damn this is incredible. lovely textures and atmosphere, love this

@triplexlarge can you share links from the artist? thank you, g!

Thanks for the emotions that this tune infuses into me.

I sure hope there are still plans for this to be released some day.  Bblisss 2, maybe?  It's such a lovely track.  Heavy K. Leimer vibes, never tire of listening to it.

IT'S THAT TIME

digital: https://boomkat.com/labels/80793
vinyl: 
http://www.redeyerecords.co.uk/vinyl/68184-bh022-marco-bernardi
http://honestjons.com/shop/label/Berceuse_Heroique
https://boomkat.com/labels/80793
http://www.juno.co.uk/labels/Berceuse+Heroique
http://www.piccadillyrecords.com/counter/search.php?search=Berceuse+Heroique&label=1
http://www.rushhour.nl/store_master.php?search=berceuse+h%E9roique&idxGroup=&SearchMode=&Submit=Searchhttp://www.deejay.de/BH021_-_Dont_Dj_-_Hexentrix_-_12-Vinyl__201751


BH21 Don't DJ - Hexentrix

Caterina Barbieri & Kali Malone - Glory (Final Movement)

The final movement of Glory is a slowly evolving canon for two electric guitars pouring landscapes of bliss from the pythagorean region of the harmonic spectrum.

Composed at EMS in Stockholm SE 2015.
Recorded at Villa Strozzi in Florence IT 2016.

Side A from XKatedral Volume III
Edition of 100
Released on October 6th 2016

Caterina Barbieri & Kali Malone - Glory (Final Movement)

2nd track on 'Intact' (Jj funhouse, 2016)
http://www.jjfunhouse.com/catalogue/jj010

Data

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Ursula Bogner: Winkel Pong
Format: 7” Vinyl/DL
Label#: faitiche15
Release date: Sept 8th 2017
 
Faitiche is delighted to announce the release of a new Ursula Bogner record (faitiche15). Winkel Pong contains three previously unreleased pieces from the archive of the sound researcher who died in 1994. In 2008, Jan Jelinek put together a first album from Bogner’s tape archive (CD/LP Recordings 1969-1988, faitiche01). A second followed in 2011, compiled this time by Andrew Pekler (CD/LP Sonne = Blackbox, accompanying the book of the same name with texts, photographs and Bogner’s graphic oeuvre). For Winkel Pong the tape archive was passed on to Lucrecia Dalt. The Berlin-based Colombian sound artist and musician chose three tracks from the 1980s (exact dates unknown), editing the tape recordings for their release on Winkel Pong.
 
Gundrun Gut (Malaria!, Einstürzende Neubauten), an activist and reluctant chronicler of Berlin’s underground scene since the 1980s, has worked with Lucrecia Dalt. She is also familiar with Ursula Bogner’s work. Reason enough to ask her for an interview:
 
Jan Jelinek: Gudrun, how does it feel to be constantly obliged to talk about the 1980s Berlin underground as someone who was there at the time?
 
Gudrun Gut: I’ve learned to live with it as there are clearly too few people who witnessed it first-hand. Maybe it’s even important to do these interviews as a woman – so that someone actually says that women, too, have written music history. Men tend not to mention this. But it’s true, people do always ask the same questions.
 
JJ: Did you know about Ursula Bogner in the 1980s? Did you ever meet her?
 
GG: No, I never met Ursula Bogner in person and I only discovered her in 2008 thanks to Faitiche. But that’s no surprise: firstly, I don’t know every single woman artist, and secondly, far too many women artists never see the light of day. In the male-dominated art and music market, women are not considered important – or worse still, they are not understood. Look at artists like Sonia Delaunay, Eva Hesse, Bebe Baron, Delia Derbyshire and Daphne Oram. Some of them have now been discovered – but only recently. A lot has changed in the last few years: there is a growing awareness of art and music made by women.
 
JJ: But isn’t it annoying that the conventional distribution of roles still applies? One example: in many articles, Ursula Bogner has been presented as an “electronic housewife”.
 
GG: When Ursula Bogner is referred to as an electronic housewife, then sadly that reflects the situation of many women artists at the time. Women could only pursue artistic activities in private – transcendence was reserved for men. This has still not been overcome. But today, the home has become a site of professional production for all. I’m talking about bedroom producers: it is totally normal to make art and music at home. And that makes things interesting, because “working at home” is no longer associated solely with women.
 
