Bare Groove Part 1 Nude's Not Rude

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Natural Hugh - Bare Groove Part 1 - Nude's Not Rude

RAVE EN LA WEB guest mix by Soos
18 - mar - 2021
@soosisoos

stream RAVE EN LA WEB here:
get.yotelco.com/HCpd9sxQmdb

RW028 - Soos

Pardonnez-nous les 24 heures du mix le vingt mars.
Dj set diffusé le 20 mars 2020 de 16h à 17h sur Radio Flouka

Plastic Bamboo
https://soundcloud.com/plasticbamboo

Pardonnez-nous
www.facebook.com/pardonnez.nous
www.instagram.com/pardonnez_nous

Radio Flouka
https://radioflouka.com
https://www.instagram.com/radioflouka
https://facebook.com/radioflouka

Pardonnez-Nous: Les 24hDuMix - Plastic Bamboo

Craig Christon - Beyond Paradise - 28.03.21

DIG — Episode 13 avec Strapontin

Berlin is still in lockdown and it will take a while until we can get back into our beloved spaces to celebrate ourselves and our community in all its beauty. 
In the meanwhile an entire subculture couln't wait to express itself and reacted quickly to make the best out of the situation, providing podcasts and live streams to keep the party going, whilst social distancing. 
So it is no surprise that also our good friend Oskar could not hold himself back and contributes this extraordinary podcast, showcasing his favourite old records from the Eastern Bloc. 
Grab a drink, make yourself comfortable and let Oskar teach you a little history lesson, including gems from countries like Poland, Croatia, Serbia, Bulgaria, Russia, Latvia and Ukraine.

Oskar Szafran is a Polish Berlin resident whose recent collaborations and releases with respected electronic artists such as Pier Bucci or Ricardo Villalobos are bringing plenty of attention to this charming musician, producer and DJ.
Often people are amazed at how, when only 18, he toured Japan with A Guy Called Gerald, shaping his musical identity and exposing him to a whole world of music at an obviously impressionable age.

As an expanding library of music in all good record stores builds up, it shows us an artist whose influences range from Miles Davis, Arthur Russel, Terry Riley, Philip Glass and John Coltrane.
He selects layers of atmosphere, rattling riffs and unusual drums draped around subtle textures in a way perhaps not always associated with the house and techno scene he pervades now, yet always drawn from these influences he adores.

Oskar plays shows in revered places such as Berlin's Club der Visionaere, Watergate, Tresor, Salon zur Wilden Renate, the UP Festival in Czech Republic, Moscow's ARMA17 and recently he's engaged in longer sets for over 10 hours at The Laboratory in Sofia where people crave something deeper and more experimental in their party zones.

And as crucially, he's continued working and collaborating with some of the most influential and respected electronic producers on the planet.

There's something about Oskar which gives you the notion of a much older soul staring back at you, answering questions in his sincere, wise yet all the time wide eyed and youthfully honest way too, always seeking the truth via music and art.

His many releases on highly respected labels see an artist allowing himself to evolve his headphone friendly techno blended with hints of dub and elements of house, which he describes as 'a bit jazzy, a bit exotic'. 
This can be witnessed evolving effortlessly on the yearning textured grooves of 'Miles Away' on Cyclo Records, and the simply marvellous melodic dancefloor offering, 'Russian Roulette'. 
Becoming A&R at the highly respected Deset label is another good move into new pastures, getting to help and choose the shape of this record label's output. 

It's this purity with an open minded approach to writing and production that keeps on pushing him upwards in what's already an epic journey into the very heart of the scene. 
Gaining those all important slots at the world's leading clubs and festivals such as Mountain Festival in Osaka and Sweden's Into the Valley come easily now that he's also establishing himself as an important figure in the more culturally aware clubs who embrace his sets, from all the while developing a healthy sense of culture.

Loser Records says thank you to our good old friend and hops you enjoyed Oskar’s history lessons as much as we did.

---
Loser Podcast will be an ongoing series of Podcast of family, friends and artists we simply admire.

Loser Podcast 011 - Oskar Szafran

Vibrations carry words and sound
All around this town
But we’ve failed to communicate since the birds returned
And I can’t form an orderly queue
Or stop myself from thinking of you

This is how we sound
We can weather
Together

Hey it’s alright

But the highs are too delicious
And the lows are too exquisite
And I don’t have resilience
I need to get me through
They’re brawling in the beer garden
I’m following the lives of friends

This is how we sound
We can weather
Together

Hey it’s alright

I don’t think I can clap tonight
Pour myself another wine
I miss my friends and family
Watch some fiction on TV
Never thought I’d need them so much
I spent so long avoiding touch

This is how we sound
We can weather
Together

Hey It’s alright

I wake up to more memories
And people that I used to be
And other uninvited guests
Who just keep hanging round my head
I mop the floor whilst you mow the lawn
And hold on tight whilst darkness comes

This is how we sound
We can weather
Together

It’s alright
Hey It’s alright

Gates Of Light - This Is How We Sound

Infusion de percussions, mélodies hors du commun avec bruitages dissonant, "野猫 Yěmāo Tapes" est la nouvelle émission de https://soundcloud.com/romainfx852 sur Radio DY10. Nous aurons donc l'occasion une fois par mois de voyager avec lui à travers un portail nous reliant à la scène Asiatique où il a demeuré plus de 20ans. 

