Quinta-feira, 31 de Outubro de 2013

Sleeparchive - A Man Dies In The Street Pt. 2 (2013)

Sleeparchive - A Man Dies In The Street Pt. 2

“Night does not show things, it suggests them. It disturbs and surprises us with its strangeness. It liberates forces within us which are dominated by our reason during the daytime.” Like Brassaï, Roger Semsroth has spent the last decade trawling the shadows and writing in the dark. But where the seamy streets of nocturnal pre-WWII Paris provided the canvas for Brassaï’s widely heralded photography, it’s the sonic sluices of post-war Berlin and from the self-contained netherworlds of the city’s underground techno nexus that Sleeparchive derives from. Taking its title from one of Brassaï’s famous sequence of prints, ‘A Man Dies In The Street Pt.2’ presents the second round of the eight track project developed by Sleeparchive (along with three secret locked grooves.) As ever the genius is in the reductive palette, that here Semsroth paints into a rich splay of emo- tions mimicking the initial anxious discovery of the body, the curiosity of the gathering crowd, the excitement and building anticipation through to an aggressive and pummelling sense of realisa- tion on the close. But is it at the loss of life, or the loss of spectacle? As Brassaï toys with ambigu- ity in his photographs, Sleeparchive’s music is just as hazy, deep and full of shady nuances that, like treasure, only appear if you’re willing to keep probing. 

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Peaking Lights - 936 (2011)

Peaking Lights - 936

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Pomassl + Kodwo Eshun - Architectronics (1999)

Pomassl + Kodwo Eshun - Architectronics

Executed at the construction site of the Vienna Museum Quarter. Recorded live in studio.

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A Model Authority (Sigha x Shifted) - Model 001 (2013)

A Model Authority (Sigha x Shifted) - Model 001

Crafty, noisy, straight forward Techno cuts from new entity A Model Authority (Sigha x Shifted).

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Cupp Cave (aka Ssaliva) - Retina Waves (2012)

Cupp Cave (aka Ssaliva) - Retina Waves

Belgian beatsmith Cupp Cave returns on this bumper full-length for the very on-form Ramp label, and shows the jaw-dropping depth of his style across nine jump-cut, overdriven tunes. Coming across like a malformed hybrid of the Flying Lotus-patented Brainfeeder sound and the fuzzy ‘knackered house’ of Andy Stott, Cupp Cave’s sound is something of a revelation. Sure, scuzzing up beats is nothing new (ask Dem Hunger) but the refined quality of Cupp Cave’s production elevates this far beyond a simple exploration of a particular style. Low-slung disco rhythms and decomposing house loops are saturated to the point where the ‘mistakes’ are more of a focus than any more tangible composed elements. This is handled expertly, and what could in the wrong hands emerge as jump-cut slapstick ‘noise’ lands in territory we’re happy to visit again and again. One for low lights, late nights and fans of any of the aforementioned artists – miss this at your peril.

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The Living Room - Armchair Education (2013)

The Living Room - Armchair Education

Orlando Voorn aka The Living Room is one of the first Dutch musicians to establish a vital connection between Detroit and Amsterdam in the early 90’s. Voorn has long been recognized as one of the Netherland’s most original and ingenious producers in the world of electronic dance music. He began DJing at the early age of 12 years old and later went on to win his first scratch competition at Amsterdam “Club Flora Palace”. Subsequently he made a name for himself under the alias “Frequency” with a classic label known as Lower East Side Records with titles such as “Where is Your Evidence” “Kiss the Sky” and “Industrial Metal”.

As a result of these tracks Voorn was introduced to Juan Atkins and they later started to collaborate & produce tracks together at Voorn’s home studio.Soon after they would join forces and produce the well know track called “Game One” which became a classic record on Atkin’s label “Metroplex” and later it reprised on Voorn’s imprint “Nightvision” double CD Compilation 1996.

Voorn also did recordings for a legendary Detroit label “KMS” an imprint of Kevin Saunderson using yet another alias known as “Fix” where he created a dance floor destroyer track called “Flash” which remains in many DJ’s crates at this moment. “Flash” became a hit in the Detroit clubs first before the record had broken out internationally. Voorn has a well know history of working with Detroits originator’s including Derrick May’s imprint “Fragile” under yet another alias “Complex” entitled “Midi Merge”.

