The nineteenth of our podcast series.
Artist: VICKY ZISSOU

Electronic Musician and Dj

Berlin based Vicky Zissou favours the deep and rhythmic side of techno, which is stimulating the mind + body and catching the soul. Tribalistic and deep sounds are quintessential in Vicky Zissou’s organic crafted sets.

Her dark-layered hypnotic techno comes with electric intensity, a shimmer of light + ease, and a drop of emotion. The accents are floating between atmospheric, dubby, acid, downtempo/experimental, and raw industrial vibrations. The distinct character of her sets combined to the latest released tracks and collaborations, got her recognition, attention, and gigs outside of Sweden.

Originally from Berlin, Vicky Zissou has become an essential part of the Swedish Techno Underground Scene. She played alongside many of the local scene’s originators and influential artists. Like Abdulla Rashim, Dorisburg, Evigt Mörker, Sebastian Mullaert, Fjäder a.m.

Together with producer Hampus Bogren, they form the duo Matilda. Matilda, in its complexity, is a genderless project, challenging people’s preconceptions + mental images. Modular synthesizers, atmospheric/experimental sounds and driven rhythmic percussion mark their sound.


Enjoy the journey!

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More about VICKY ZISSOU
@vicky-zissou
www.facebook.com/vickyzissoudj
www.violazionisonore.eu/artist/vicky-zissou
www.ra.co/dj/vickyzissou-se
www.beatport.com/artist/vicky-zissou/688784

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BAHN· Podcast Series

BAHN· XIX - Vicky Zissou

BAHN· Podcast XIX · Vicky Zissou

Following the recent release of their "Beethoven 250" production which features on Coldcut's 0 Compilation, I'm very proud to be able to add this collection of ambient music from A Winged Victory For The Sullen's Adam Wiltzie to the Afterhours series.

As we turn the page on 2021, please enjoy this mixtape from Adam of AWVFTS.

Thanks,
-Josh
--

Order the 0 compilation here:
https://coldcut.lnk.to/AT0So

Connect with A Winged Victory For The Sullen:
@awvfts
https://www.instagram.com/awingedvictoryforthesullen/
https://www.facebook.com/awvfts
https://twitter.com/awvfts

Tracklist:
1 Labradford – Battered [kranky] 
2 Jon Hassell, Brian Eno – Delta Rain Dream [E.G. Records] 
3 Seefeel – Lux1 [Warp Records] 
4 Main – III [Beggars Banquet] 
5 Boards of Canada – Over the Horizon Radar [Warp Records] 
6 Adam Bryanbaum Wiltzie – Tyler and Jesse [Artificial Pine Arch Manufacturing] 
7 Jóhann Jóhannsson – Melancholia [Starr Score Holdings] 
8 Brian Eno – Ikebukuro [All Saints Records] 
9 Stars Of The Lid – The Artificial Pine Arch Song [kranky]

Connect with We Are Machine:
https://www.youtube.com/WeAreMachine
https://www.instagram.com/wearemachinemusic/
https://www.facebook.com/wearemachinemusic
https://soundcloud.com/wearemachinemusic

Buy 0 compilation

We Are Machine - Afterhours 014 - A Winged Victory For The Sullen

Field Recordings - Sound of Black Sea Odesa

Canto Ostinato is the new volume of classical minimalism from musician and producer Erik Hall. Written for four pianos in 1979 by Dutch composer Simeon ten Holt, the piece is freshly framed as an intimate, hour-long solo performance consisting of multitracked grand pianos, electric piano, and organ. Modern yet warm, ethereal yet tangible, Hall’s Canto Ostinato expertly bridges a revered piece of meditative concert repertoire with a tactile and highly personal studio setting.

Chicago-born and Michigan-based, Erik Hall is known as a multi-instrumental pillar for the groups NOMO, Wild Belle, and his own songwriting moniker In Tall Buildings. He has composed music for feature films, and as a producer/engineer he has shaped records for Natalie Bergman and Western Vinyl labelmates Lean Year. In a 2020 creative pivot, he chose to reinvent composer Steve Reich’s monumental contemporary classical masterpiece Music for 18 Musicians as a solo undertaking, applying the piece’s score to the familiar keyboards, guitars, and synthesizers in his studio. “At the time I think I was working through my identity as a musician and an artist,” Hall explains, “and on a level there was some sort of exorcism of a long held pop spirit.” The album was celebrated for being “freshly thrilling” and “legible in history but assertive of the moment” (Pitchfork) and “beguiling, meditational, and magical” (Electronic Sound). It won the 2021 Libera Award for Best Classical Record, and it quickly joined the canon of the piece’s quintessential recordings.

“There is a pseudo-meditational benefit to working on a longform piece that’s built on repetition,” Hall says. “Every stage— from internalizing the music, to executing the performance, to editing and mixing the record— requires deep and sustained presence of mind. I’ve always been drawn to a hallucinatory combination of harmony and repetition, and I found the entire process addictive.”

An apt second chapter, Canto Ostinato is inherently vast, and its score gives great creative license to the performer. Comprising 106 sections, complete freedom is given to repeat each one as many or as few times as desired. Additional leeway is given with regard to dynamics, articulation, and even instrumentation. On the heels of his previous, rather maximal arrangement, Hall chose to limit this album’s palette to three foundational keyboards of his studio: a 1962 Hammond M-101 organ, a 1978 Rhodes Mark I electric piano, and his family-heirloom 1910 Steinway grand piano. “This particular piece brought the added challenge of rekindling my dexterity as a pianist, something I haven’t maintained in earnest since I was a teenager,” he admits. The ensuing five-note rhythmic motif— the piece’s primary building block— is steady and workmanlike, forgoing virtuosic flare for depth, texture, and resonance, and eventually giving way to the stunning gratification of a gorgeously lyrical left turn.

As with Music for 18 Musicians, Hall employed no loops nor quantization nor any programmed or sequenced instruments of any kind. Every part was performed live in a room and captured with microphones, one at a time, each informed by, and reacting to the last. In this way the record breathes with interplay and an organic humanity, complete with flaws, noise, and the faint sound of turning pages. The recording quality is nonetheless toneful and saturated, characteristic of Hall’s production style and straying from the usual transparency of classical albums by using gear with tubes, transformers, and various stages of compression in the signal path. Always there is unmistakable realism and the feeling of being present in the room, sitting among the keys, hammers, and tines.

Ten Holt said: “Time, patience and discipline are the prerequisites for making a genetic code productive." His landmark composition provides Hall once again with a wondrous space in which to reverently embody this sentiment and deftly convey the elegant beauty of this music.

Erik Hall - "Canto Ostinato - Sections 17 - 30"

Closing track of Transmissions Part 1, the 2-part album by Khidja.

Roata

Khidja - Roata

01 John (but my friends call me Dante) - Thirteen Times - Thank You for Coming to My Ted Talk

NC500

Ambient-Chill-Deep Meditation music for total relaxation. This track is titled "Slow Motion Dreams", featured on my album "Finding Myself" releasing in 2026. Enjoy this sample taste!!

Slow Motion Dreams

vous êtes au loin

featuring:
Miroslav Pyatnikov (M5) - Trumpet
Yaroslav Nevertii - Fujara, Vargan, Flute
Olena Nevertii - Voice and poetry
Sickdisko - Bass Guitar (track one)
Vakula - Keyboards, Drums and Percussions, Programming, Composed, Produced, Mastered. 
ART - Dima Rabik

We Are Machine - Afterhours 014 - A Winged Victory For The Sullen

We Are Machine

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