Premiere of the track "A Kele Nkoo Oking" by Nze Nze, the project of UVB76 @uvbsoixanteseize and Sacred Lodge @coldgeist , taken from their upcoming album "Adzi Akal" on Teenage Menopause Records.
-
Artist: @nzenze
Track: : "A Kele Nkoo Oking"
Album: "Adzi Akal"
Label: @teenagemenopause
Format: Vinyl + Digital
Release date: October 21, 2022
Pre-order: nzenze.bandcamp.com/album/adzi-akal

Lyrics & Vocals : Matthieu Ruben N'Dongo
Mixing : Nze Nze
Mastering : Paulie Jan @ Agit' Prop
Metal Art : Romy Texier
Artwork Layout : Gaetan Bizien

Premiere: Nze Nze - A Kele Nkoo Oking [TMR041]

Unbless Me Now (Patience Pearl Remix)

Thanks to all artists <3
MASTERING : A-Sim
RELEASED BY : Armen Crew, La Grande Gudule and Garage 83-C
COVER : cocomag29 (www.instagram.com/cocomag29/)

FR :

Il était une fois l'histoire d'un bulot, à qui l'on proposa une simple mayo. Son nom était Killog, roi des mers, de la tempête et des abysses. Il aimait le parterre, la trompette et la glisse. Avec les bavoux du coin, il se retrouvait tous les matins devant la terrasse du Calicoco pour une journée de style entre gastéropotes. Pour accompagner cette session pleine de tricks, Kill apportait toujours sa bonne compil' pleine de tracks. Un gros mélange de sonorités décrit par le vieux buccin du village comme « Une variation de hits bourrés de hats tentaculaire auxquelles s'opposent le son de basse à la texture caniculaire. Un assemblage de glitch noise par des mollusques avisés, des breaks déstructurés pour des voisins en manque de fioul, du club de fêtard dopé au tempo. » Il ajoutait également que « Cette musique sample le combat contre les cycloptères sournois d'en haut et leurs milices de crustacés. On peut y entendre des expérimentations sonores et électriques, des phases hétérogènes pour dj's en panique. » Et sur ces paroles, il regardait les coquilles partir en chantonnant « Pas le temps de boire la tasse ».

English :

Once upon a time, there was a whelk who was offered a simple mayo. His name was Killog, king of the seas, storm and abyss. He loved the parterre, the trumpet and the slide. Every morning, he and the local chavoux met in front of the Calicoco terrace for a day of gastropot style. To accompany this session full of tricks, Kill always brought along his good compil' full of tracks. A chunky mix of sounds described by the village old whelk as "A variation of hits packed with sprawling hats contrasted with the sound of heat-textured bass. An assemblage of glitch noise by savvy mollusks, unstructured breaks for neighbors in need of fuel, tempo-doped party club." He also added that "This music samples the fight against the devious cyclopterans above and their crustacean militias. You can hear sonic and electric experimentation, heterogeneous phases for dj's in panic." And with these words, he watched the shells leave, singing "No time to swallow water".

BANDCAMP: armencrewmusic.bandcamp.com
FACEBOOK: www.facebook.com/armencrewasso
SOUNDCLOUD: @armencrewassociation
LA GRANDE GUDULE: @lagrandegudule
GARAGE 83C : @garage83c

SUPPORT

Anta Doma - Shamanrun

{Blue forest} 
/aka donia jourabchi & mikel R. Nieto

@donia-jrbchi

examine-mix-81-w-blue_forest-2024-08-29

A4 - C C - Les Orgues

In 2023, a team of quantum physicists from the University of Ottawa used biphoton digital holography to observe quantum entanglement in real time, visualizing two entangled photons in a “yin-yang” pattern.

"Particles" is an atmospheric breakbeat EP by @klpflrtpr, following his 2020 debut "Enter Random Grooves" on the label.

music by Tibor Klöpfler-Topor
mastered by @fausto_mercier
artwork by Anna Rósz

www.instagram.com/roszanna_/

Buy EP

Klpflrtpr – Ahead Note

Track from album: Gary Gwadera - "Far, far in Chicago. Footberk Suite"
POINTLESS GEOMETRY 2024 / POINT#60
Pre-order date: 11.11.2024 / Release date: 21.11.2024

https://pointless-geometry.bandcamp.com
Limited edition of 100 copies / C-43 cassette
The material is also released in an audio-video version on VHS cassette. The visual side was created by Darek Pietraszewski (Copy Corpo).

Music composed, performed, recorded, edited and mixed by Piotr Gwadera
Recorded in Łódź, August/September 2024
https://www.instagram.com/gary_gwadera
@gary-gwadera

Mastered by Paweł Cieślak (Hasselhoff Studio) 
Artwork and design by Jakub „ Hakobo” Stępień
https://www.instagram.com/hakobo
Conceptual collaboration – Hanna Szczęśniak (Polish Radio Folk Centre)

The publishing partners are:    
KODY Festival of Traditional and Avant-garde Music
ROZDROŻA Centre for Intercultural Creative Initiatives
Polish Radio Folk Centre