For his latest album under the guise of the Living Room Voorn showcases his more gentle Ambient Techno side on ‘Armchair Education’ 

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??? às 12:39

Geisha - Further / Closer (2013)

Geisha - Further / Closer

Dublin-based electronic act Geisha are to release their debut album on Psychonavigation Records this autumn. “Further / Closer” will be available as a limited edition CD, and is available from iTunes and other good digital stores from 28th October.

Geisha is Robert Crosbie, best known for his work with Dublin indie act The Riot Tapes. Robert formed Geisha in 2007 and signed with Dublin label Psychonavigation Records in 2013 to release “Further / Closer”.

The album features ten songs, ranging from the complex beats and stentorian strings of the near-title track “The Further Away We Are, The Closer We Appear”, and “The Eternal Light”, to the gentle ebb and flow of “Mexico”. Along the way, there are disjointed voices, jazzy electric piano, deep bass frequencies, analogue synths, bells, and heavenly choirs. The album takes the listener on a journey, ‘further’ from where they started out, yet remaining ‘closer’ to a human sound, as all of the tracks feature guitar, piano, and other live instrumentation.

Most of the tracks establish a theme before veering off into uncharted territory. The concept of travel is evident in tracks like the jazz-fusion influenced “Outbound Travel Sequence” and the cosmic “According To The Map We’re Right Here”, before slipping into the deep ambience of “Slowly The Universe”. “H20” features an intriguing septuagenarian vocal sample, and “Beteu” has a classically based piano figure augmented by heartbeats, backwards guitars, skittering percussion, and harps. “I Thought If I Continued This Way I Wouldn’t Be Able to Stop” arrives fully formed, but eventually gives way to an ambient wash, with football crowd noises and a robotic spoken word section.

The album will appeal to lovers of both downtempo electronica and experimental music; as for influences, Robert says “Susumu Yokota, The Orb, Seefeel, The Beatles, Boards of Canada, Air, Miles Davis, Stockhausen, Brian Eno and King Crimson are all artists who’ve influenced me, and my wish was to mix together everything I loved about them, to come up with something unique, that hasn’t really been done before. It’s making electronic music organically.”

The sound of Geisha is truly an original one.

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??? às 11:54

Sigur Rós - ( ) (2002)

Sigur Rós - ( )

"( )" is the third full-length album from Icelandic band Sigur Rós, first released in October 2002. It comprises eight untitled tracks, divided into two parts: the first four tracks are lighter and more optimistic, while the latter four are bleaker and more melancholic. The two halves are divided by a 36-second silence, and the album opens and closes with a click of distortion. Lead singer Jón Þór Birgisson ("Jónsi") sang the album's lyrics entirely in "Hopelandic", a made-up language consisting of gibberish words. "( )" reached #51 on the Billboard 200 and was positively received by critics, although some reviewers found the album weaker than the band's previous album Ágætis byrjun.

The album was co-produced and engineered by Ken Thomas, who also worked with the band on their previous album, Ágætis byrjun. This is the first album Sigur Rós recorded at their studio based in Álafoss, Mosfellsbær, a small rural town outside Reykjavík, Iceland. The band refers to the studio as "Sundlaugin", or "The Pool". "( )" includes the work of the female string quartet Amiina.

"( )" was given more production and recording time than Ágætis byrjun, although lead singer Jónsi considers the new album "less polished" than its predecessor. He characterized the record as being "much more bare and alive and there are far fewer little slick things and much less sweet stuff." The strings of Ágætis were recorded in just two days, while two weeks were given for their recording on "( )". In addition, the former was performed by the Icelandic Symphony Orchestra, while the latter was done by Amiina. Because of this, the string parts required less preparation prior to recording. The band "just let them 'jam' in the studio until everybody was happy", according to Jónsi.

Pitchfork Media placed "( )" 29th on its list of the fifty best albums of 2002, and 135th on the a list of the top 200 albums of the 2000s. The album also peaked at #51 on the Billboard 200. A music video for "Untitled #1" directed by Floria Sigismondi was released in April 2003. The video depicts a dystopian future in which schoolchildren wearing gas masks are playing amidst black snow and a red sky. In November 2003, Sigismondi's video was given the award for "Best Video" at the MTV Europe Music Awards in Edinburgh, UK.