Listen ➫ www.radiody10.com
#machinearever

野猫 Yěmāo Tapes #01 - Romain FX - 16/11/2020

A welcome return to North East upstarts Not An Animal Records​ and thier long time co-conspiritor Ian Blevins​ who present the sensational 'The Lobster Was Criminally Insane' EP. As we've come to expect from NAAR each cut is pure dance-floor gold; blurring the lines between house and techno while filtered through an emotive and melodic lens. This is mature, intelligent dance-music that doesn't forget the fun. If the searing original tracks are not enough we're also treated to magic remixes from Chida and Discodromo​. This is a seriously heavy release, and a mark of intent showing where underground club music in 2020 is most definitely at. Essential

Words: Joe Morris

PREMIERE: Ian Blevins - Air Penguin [Not An Animal]

Returning to Not An Animal for the first time in 3 years, Ian Blevins crashes in with a massive EP that results in some dreamy electronica primed for the dance. 

The Lobster Who Was Criminally Insane loads up the A1 with a track that veers towards the progressive house formula, whilst building on the more natural electronic blueprints. It’s rigorous and deadly, as synths build the pressure and detonate with devastating effects. 

Discodromo make their NAAR debut with a destructive remix of The Lobster Who Was Criminally Insane. Stripping the track down and driving it down a more percussive avenue, the leads melodies are used to create an immense breakdown with epic results.

Air Penguin carries on the same vibe as a refined mid-set floor filler, with an illustrious canopy of dreamy synths and counter melodies that rattle subs across the globe. 

Chida finishes off the 12" with his welcome return to the label with another remix that does the damage. Bringing the more offensive elements of the track, it takes the atmosphere and runs with it, adding some immense tension but remaining focused on the floor.

To close, The Lobster Who Was Criminally Insane (Beatless Mix) serves as the digital bonus, showing how a track can be made for the dance-floor without any percussion.

https://www.redeyerecords.co.uk/vinyl/128666-naar017-ian-blevins-lobster-who-is-criminally-insane

Links
http:www.facebook.com/ianblevinsmusic
https://soundcloud.com/notananimalrecords
http://www.ianblevins.co.uk
http://www.soundcloud.com/ianblevins
http://www.twitter.com/ianblevins
http://www.residentadvisor.net/dj/ianblevins

The Lobster Who Was Criminally Insane

PREMIERE: Ian Blevins - The Lobster Who Was Criminally Insane (Beatless Mix) [NOT AN ANIMAL]

LP/Digital - https://harveycouture.bandcamp.com/album/scelle-en-cristal

Who is Harvey Couture? Some say he’s a survivor of French pop music’s sun-soaked synth-pop era of the early 1980s, others that he’s a more suave and stylish Serge Gainsbourg for the nu-Balearic era. There were even rumours circulating that he’s a musical mobster from the Cote D’Azure: a shadowy member of the mafia who deals in synths, drum machines and fretless bass guitars rather than guns, money and drugs.

In truth, not even Leng Records knows much about the man behind the moniker, though his vividly kaleidoscopic, retro-futurist debut album, Scellé En Cristal, does offer a number of crafty clues. Whether listeners will make the necessary deductions to solve the mystery remains to be seen; regardless, it’s the music that matters, and on that score Scellé En Cristal simply cannot be faulted.

Rich in humid, afternoon-bright musical delights, the set sees our publicity-shy hero mix and mangle a multitude of musical influences – think proto-Balearic European synth-pop, Prince style purple funk, immersive ambient, early INXS style synth-rock, the electronic end of zouk and much more besides – with constantly colourful and imaginative results.

Couture is most at home adding his variously seductive, sexy and sleazy vocals to bubbly, upbeat and mid-tempo numbers that combine delay-laden drum machine beats with surging synths, fluid bass, stylish guitars, lashings of leftfield pop nouse and plenty of tongue-in-cheek Gallic flair.

For proof, check the throbbing, off-kilter alien-funk throb of ‘Les Portes De La Perception’, the bustling, percussion-laden cheeriness of ‘Crème Solaire’ and the loose-limbed, toe-tapping brilliance of ‘Je Ne Peux Pas’, where chiming, steel pan style melodies and pots-and-pans percussion hits jostle for position with sliding fretless bass notes and flash-fried guitars. Check to ‘Passion’, a swaggering slab of bustling electrofunk/synth-rock fusion rich in ‘Rockit’-style scratches and restless synth-bass.

The influence of languid, sunset-ready European pop records of the 1980s – those cuts that would later become sought-after amongst dusty-fingered collectors of Mediterranean music – is another recurring feature of Couture’s cultured but joyous debut album. It can be heard amongst the drowsy guitars, yawning bass and tumbling lead lines of ‘Look Within’, the pleasingly laidback ‘Invincible Line’, the elastic bass, fluorescent synth sounds and stuttering machine drums of ‘Marche’.

Yet Couture is no one-trick pony. Horizontal and loved-up moments of a more downtempo hue can be found scattered across the album, with the enveloping ambient awe of ‘Les Portes’ – all swelling chords, gentle melodies and atmospheric field recordings – and slowly unfurling ‘Whale Song’ both lingering long in the memory. 

Harvey Couture may not be ready to step out of the shadows just yet, but his music most certainly is. We have a feeling that Scellé En Cristal is just the start of the mystery monsieur’s musical journey.

LENG SHOP

Creme Solaire

Innovative, award winning & international music, film & theatre production to challenge, engage & compel.



Gates Of Light - This Is How We Sound

Tromolo Productions

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