Media patron:  
Dwójka – Polish Radio
℗ 2024 Polish Radio
© all right reserved

“It’s nothing else but a Chicago-style oberek!’ – that was my first thought when I heard the compilation ‘Bangs & Works’, an album that introduced the footwork style to a global audience. At first I was drawn by the triple, syncopated rhythm, based on the iconic sounds of the Roland TR-808 drum machine. My musical explorations have long been centering around triple rhythms of rural Poland. The clash of this archaic, distinctly Polish form with the freedom of the underground, electronic sound from the Black suburbs of Chicago seemed to aesthetically hit the perfect spot. As an anthropologist - dreamer, I also imagined that the presence of a triple rhythm in Chicago – the largest hub of the Polish diaspora in the USA – was not a coincidence. It was a result of a meeting between our native musical tradition and the musical sensitivity of the Black community in the United States. I must admit that this hypothesis was, and still is, purely my musical dream, unsupported by any scientific evidence. However, regardless of the actual roots of this fascinating phenomenon known as footwork, it is hard not to notice certain correlations between footwork and the Polish oberek tradition. This is in both cases music rather meant for dancing than for listening. It’s supposed to present a certain musical and rhythmic challenge to dancers, who can test themselves in a fun-oriented setting, where competition is an integral part. In Polish villages, these are traditional battles of village bands, while in Chicago, they are footwork battles in underground clubs. Both in the oberek and footwork, the most important are a sense of community, energy, and excitement built around dance, accompanied by a characteristic triple pulse.
Therefore, the footberk suite “Far, far in Chicago”, is intended as an imagined musical journey through time and space, where the Polish oberek and Chicago footwork find a common ground in dynamic, triple rhythms. I aim to show that the syncopated rhythm of the mazurka (or of the oberek) can sound just as contemporary and bold as the beats created for Chicago dancers. The composition is meant to be an auditory tribute to both cultures’ dance spirit and their sense of community. It is an attempt to capture the emotions that accompany both footwork dancers and participants of rural dance parties – spaces where music and dance become tools of self-expression.
To connect these two seemingly distant worlds I use a specially designed rhythmic machine. At its heart lies a rural jaz, with build-on Lem-esque pads packed with samples from the TR-808 and TR-909, as well as other electronic sounds."

Far, far in Chicago. Footberk Suite

Gary Gwadera - II. Battle („kasowanie”) / POINT#60

This month, I&amp#39;m taking you on an exploration of the controversial and unloved genre that is black metal, but without playing any of it. For this thesis, I tried to identify the key emotions of this music, such as depression, violence, extreme sadness, resilience, folklore. I then located these emotions inside other tracks of other genres, and arranged them together to issue some kind of a blueprint for black metal. I&amp#39;m obviously talking the whole time. Enjoy !


Shoreless Continuum w/ Seul Ensemble (15/11/24)

Striped Stripes - Lys Finke (Novembre 2024)

The dark lord of the dance returns to Sneaker with the 'No Favours' EP, another ominous set of non-conformist shellers rough-cut from obsidian and set in steel.

We first broadcast our love of Christoph de Babalon's distinctively destructive, hard-boiled hardcore via the Evident Ware compilation back in 2020, but a longer release has been an ambition of ours ever since. From his early years on Digital Hardcore through his prolific return in the 2010s across a broad tapestry of underground operators, de Babalon has left a fascinating trail of albums, EPs and scattershot tracks behind him that feed into the cult fervour around his music.

As this EP demonstrates in reliably gritty fashion, the magic in the German producer's music lies in his ability to take the tropes of jungle and hardcore and subvert them through signal chains which owe more to noise and industrial than dance music. The structure of his tracks is equally maverick, pushing and pulling according to its own whims rather than following the dancer-centric energetic flow of a standard club record. Somewhere in this alchemy between classic ingredients and confrontational experimentation, he evokes the original chaotic spirit of hardcore when it seemed anything was possible within the music.

Dearth Mill

reupload of just the c1 bbd example. it's my favorite delay now :))

c1 bbd

Ce n'est pas juste un son. C'est une matière. Outre mesure, une langue. Généreuse dans son témoignage, générée par ceux qui vont chercher, ceux qui puisent et pulsent, creusent ainsi. Appliquer une puissance du renouvellement proposer une radicalité impossible à contrecarrer, en cette animisme du volcan. Par là se joindre, sans compromis. Dans notre façon d'être au bord. Dans notre façon d'être exposés. Dans notre façon d'être ruines. L'équivalence est une question : 
Basalte, jusqu'où ?
Ces secousses sismiques offrent une expérience singulière, permettent de réunir mais aussi de libérer, en un double mouvement, circulaire, de boucle en boucle, rejoindre un état de distorsion qui permettra d'entrer dans le son, dans l'essence, dans le sensible.

It is not just a sound. It is a substance. Beyond measure, a language. Generous in its testimony, it is generated by those who seek, those who draw and pulse, digging deeper. 
Applying the power of renewal imposes a radicality impossible to counter in this animism of the volcano. By this, to join, without compromise. In our way of being on the edge. In our way of being exposed. In our way of being ruins.
The equivalence is a question: how far does the Basalt go?
These seismic shocks offer a singular experience, allowing for both gathering and releasing in a double movement, circular, loop after loop, reaching a state of distortion that will allow entry into sound, into essence, into the sensitive."

A4 - C C - Les Orgues

BASALTE