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??? às 11:30

Wanda Group - Masculinity Is A Wonderful Thing (2013)

Wanda Group - Masculinity Is A Wonderful Thing

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Wanda Group - Get Hypotenuse or Tense (2013)

Wanda Group - Get Hypotenuse or Tense

PAN YOUR STEREO MORE TO THE RIGHT

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Ben Sims - Spectrum (2013)

Ben Sims - Spectrum

Class techno tools from Ben Sims, backed with a smart Marcelus remix. Sims' originals work a tuffer vein of driving 909s and white noise on 'Spectrum' and a drilling alarm coda on 'Orbit'. B-side Sims goes deeper with the tunnelling modulations of 'Power Surge' and Marcelus provides a cool counterpoint with the Parisian techno-house swing of his 'Spectrum' remix.

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Cupp Cave (aka Ssaliva) - NVMB (2013)

Cupp Cave (aka Ssaliva) - NVMB

"Leader of the new wave of Belgian artists; Cupp Cave unleashes his first set of tracks since last years mini album Retina Waves. NVMB is more focused and dancefloor friendly than his previous releases."

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Gesellschaft Zur Emanzipation Des Samples & Jan Jelinek - Temple (2013)

Gesellschaft Zur Emanzipation Des Samples & Jan Jelinek - Temple

'Temple' is the final installment in Jan Jelinek's series of four vinyl compilations that bring together the wide variety of his music: commissioned works, live recordings, collaborations with other musicians as well as unreleased material from the last five years. Temple stems from a collaboration with French-Canadian choreographer Sylvain Émard. Temple is a re-worked excerpt of the music for the dance piece Fragments – Volume I and is a 10 minute drone work that builds from nothing more than an electronic buzz into a noisy analog piece along similar lines to Miles Whittaker's Suum Cuique project . Over on the flip, Jelinek's Gesellschaft zur Emanzipation des Samples (G.E.S.) welcomes a new member. Helmut Schmidt assembles collages of Messian and Debussy (or is that Bach and Milhaud?), which are once again played back in public spaces and recorded anew. A backdrop of gambling unites the recordings: the playback locations chosen by Helmut Schmidt are Geneva, Baden-Baden and Bad Homburg. A triumvirate of bourgeois casino tradition.

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Richard Skelton - An Ash-Tree Which the Ignorant Call Holy (2013)

Richard Skelton - An Ash-Tree Which the Ignorant Call Holy

ARCHIVAL is a series of digital music editions of Richard Skelton's work - primarily comprising previously unpublished recordings, but also alternate versions and new reinterpretations of the music he published via Sustain-Release between 2005 and 2011.

The series consists of high quality digital releases available in a range of formats (including 320kbps MP3, FLAC, Apple Lossless and AAC). Customers can either pay per release, or subscribe to a fixed number of releases at a discounted rate. Subscribers will receive an email with a download code when each new release in the series is published.

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??? às 07:06
Quarta-feira, 30 de Outubro de 2013

Monolog - 2 Dots Left (2013)

Monolog - 2 Dots Left

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L. Pierre - Touchpool (2005)

L. Pierre - Touchpool

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Harold Budd & John Foxx - Translucence / Drift Music (2003)

Harold Budd & John Foxx - Translucence / Drift Music

Translucence/Drift Music is a double studio album by American ambient musician Harold Budd and English musician and graphic artist John Foxx, which was released in August 2003. Budd and Foxx had long been engaged by the other's work, eventually working together in 1996.[2] These two discs are a record of those sessions.

