Release contains a debut piece of Suskiai (Zbigniew M & Albine M) - contemporary neo crap core duo from Kaunas

Produced by Chata Production

Vilkaviškis, 2023

All rights reserved

Suskiai: Samanė

DL Available on Bandcamp: https://eisebelle.bandcamp.com/track/cordero-kagamine

4th track from my upcoming album, Post Sacrilegio. 

produced by eisebelle
mixed by eisebelle
master by bruno mendes
artwork by eisebelle

cordero kagamine

2424

https://lilatirandoavioleta.bandcamp.com/album/accelarated   

"All Day I Hear The Noise of Waters" a signature high tempo hot-blooded, percussion-heavy but slick touch, switching between rhythms and upping the energy on each switch.

@verraco - @sinmaldita - @lilatirandoavioleta

Hyperdub Records 2024

ACCELARATED

All Day I Hear The Noise Of Waters - Lila & SIn Maldita (Verraco Remix)

snake dance

Liliane Chlela - Anatomy Of A Jerk
Label: Infinite Machine
CAT#: IM112
Format: Digital
Release Date: July 5th, 2024
Artwork by Richard Kahwagi
Mastered by Fausto Mercier

Tracklist:

1. Bison
2. bza2
3. Friendly Fire
4. Ouverture
5. Rave Melancho
6. Third Fraud
7. Did I Stutter
8. The Right To Offend Itself

Liliane Chlela’s ‘Anatomy of A Jerk’ reflects on sonic storytelling, experimenting with the compositional frameworks under which it operates. The Beirut-born producer, dj and performer stands at the forefront of the independent electronic music scene in Lebanon, with a reputation for shattering expectations with her live auditory soundscapes, exploring improvisation and the manipulation of sounds from wide-ranging musical genres. Her fifth record (and first on Infinite Machine) steers further into such territory, warping manic synth patterns into percussive motifs, cutting abruptly in and out of poignant melodic interludes. Chlela’s sonic narratives begin, repeat, break apart, disappear and fold into themselves, encouraging contemplation of the compositional elements–the anatomies–that constitute them.

Each track is a meticulous excursion–a melange of varied constituents carefully and uncannily arranged, sometimes coalescing, often deliberately breaking away from the song’s anticipated structure to bring forth unexpected moments of beauty. The first arrangement, ‘Bison’, is exemplary of this, where high intensity metallic stomps, clangs and stabs form a rhythm that is frequently interrupted and broken apart, sometimes by evasive melodies that tease the listener before fading.

‘Bza2’ and ‘Friendly Fire’ move further into the discomfort of unanticipated moments and interruptions. In each, haunting strings and synth-pad melodies start and stop, floating and pausing over jitters and stutters of mechanical percussion. Other tracks move further into the atmospheric, creating dramatic, theatrical soundscapes. ‘Third Fraud’ leans into this approach, where string progressions and cinematic drums tell a story that is less affronting.

Like previous works of Chlela, these eight compositions reach into a difficult space that is only rewarded with careful attention, patience and openness. The arrangements are invigorated by the distinct nature of the compositional fragments; seemingly divergent patches, sounds and rhythms are paired across an eccentric timeline, providing ample opportunities for listeners to relish in the sudden jerk of the unforeseen.

2424

crash komedi