Listen on Spotify: bit.ly/2jvUDHP

To kick-off our first foray into the CD world we present to you a double CD compilation brimming with a wonderfully eclectic selection of forward-thinking music from some of our favourite artists. Taken from all manner of musical circles, this collection of sounds goes a long way to representing every facet of the label's influence and output. Artists we've been working with from the origins of the label and artists we will be releasing far more of in the future sit alongside each other on one release, providing a perfect entry point to the Love Love experience.

All too often variety is hard to find in a singular release, so we have collected together 36 tracks, from 36 artists, into one easily accessible source. Electronic sound experiments sit snugly alongside fine-tuned club constructions and good old fashioned pop music, some fresh and some dug out of forgotten hard drives. Solid nuggets of aural pleasure have been selected; Lakker's inspired ethereal bass music, rugged amplified tracks from Buddy Lee Dickens and H.O.O.F, Ultrademon's OG Seapunk sound, Beatwife's frantic acid sprawl, Scrase's warm melodicism, Valance Drake's glitch mastery, a charged slice from london warehouse hero Ely Muff, FFF's jungle wizardry, digital brutality from Duran Duran Duran collaborating with the elusive Xanopticon, some future wisdom from Goodiepal - the aarhaus warrior and a truly beautiful wandering track from Anklepants, to name but a few.

This release provides a reflection of the musical diversity that we strive to provide. In order to make it completely accessible, the compilation can be downloaded in 320kbps mp3 and WAV formats for free, as well as being available in the form of a very limited double digipack CD.

Beatwife - Acid Jockey

https://yukumusic.bandcamp.com/album/m-stn-fauna

Local Fauna

Title - Risers (Místní Fauna - YUKU)

Collaboration between me @floex and The Yellow Ribbon movement.

The Yellow Ribbon is a resistance movement in the occupied territories of Ukraine. Created in April 2022 after the Russian military invasion, the goal of the movement is informational resistance against the Russian occupation in the Ukraine.

https://www.instagram.com/yellowribbonua/

Hidden Element x Floex - Yellow Ribbon

SERA019: Satellite Era presents "Distant Arrays Volume 07" - the seventh edition of our various artist series that aims to diversify our collection of experimental electronic music.

Out now on all major platforms: https://ffm.to/sera019

Nearly one solar return since our last Distant Arrays adventure, it felt necessary to make an inevitable comeback to the series that helped us expand our label across the music sphere. This edition continues to build on the foundation of what makes this project so special: welcoming experimental artists from different parts of the world to come together and push sonic boundaries in a genre-free setting.

We begin with the return of our distant friend who resides over 10,000 kilometers away from the Satellite Era HQ - representing the beautiful destination of Nagano is Japanese artist Ton Mise. With previous work on underground imprints such as Eerik Inpuj Sound stateside and NoDiscoRecords from Japan, his diversity in sound has only grown with his catalog over time. Influenced by earlier renditions of trip-hop and ambient, he approaches experimental music with a warmer and more lush perspective. Blending dusty synths with heavy percussive elements, “Ait6 U1” is a great example of his unique take on moody electronica.

A year after his contribution to our last label showcase, we welcome Romanian producer Hexalyne onto our collective. With standout releases on household experimental labels such as Evel Records and Kaer’Uiks, his darker approach to braindance caught our attention years ago. Fans of Autechre, Phoenecia, and many others in that realm will feel right at home with “Invicate.” The track takes synthesized drums and coats them with glitched-out tones throughout the stereo space, creating a rhythmic yet spaced-out feeling as it progresses.

Over three years since appearing on our first-ever Distant Arrays compilation, we have brought back Portland-based producer Naudible to contribute a high-octane track filled with shifting breakbeats. Although “Vase” contains elements recognizable in some of our favorite older subgenres like breakcore and drill 'n' bass, its most outstanding quality is the variance in sampling. The song feels like a sound collage that incorporates vocals from hip-hop, outdoor foley recordings, and a barrage of different drums that are cleverly layered together throughout the frantic few minutes.

Finally, we welcome another new face to the label with Spanish producer AZ-Rotator. Known for generating some of the most eclectic modular and programmed sounds that we have heard thus far, he has already established a name for himself in the niche experimental community. “Tr4ns_v4” is no different from his renowned formula - it boasts unpredictable, metallic drums fused with grueling bass occasionally entering the soundscape. The result is an appreciable summary of the entire compilation and proper ending to it.