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Kim Hiorthøy - Melke (2002)

Kim Hiorthøy - Melke

Melke is less odds than sods since it's a catch-all record for Kim Hiorthøy that nevertheless captures plenty of the Norwegian cut 'n' paste operator's coolest tropes. Over 13 B-sides, comp cuts, and the like (some topping out at money's-worth lengths like eight and ten minutes), Hiorthøy explores ambient reflecting pools stippled with pinprick percussion raindrops. "On Sun Day"'s rhythms click on two or three different rhythms as layers of keys meander in the depths; more sputtering beats decorate the surface of "Doktor Warson-Trikset," which carves new melodic shapes from existing jazz horn samples. Later selections like "Ready 4 Love" or the lengthy "Nu Kommer Cathrine Inn, Hon Lutar Sig" incorporate mild experimental techno, the latter tracking a sleepy phone conversation over chattering electronics and quiet breaks suggesting little parcels of dreams. Melke also includes mixes of other Smalltown Supersound notables. Hiorthøy accelerates Monopot's slow-motion treatise "Sane" with his usual beat detachment, but saves one of his most hard and direct percussive statements for Jaga Jazzist's "Going Down." The original's solitary guitar figure remains, but it plays out over a steady techno pulse, interrupted periodically by what sounds like a rusty, creaking gate opening and closing. The result lands quite a ways away from the expressive warmth of Jaga's Livingroom Hush, but it points to the restless nature of Hiorthøy and his peers. They're unwilling to let the music rest, even though the material they create is inherently smooth and inviting. 

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Leaf - 51°37'35"N8°42'05"E (2013)

Leaf - 51°37'35"N8°42'05"E

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Blue Daisy - An Emperor's Tale EP (2013)

Blue Daisy - An Emperor's Tale EP

**A beautifully impressionistic suite from shadow-dwelling producer, Blue Daisy. Imagine RZA and Burial meets wanda Group and you're kinda there** "This is the story of an emperor who fell prey to the idle hands of evil doers. The journey through pain and tragedy that a great man incurs in life. The emperor’s late wife bore one child, a boy, the emperor’s only son, the next to fulfil the emperor’s position once deceased. But, this fulfilment was not destined to be accomplished for on a day that bore the characteristics of grey clouds and stormy waves the emperor’s life was to drastically take a step further into the tragic paths of death. Six parts of the story, made in six hours."

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Celer - Climbing Formation (2013)

Celer - Climbing Formation

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Wanda Group - Outer Alsatian EP (2013)

Wanda Group - Outer Alsatian EP

More intriguing moves from Louis Johnstone's WANDA GROUP, this time presented on Gold Panda's Notown label. Something of an increasingly cult figure whose music follows few known vectors or conventions, WANDA GROUP's inner space sound beguiles and gratifies in equal measures on 'Outer Alsation EP'. Unlike so much music that sounds like you've heard it all before, there's a real sense of temporal dislocation and downright oddness at play here that feels genuinely otherworldly, undefined and new. Following a morbid theme throughout his oeuvre, both pieces were conceived as elegies to his dearly departed dogs, convecting intangible ambient motifs and tape-screwed vocals in a filter-clogged sound-sphere. Everything is dreamlike and surreal, opiated and just-out-of-reach, in constant flux and defocussed.

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??? às 08:16

Tuxedomoon - At Twilight (2013)

Tuxedomoon - At Twilight

An anthology of classic Crépuscule singles and associated recordings by Tuxedomoon, the exiled American avant-gardists who recorded for LDDC between 1981 and 1983.

At Twilight includes all tracks from the three vintage singles Ninotchka (TWI 055), Time To Lose (TWI 084) and The Cage (TWI 142), as well as rare compilation tracks including Shelved Dreams and Weihnachtsrap, the latter recorded for festive album Ghosts of Christmas Past (TWI 058). Also included in the haunting opening theme from The Ghost Sonata, an 'opera without words' performed by the group in Italy during the summer of 1982, while the set closes with the final three song demo with Blaine L. Reininger before his (temporary) departure in 1983.

The cover art is based on the poster for TWI 142 by Patrick Roques, the designer responsible for several other classic TM sleeves including Half Mute and Desire. The deluxe six panel digipack and booklet also feature archive band images, sleeve art and poster designs.

