatch In A Diving Submarine

'Release number fifteen on San Francisco’s Manjumasi revisits the Atish + Friends EP, with a diverse collection of remixes from a serious roster of producers...'

Read More: http://whenwedip.com/2018/10/premiere-brian-cid-atish-tim-engelhardt/

Follow: @briancid // @atish // @timengelhardt // @manjumasi

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Do Not Open The Hatch In A Diving Submarine

T.RAUMSCHMIERE