JJ: For Winkel Pong, Lucrecia Dalt compiled and remixed three pieces from the Bogner archive. You know Lucrecia and you’ve already worked with her. How did you meet?
 
GG: I met Lucrecia through MySpace – I think it was 2007. Back then she was still living in Medellin, Colombia. Lucrecia’s father made loop machines for her that she still uses. The Sound of Lucrecia was part of my 4 Women no Cry compilation series on Monika Enterprise, each with four producers from different countries. She’s great fun to watch as a performer because she has a unique sense of rhythm and feel for music. Above all I’m impressed by her sustained approach as an artist, someone who can and does think around corners. I’m thinking specifically of her album Ou, for which she ploughed her way through post-war German cinema, using it as a source of inspiration for a soundtrack. This is proof that she thinks like an engineer – so it makes perfect sense that she would want to explore the work of Ursula Bogner.
 
Berlin, 2017

Ursula Bogner: Atmosphärische Energie (edited by Lucrecia Dalt)

vinyl:   https://honestjons.com/shop/label/Mana      
digital: https://manarecs.bandcamp.com/album/de-leon     
info:     http://manarecords.com/004 

Gamelan and capoeira in dub. The collective behind this doesn’t like to talk much but their music is beautifully conversational. De Leon is the most organic and percussive of their shifting identities, developed on their Aught project in small-run, clear-shell cassette tape releases over the last few years.

They've appreciated a cult interest for their takes on outernational rhythm, field recording, and the tension and relief on the knife-edge of dance music; all delivered with an impressive commitment to anonymity and clarity of vision through cut-and-dried aesthetic minimalism.

These six pieces of music seem formed from wood, metal, air. Dramatic, balletic flourishes and tightly woven interlocking patterns are embedded in slowly changing and "live" atmospheres. The shadow of a hand over the mixing desk makes gradual adjustments to alter the pressure and dimension of the space.

A number of tracks first appeared on De Leon's set for Blowing Up The Workshop in February 2016.

Mastered and cut at D&M.
Distributed by Honest Jon's, London.

Art by Gustavo Eandi

De Leon

De Leon - B1

Andrea Taeggi—Zimní Král (12" vinyl LP)

The music on this record was made using a vast array of rare analog machines Andrea had the chance to work on at the Willem-Twee synthesis studio in Holland (built with the iconic Studio di Fonologia RAI as a blueprint). Most of the percussive sounds come from an Analog Computer, which has been rarely used only as a music instrument (its main purpose was flight simulation). In fact, during the Cold War times it was also used as measurement tool by civil engineers and even by the army. 
To my knowledge, very few artists have given a new context to the such device, which I have found absolutely unique-sounding and gave me enough inspiration to compose a whole new album focused on it. 

At present, no one has ever officially released music recorded at the Willem-Twee synthesis studio.

The music on this record further explores cyclical, minimal and hypnotic concoctions – a particular  investigation focused on unusual rhythms that Andrea had already started on his well-received ‘Mama Matrix Most Mysterious’, released on Type in 2015. Think walls of subfrequencies, snappy rollercoasters of the mind, labyrinths in hyperspace & snakes eating their own tails.

Zimní Král means “Winter King” in Czech and was the epithet given to Frederick V Elector Palatine (king of Bohemia), the last of a legacy to actively support alchemy as a means of studying reality, the self and their inter-reflections.

All music by Andrea Taeggi
https://andreataeggi.wordpress.com

Mastered and cut by Rashad Becker at D&M Berlin

Forthcoming on SM-LL Sept 1st, 2018
http://www.sm-ll.com

Dinergy (SM-LL, Sept 1st)

Black Sabbath - Planet Caravan 
Wilhelm - Mercurial 
Kevin Carey - Try_Again
Randomer - Percussion Workout 2 
Da Poet - Fly Over Palestine
EPROM - Samurai

MERCURIAL

The sound on this release has been examined and produced throughout March and April 2019 in Frankfurt am Main during a music-residency initiated and hosted by "Künstlerhaus Mousonturm" and MMODEMM.

Written and Produced by Asuna Arashi

Asuna - Cloud River Seen From The Window

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

ｅｘｐｅｒｉｅｎｃｅｓ　ｌｔｄ．

☆

by @specialguest-dj

booking inquiries 💌 ana@lapsusagency.com

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