Distant Arrays is an immersive showcase of our audio/visual capabilities as a collective. We are honored to introduce you to our growing team, continuously expanding our newfound interpretation of sound.

"Stationed beyond the horizon lies a cluster of autonomous satellite arrays - each serving as capsules of detained time, points of transit between diverse concepts, and the sensorial relation between tangible audio and visual worlds. They fill the thin air with varied frequencies and beam optic elements into the minds of drawn newcomers and devoted adherents alike. Though each array hosts different creators from every remote edge of this decaying planet, they communicate with us through the vigorous potential of art. They link together to create a limitless field without borders – only human connection. These are the Distant Arrays..." 

1. Ait6 U1
Keisuke Matsuoka - production, mix
2. Invicate
Hexalyne - production, mix
3. Vase
Micah Young - production, mix
4. - Tr4nS_v4
Uge Ortiz - production, mix

Amir Mashayekhi - master
Nic Juister - cover art, visuals

BUY / STREAM

Ton Mise - Ait6 U1

🌐 Refuge Worldwide is a radio station and community space based in Berlin-Neukölln.
➡️ More info, more music: www.refugeworldwide.com

Support us by becoming a member on Patreon for just 3€ a month: www.patreon.com/refugeworldwide

61 Colours - kidkanevil - 31 Jan 2024

@nattah_sound

JUDDER launches its own label with the first release being a VA "Judder Compilation #1". Expect nine tracks, exploring bass-oriented sonics around the 130–160 bpm range, from the likes of both worldwide acknowledged and up-and-coming artists. A huge palette of sounds and different moods meticulously flows through each track from the very beginning to an end.

The duo Poima opens the release with hypnotic and viscous swampy vibes, at the same time An Avrin brings groovy dancefloor-ish breakbeat settings. JUDDER resident Oddkut comes in with a percussive-driven heavy-hitter, while Nattah showcases her skills with unpretentious yet deeply pervasive stepper "False Trail". DUBRAW's very own Skotcha delivers pure shellings with a skippy grime-influenced "Shells" and, as usual, Champion Sound are ready to bury the soundboy with nothing but a straight belter. Flint's minimalistic approach to production continues to unfold through an ever-swirling and ever-twisting "Amok" and so does Dawn Razor's with a very funky and dubby dancefloor tool. The one to complete the compilation is Kapha, sharing an enigmatic clicky juke-track "Act & Pause"

The first instalment in the series of JUDDER compilations has brought together a unique selection of talented artists and musicians in order for you to dive deeply into the bass-driven experimental sound.

taplink.cc/judder_bass

Mastered by Kercha
www.instagram.com/kercha_dub/
Design by PQQ
www.instagram.com/pqqshki/

Nattah - False Trail

SYNES Radio 078

SERA021: Satellite Era presents “Xtilde EP,” an accumulation of ethereal music by Sol Rosenthal, best known as Iris Ipsum. 

Broadcasting from somewhere deep in the noisy liveliness of Los Angeles, one may not expect to hear experimental electronic music met with lush, tranquil tones. The urban world feels confined to a snow globe at times, making it difficult to welcome foreign influences into its uniformity. It takes a more calculated approach to break these boundaries - thankfully we have recruited a rising star to help us persist.

At quite a young age compared to the sonic pioneers that move us, Iris Ipsum has already made a clear statement in our biosphere: they are bunkering down for the long run. Juggling music, visual art, and software design, they ensure to blend together and implement all of their crafts with each project. On the audio side, they are inspired by early electronic subgenres such as ambient, electronica, breakbeat, and everything in between. This curiosity led to their debut album “Pattern Language” landing on the esteemed Touched Music imprint last year. Sharing a platform with innovators such as Autechre, The Future Sound of London, and Plaid is an incredible feat, but their follow-up to the release flexes the potential for even more promising times ahead.

Since its conception, “Xtilde EP” was influenced by Iris Ipsum’s devotion to expanding in multiple mediums. Their visuals normally embody sculptures as a focal point, which also serves as a catalytic aspect of their sound practices. Utilizing field recordings and deep listening amidst the franticness of urban environments lays the foundation of their work; spending time in the California mountains and deserts capture the essence of what makes it unique. Tying two tangible realms together is their passion for creative coding - most of this project was produced using self-made Max for Live instruments and VST plugins.

“Xtilde EP” was continually written, building on a collective idea and meant to be enjoyed from start to finish. Though cohesive by nature, Iris Ipsum also allows the project to encapsulate different moods, rather than staying on a singular path. The EP begins on a high note with “Subspace,” an energetic jungle track that nicely fits bouncing drum breaks with a dazzling ambiance. “Loreti” slows the tempo down, introducing a change of pace for the rest of the project. From here, we are met by a clever contrast between pristine drum work that feels heavy yet clean, along with uplifting melodies and tonal vocal chops. This can be heard in “Voxi” and “Essa” with clear nods to trip-hop and electronica. The EP closes with its title track, slightly bringing the pace back up and adding more glitched-out sounds to the structure left by its predecessors.

A collective effort on all fronts, “Xtilde EP” is simply Iris Ipsum at their finest. Reminiscent of early 2000s video game soundtracks, the project brings worldbuilding to life in audible form. Having studied decades of fabled electronic music, we have no doubts that they will become a household name when discussing contemporary experimental artists for years to come.

Written & produced by Sol Rosenthal
Mastered by Amir Mashayekhi
Cover art & visuals by Nic Juister

Iris Ipsum - Loreti

liff

@dromek finesses almost random drum programming and unforgivable acid lines   with their contribution to the Acid Breaks LP.

Alongside

@2ate9
@ac1dvicious303
@benpest
@culprate
@spotsmurk
@samuraibreaks
@ozdubs

intrinzicmusic.bandcamp.com/album/acid-breaks-lp

Rave Generator Tribute Act

Bandcamp

DROMEK - Rave Generator Tribute Act (Acid Beaks LP)

0:00 -- background ambient atmosphere is the sound of a flag rope hitting a flagpole in the wind, layered 3 times and pitch-shifted different amounts.

0:02 -- The chords here are made by the Prophet-6 chords running through Empress Reverb (destroyer pad mode). SQ-1 is CV-controlling the Empress Reverb, giving it the crystally sound.

0:58 -- The short, clicky drums (and the kick!) were all sampled from the Lifeforms SV-1, which I no longer have (sold my modular to buy pedals, rip).

0:59 -- Bassline is the Prophet-6, run through the Empress Reverb. Signal is mostly dry in the beginning of the track, but later on as the bassline starts to become more harmonically rich I add some subtle spring reverb to give it some texture.

0:59 -- The lower, echoey "snare" sound is the sound of a real snare drum being run through the Empress Reverb (spring mode).

~2:15 -- I start raising the cutoff on the P6 bassline and raising the levels of oscillators 1 and 2 (was originally just the sub osc in the beginning) and the distortion.

2:30 -- It's quiet, but at this point I started mixing in some real snare drum samples (mostly just quiet rimshots, hitting the side of the drum etc). Doesn't take over the sound but it gives the drums a little more life.

2:50 -- The noise stabs here are from the Prophet-6.

3:00 -- Amen Break! Cut up some short phrases from the Amen Break, loaded them into Ableton's sampler, and sequenced them using the SQ-1. You might notice the Amen Break actually has a stereo image here! For the left channel, I cut out short phrases from the Amen Break. For the right channel, I constructed identical phrases using samples cut from different parts of the Amen Break. That way, once panned left and right, each channel is unique.

3:18 -- A second, deep bassline comes in here (Prophet 6). Since the original bassline is so distorted by this point in the song, most of the lower partials are inaudible. The second bassline fills that gap to give the drop the punch it deserves.

3:18 -- Two Deepmind 12D parts come in here. The first is a very high, fast arpeggio with a square wave LFO also modulating the pitch (tuned to an octave jump), kind of a chiptuney sound. The other Deepmind part is some really high airy chords with long decay and release. Doesn't jump out at the listener but it brightens up the mix. Both are being run through the Empress Reverb.

4:12 -- Here's a sort of B section. The chord progression changes, the bassline changes, and the original Prophet-6 chords from the beginning of the song start to fade out, making room for the Bassline, Amen break, and Deepmind 12 parts. 

4:40 -- The last-played Amen Break samples are looped, with automation gradually shortening the loop length until it granulates to infinity. This sound is also being run through the Empress Reverb (spring mode).

5:07 -- For the pulsing bass sound at the end, I recorded a sub bass sound on the Prophet-6, then automated some parameters of Ableton's Saturation effect to make the pulsating sound. I then sidechain compressed the entire mix to it, so when it pulses the rest of the mix momentarily steps out of the way.

Crystalchords

Brendan Rincon, aka Undulae 

Electronic musician, performer, and educator based in Puebla, Mexico.

Crystalchords

Undulae

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