This genre-bending compilation of original electronic music compositions features a chiptune-inspired head trip from Bonobo, an R&B-influenced synth pop track from Peter CottonTale feat. Jamila Woods, an ethereal vocal collage from Julianna Barwick, an evolving psychedelic excursion from Dan Deacon, a driving percussive electronica track from Madame Gandhi, an emotive dark wave song from Martial Canterel, and an industrial-tinged electronic pop track from Ela Minus. Each track was built around the instruments and accessories included in each artist’s Moog Sound Studio of choice: Mother-32 & DFAM or Subharmonicon & DFAM.

More From Ela Minus: https://www.elaminus.com/

More about Moog Sound Studio: https://www.moogmusic.com/news/moog-music-introduces-complete-synthesizer-studio-experience

Ela Minus - Mothers Make Mistakes

Rupt & Flex 1994 - 96 out 14 May → https://warp.ffm.to/rupt-flex

Spangle (Autechre Remix)

Seefeel - Spangle (Autechre Remix)

Karoshi

Ochre - Karoshi

The North Water (Original Score)

Seasick

@0 EP1

Mt Baker

Order 'Cast Remixes Part III' at: ghostly.com/products/cast-remixes-part-iii
Or at the retailer of your choice: ghostly.ffm.to/heathered-pearls-…-remixes-part-iii

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Cast Remixes Part II

Heathered Pearls - Caveat Emptor (Private Press Remix)

Trans-Millenia Music

Freedom at the 45th Floor

From the album Ital Tek - Outland (out 1st May 2020 on Planet Mu)
http://smarturl.it/ItalTekOutland

https://www.youtube.com/watch?v=4UuwLrcEtvg
Video directed and animated by RubenFro
https://rubenfro.com/

Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘.

The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.

Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan’s sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.

The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel. Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’.

The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect. This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. 

These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

Seasick

Tim Hecker

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