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Recondite - Waldluft (2013)

Recondite - Waldluft

Dreamy, minimalist Tech House w/ Skudge version

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??? às 07:03

Various Artists - Achtung! German Grooves (1997)

 

Various Artists - Achtung! German Grooves

Any number of compilations in recent years have worked to exhume the simultaneously slick as hell and utterly weird amount of German funk recordings that flooded their home market in the late '60s and early '70s. Achtung! German Grooves provides another dollop of this with liner notes, clear sound, and more, though admittedly a lot of the fascination with this material lies in how well they ape American efforts in particular -- which tends to make one want to listen to that instead. But Achtung! does have a big advantage in that all the offerings are strictly instrumental, meaning that there's no schlager-style awfulness clogging up the performances (as anyone who has heard such things can testify, a little goes a long way -- too long). Familiar names abound in this compilation, including Peter Thomas and James Last, while plenty of new or at least fairly obscure ones crop up. The end result is one long romp through sounds that practically beg to be soundtracking the opening credits in contemporary wacky spy movies or bizarre sex comedies (or, as is likely the case, both). Nearly everything has a clean precision that may seem antithetical to funk as such, but if you take the principle that Kraftwerk were so stiff they were funky, most everything on here makes a lot more sense as a result. The secret weapon nearly song for song and artist for artist are the horn sections -- hyper-frenetic, slow and sassy, somewhere in between. Meantime, nearly every selection has a strange curve ball somewhere in the middle -- the whizzing synth noises collapsing into a sweet flute melody on Gerhard Narholz's swaggering "UFO Invasion," Thomas' killer touch at adding a swooping string section to "Chariots of the Gods." At worst, selections are pleasant-sounding time-killers that inevitably call '70s cop shows to mind; at best, they're insanely great.

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Terça-feira, 29 de Outubro de 2013

Ulwhednar (Abdulla Rashim, Varg) - LP (2013)

Ulwhednar (Abdulla Rashim, Varg) - LP

Mastered by Neel at EnissLab, Rome

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LBNHRX - Tales From The Moustache (2012)

LBNHRX - Tales From The Moustache

lbnhrx has decided to tackle the topic of #hair head on with his first opus: “Tales From The #Moustache”. I find the subject an interesting one, as it’s rather exemplary of our day and age, and an already widely debated issue among many of my generation: the growing trend towards the eradication of all bodily #hair. It’s true - we live in a #balding @world.

I personally have always felt ill at ease when confronted with a #hairless @cunt. Although a #bald @pussy may be more practical when indulging in #cunnilingus, I find the presence of an even merely symbolic amount of pubic hair on a woman more becoming. It connotes sexual maturity, and - hopefully - with this maturity comes experience and a better understanding of the proper functioning of the chosen sexual partner. I’ve always assumed this to be beneficial to all persons involved. Partisans of the #shaved @box approach propose aesthetic arguments to defend their position, but that kind of argument really just puts an end to any form of discussion whatsoever.

Perhaps it’s generational. I grew up thumbing magazines - which you must admit is a more of a feat with one hand than clicking on a mouse - in which women were naturally “endowed”. Now one has to go to the “fetish” section to find women with pubic hair, somewhere between #GILFs and #lactating #midgets, confined to a niche category, when they’re initially a common denominator. If you’re looking for a #lactating #midget WITH a #hairy #pussy, it’s practically an impossible request, cross-niche pollination obviously being “haram” in the pornographic realm, or limited to intrepid adventurers.

In most times and most places, facial hair - on a man - and pubic hair - in general - were symbols of adulthood and sexual maturity and worn proudly. Today we see a general trend towards hairless bodies. If not you can’t really aspire to being one of the “beautiful people”, and will be restricted to a specialised sub-category [and if you're lucky represented by a mono-thematic "defence" group].

I’ve always hated the term “beautiful people”. People aren’t #beautiful; at best they’re #attractive. People are generally #ugly, and life isn’t exactly a walk in the @park. I’d be worried if my life could be summarized by the calculated #disorder with which I align my #fashion magazines on my #designer coffee table. I actually like the fact that my #shit stinks.

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R. Stevie Moore - Burst Upon The Scene (2013)

R. Stevie Moore - Burst Upon The Scene

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Moskitoo - Mitosis (2013)

Moskitoo - Mitosis

“2007 saw the album debut of Moskitoo with 12k’s Drape (12k1041). Since then, Moskitoo (Tokyo’s Sanae Yamasaki) has been busy performing live, recording and releasing new work (including sound/voice for Japanese media/television and iOS apps) and expanding her talents as a visual artist in Japan. After six years of growth as an artist she presents her sophomore album, Mitosis. Mitosis begins with “Wonder Particle,” a track that very much sums up Moskitoo’s intentions: to embrace the digital with not only a human, but a distinctly feminine touch. Wispy, layered vocals swim around rhythmic fragments and warm insect-like noises. The music is strange and otherwordly, perhaps the soundtrack to an evening stroll on a warm night in a bustling alien city. There are lights, swarms of sound, a myriad of conversations blended by a thousand different stories of passers-by always on the move. The inspirations behind this second album are not far away from these ideas. Moskitoo herself was thinking of journeys, even ones on the cellular level. Mitosis, or the division of a cell into two identical sets of chromosomes, was a point of departure for Moskitoo as she explored the ideas of division, expansion, the human body, and small particles of matter. One can draw a correlation between these ideas and her music as it nervously wiggles it way through sounds both liquid and electronic. Mitosis is a dreamy, playful and serious album that shows Moskitoo’s talents as a sound explorer and songwriter. It is at once both catchy and curious, a question that doesn’t always need an answer.

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??? às 13:23

Soviet Soviet - Fate (2013)

Soviet Soviet - Fate

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Avatism - Adamant (2013)

Avatism - Adamant

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Jonwayne - Rap Album One (2013)

Jonwayne - Rap Album One

Jonwayne's rap album featuring Jon on the raps and on the beats, with Scoop DeVille, Zeroh, D-Styles, Mndsgn. The record cover is a cracker. Mixed & mastered by Daddy Kev. Design by Jeff Jank.

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??? às 10:59

Mount Kimbie - CSFLY Remixes (2013)

Mount Kimbie - CSFLY Remixes

**Includes bonus track 'You Took Your Time (Oneman Remix feat. Jeremiah Jae)'** Kyle Hall, DJ Koze and Lee Gamble rework Mount Kimbie for alternate dancefloor dimensions. 313 hotshot Hall really impresses with the sexy, psychedelic Detroit overhaul of 'You Took Your Time', working a healthy dose of tracky Chicago drive and swing under his woozily late night, orientalist keys and chord arrangements. On the flip, DJ Koze gives a sublime take on 'Made On To Stay' cushioning lip-smacking ambient-pop pads and pinging delays with a elegantly supple tech house groove leading up to a neat use of the vocal in latter parts. Lee Gamble's is the most obtuse and far-out, diffusingelements to the periphery of the mix sphere with canny sleight of hand for curious and subtly trippy sort of computerised beatdown techno.

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??? às 09:30

Ralph Alessi - Baida (2013)

Ralph Alessi - Baida

With 2013 heading into fall, it’s a good time to take stock of a label that has all too often been (falsely) accused of minimizing the country where jazz began. Excluding reissues, this year’s ECM regular series releases represent about thirty percent American leadership; given jazz’s increasingly global nature, hardly a bad number—and better still, when considering ECM’s qualitative consistency. From Chris Potter’s impressive label debut as a leader, The Sirens, to Craig Taborn’s boundary-stretching Chants, and Steve Swallow’s career-defining Into the Woodwork, ECM’s emphasis has never been about geographic location; it’s simply been about good music being where you find it. This year, in addition to superb music from Britain, Norway, Italy, the Netherlands and Poland, there’s clearly been plenty of great music coming from the lower 48—and especially from New York City.

Add to that list Baida, Ralph Alessi‘s ECM leader debut. The trumpeter’s first—and, until now, only—label appearance was on Michael Cain’s below-the-radar Circa (1997), but he’s gradually built a small but significant discography as a leader and been in-demand on recordings by everyone from Uri Caine and Scott Colley to Drew Gress and Joel Harrison. Gress is, in fact, Alessi’s bassist of choice for Baida, which reconvenes the same quartet responsible for all but two tracks of Cognitive Dissonance (Cam Jazz, 2010), an album that raised a very germane question: why is Alessi not as established a name as contemporaries like Dave Douglas (the two literally born 19 days apart)?

The primary answer is likely Douglas’ forward-thinking business acumen with his Greenleaf imprint, resulting in a considerably higher profile; Alessi, on the other hand, seems strictly about the music. But what wonderful music it is. Alessi can, at times, lean towards the cerebral, as he does on “Gobble Gobblins,” revolving around pianist Jason Moran’s relentless chordal pulse, with drummer Nasheet Waits (making his label debut) entering tightly with Gress, a military march slowly opening up to greater expressionism beneath Alessi’s virtuosic tendencies and bright, burnished tone. Things unfold even further when Moran—who, in the past half decade, has delivered some of his best performances on ECM recordings by Charles Lloyd, Paul Motian…and now, Alessi—expounds on his written part with furious aplomb, Gress assuming a relentlessly contrarian role that somehow glues the whole thing together.

Alessi proves capable of greater melodism with a gently contrapuntal trumpet/piano duo that introduces the balladic “Maria Lydia.” Still, slow doesn’t always mean lyrical, as the two versions of “Baida” that bookend the record are delicate but dark and ever-so-angular, with Alessi’s embouchure, mute and plunger creating near-vocal articulations, even as Moran’s pointillism ebbs and flows over Gress and Waits’ rubato support. “Chuck Barris,” on the other hand, grooves with rhythmic complexity, Alessi’s brighter tone engaging empathically with Moran’s blockier responses.

Moving to ECM and relinquishing the producer’s chair to Manfred Eicher both contribute to Baida representing Alessi’s long overdue arrival. More open, more translucent and somehow more intrinsically pure, Baida welcomes Alessi to a label whose instinctive ability to find and draw out good music where it lives remains both unparalleled and fundamental to its ongoing success and reputation.

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??? às 08:53

Go Hiyama - Exfoliate (2013)

Go Hiyama - Exfoliate

Go Hiyama is back with this tremendous artistic release. From industrial to ambient, this EP includes a lot of aspects of Go and even his electronica focused project, LiSM. Don’t worry, there’re floor killer tracks inside, so this whole EP is more like an almighty treasure box. HueHelix never stops providing cutting edge output, stay tuned.

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??? às 07:07

Black Devil Disco Club - Black Moon White Sun (2013)

Black Devil Disco Club - Black Moon White Sun

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Invisible Path - The Levitating Mirror (2013)

Invisible Path - The Levitating Mirror

**Immersive, mysterious new age-y synth zones and knackered ambient techno, strongly tipped to fans of Sand Circles, 1991 or Andy Stott** "The billowing, cloaked drones of Michael Bailey's low-burning Invisible Path have always felt a bit out of step amidst the tweeting, energy drink-sponsored hustle of the L.A. music scene, which is perhaps what's allowed it the freedom to ferment and fortify into such a singular, vibrational force. Past shows staged in pure darkness with bowed gongs and vibrational amplifier worship hinted at the potency of the project but nothing in the IP oeuvre prepared us for the enveloping, textural infinities and planetary pulsations of The Levitating Mirror. Translucent electric mists undulate while sub-bass synth heartbeats throb sparsely and a distant, clanging metal metronome reverberates in the sky. The submerged rhythmic dimension of these pieces gives them a fascinatingly shadowed sense of motion, like some obscenely abstract ambient techno record pitched to 12 BPM. The mood moves from meditative and mesmerized ("Unraveling Threat Of Light") to drugged and dissolved ("Escaped Into The Mist," "Decompression") before plummeting to industrialized, subterranean blackness ("Descension"). One of the most transportive headphone bio-domes we've heard in multiple years, hands down. Plug into the Path."

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??? às 06:41
Segunda-feira, 28 de Outubro de 2013

Basic House - Oats (2013)

Basic House - Oats

"Opal Taper, Stephen Bishop's intrepid Basic House project is steadily becoming one of the most fascinating off-road electronic projects around. 'Oats', for Luke Younger's highly esteemed Alter imprint, places him in good company alongside textural and rhythmic explorers such as Jamal Moss, Helm and Damien Dubrovnik. It's his 2nd album of 2013 after the crumbling deconstructions of 'Caim In Bird Form' for Digitalis, and finds his sound at once congealing and diffusing with a unique sonic syntax. Textural decay demarcates its six tracks, flowing from the buckled tape loops and guttural bass thump of 'AR II' to the soiled grunge techno of 'Child Confession' by way of a trans-temporal fag break of porno lite keys and a gasping vocal fragment before heading back into the concrète workshop ambience of 'