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Pink Flag (Wire)

Haitians

YVES TUMOR — Serpent Music
Format: LP / Digital
Cat.No: PAN 73
Release Date: 23 September 2016

http://p-a-n.org/

The enigmatic Tennessee-raised, Turin-based Yves Tumor presents a poignant new album, recorded between Miami, Leipzig, Los Angeles and Berlin over the past three years. 

Evolved from a diverse and prolific creative history under an expansive plethora of covert aliases via various forward-thinking labels, 'Yves Tumor' emerges as his most personal and matured incarnation to date.

With involvement across various artistic outlets expanding to fashion such as a visceral live performance for LA's Hood By Air earlier this year, the global artist has built a distinctly bold personal aesthetic both musically and visually as a performer.

Painstakingly written from pieces developed upon since 2013, the new record, titled 'Serpent Music', was initially composed as a soul record - based around delicate and emotive songwriting in various forms. It was a highly difficult project to undertake on both a creative and personal level, weaving thematic links through paranoia, social anxiety, and missing loved ones. "The songs come from a much more emotional and very vulnerable place... They're very close to me and I've been cautious of how I would eventually present them to the world." he explains. 

The album spans sonically diverse and richly-textured pieces, formed from live, organic instruments, samples and various field recordings. Dreamlike lo-fi psychedelia sits alongside broken electronic experimentations, ambient compositions between abrasive noise offer insight into a haunting otherworld. From melodic choral vocals and soaring synths, to screeching guitar riffs, dramatic spoken word samples and live drumming, 'Serpent Music' evidently moves through a strange and intriguing personal journey.

The album is mastered and cut by Rashad Becker at D&M, featuring photography by Daniel Sannwald.

Serpent Music

Yves Tumor - Serpent I (PAN 73)

Yves Tumor - Dajjal (PAN 73)

Yves Tumor - The Feeling When You Walk Away (PAN 73)

leavingrecords.bandcamp.com/album/draft
originally released in 2014 from Los Angeles artist Celia Hollander, the full-length experimental piano compositions of DRAFT are now reissued as a limited cassette + album-length video thru L.A.'s Leaving Records.

threethirtythree.biz
https://soundcloud.com/thr33thirtythr33

LTD. CASSETTE + DIGI

$3.33 - +

When You Sleep - My Bloody Valentine

ZULI - Your Tracks Are Too Short

feat. Laurel Halo, Kuljit Bhamra, Jonny Lam, Verity Susman, Untold

Beatrice Dillon - Workaround
Format: LP / DL
Cat.No: PAN 106
Release Date: 07 February 2020
Purchase: bit.ly/33ISoYr

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

The album is mixed by James Rand and mastered by Rashad Becker at Dubplates & Mastering. Artwork by Thomas Ruff, layout by Johannes Schnatmann & Bill Kouligas.

Workaround

Beatrice Dillon - Workaround Two (PAN 106)

Beatrice Dillon - Workaround
Format: LP / DL
Cat.No: PAN 106
Release Date: 07 February 2020
Purchase: bit.ly/33ISoYr

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

The album is mixed by James Rand and mastered by Rashad Becker at Dubplates & Mastering. Artwork by Thomas Ruff, layout by Johannes Schnatmann & Bill Kouligas.

Beatrice Dillon - Pause (PAN 106)

feat. Petter Eldh, Kadialy Kouyate

Beatrice Dillon - Workaround
Format: LP / DL
Cat.No: PAN 106
Release Date: 07 February 2020
Purchase: bit.ly/33ISoYr

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythmobsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro- Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-2019 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

The album is mixed by James Rand and mastered by Rashad Becker at Dubplates & Mastering. Artwork by Thomas Ruff, layout by Johannes Schnatmann & Bill Kouligas.

Beatrice Dillon - Workaround Seven (PAN 106)

Acolytes exists in the space between detailed sound craft and unruly sonic entropy. A place of unorthodoxy filled with the demolition of language, tropes, functions, machinery.
In ‘STRESS II’, his first Haunter release, London-based producer
Denesh Shan creates a meme-like re-imagination of free improvisation through the lens of sample manipulation, drifting from bewildered percussion hits to utter tonal deflagration.
This renders the tape a peculiar soup of electronic dirt in which vocal clippings of circlejerk online discourse and glitch ridden discord mirror a headspace filled with hundreds of conflicting thoughts. Inspiration and sound sources re-trace the producer’s personal history, while delving into low-grade internet folklore and transglobal dance music.
The chaos generated by such a radical approach is but a folk song for the contemporary
experience, a set of angular emotional vectors sublimated into borderline spiritual energy.

Recorded by Acolytes
Master by Jo at Tapewave

Cat. No. HR023 – All rights reserved.
℗ & © Haunter Records 2020
www.haunterrecords.com

STRESS II

கொந்தளிப்பை

Acolytes - கொந்தளிப்பை

BQE feat. Joey Bada$$ & Bas

VOLVO

Amnesia Scanner — Tearless
Format: LP / DL
Cat.No. PAN 108
Release Date: 19 June 2020
Purchase: pan.lnk.to/Tearless

Berlin-based duo Amnesia Scanner have announced the impending release of their sophomore LP, Tearless, a sonic reflection of how it feels to experience Earth at a time when collapse is emerging as the prevailing narrative. As Amnesia Scanner founders, Ville Haimala and Martti Kalliala watch their icy home country of Finland thaw- the staggering scale of political recalibration and the worldwide climate crisis blows open old norms. “There’s a looming sense of radical change,” they noted pre-COVID, connecting the period of making the album to a fin de siecle horror and curiosity regarding what new world is being ushered in. Tearless has been referred to as “a breakup album with the planet”, to which Amnesia Scanner responds, on the LP’s closing track: “You will be fine, if we can help you lose your mind.” Amnesia Scanner are previewing the album in the form of a video for their accidental quarantine anthem “AS Going,” a clip featuring a cascade of images of spiraling humans.

Tearless marks a turning point in the duo’s trajectory, one begun in 2014 with the AS Live [][][][][] mixtape, followed by audio play Angels Rig Hook, two EP’s for Young Turks, and their 2018 debut album, Another Life (PAN). For Amnesia Scanner in 2020, the walls of the nightclubs, galleries, and institutions fall away and are replaced by full-scale theatrical productions complete with jumbotron stages, animatronics, and a surrealist costumed cast (literally so in the XL version of the album’s live show, Anesthesia Scammer). Likewise, the musical scope of the album is expansive, with guest vocalists — the Peruvian artist Lalita and the Brazillian DJ/producer LYZZA — descending into a vast uncanny valley of sound. With the crossfader on Tearless sitting closer to pop than abstraction, so too does the audience for this record widen in scope. Opener “AS Enter” sets a sombre tone until the fucking riffs of the second track (the titular, Lalita-helmed “AS Tearless”) make clear there’s plenty of roaring to come. A feature from metalcore band Code Orange on “AS Flat” follows, along with “AS Trouble” (feat. Oracle, the third, machinic ghost-member of Amnesia Scanner) and together they hit as black-metal-gaze dirges. Closing Tearless is the sadboy grunge of “AS U Will Be Fine” with a clear statement of intent: doom, despair, insanity, absurdity, it’s all natural, all cathartic, and all OK.

For the art direction of this release, Amnesia Scanner collaborators PWR scavenged the pop cultural unconscious, as if ventilating memory dissociated by trauma. The gatefold vinyl reveals a four-panel comic, full of iconic pre-millennial motifs, which arrive cut up and reassembled collage-style: fitting visuals for an album that channels Deftones as much as reggaeton, menace as much as the drop-outness of grunge. Refuse like the ‘90s and party like the ‘20s—if that seems senseless, you are doing it right.

The album is mastered by Enyang Urbiks, featuring visual direction from PWR Studio.

@amnesia-scanner
https://p-a-n.org/

Tearless 

Amnesia Scanner - AS Tearless (feat. Lalita) (PAN 108)

hello, my name is ana and i made this for you.  

I don’t believe that you truly need to know what I meant or wanted to say in order to go on a journey with this work. Only thing you truly need is yourself and this work and the rest like my words, my explanations, my excuses will be just a distraction from ur way.

but to do a bit of  justice——
i can say that this work came out of a very fucked up brake up experience. experience that pours a lot of poison on everything inside you, on everything you think you know. makes you go through hell. but after hell comes all the beauty. and it seems that hell and beauty together make everything. 

so like I promised
I can make you everything
freeze the universe
and split the sun.

SZSS (Shujin Zaitaku Sutoresu Shoukougun)

Visions of Bodies Being Burned

Something Underneath

KOTA The Friend - Pomegranate

SYNOPSIS
As a child you dreamt nightly of forest and immortals: tribes of experimental bears and wolves. You recorded secrets shouted by cicadas, who first heard them whispered from roots of the great central tree. In this hypogeal gossip, sky dwellers were the evil ambitious gods. You were told, “It’s the underworld, deep below the soil, that’s where you are loved”.
You’d wake with sleep sand in your eyes and disbelieve the elves and their paintings. You’d even find the rumours from the tree a little slanted. But that one dream, with the boiling hand and ladybug ice cubes, the face buried in the funeral garden—that, you never forgot. When it proved a kind of premonition, you became a shadow self.
Your thoughts became a monoculture, writing the same fantasy on repeat. Over and over again your fiction coddled the creatures who once lived in your dreams, until the numbness spread and they could no longer hold a lute, let alone fend off pests.

Story & Voice by Claire Morse
Music by Levan Shanidze

read story: https://blueyogurt.medium.com/funeral-garden-claire-morse-b0b8bc87db3a

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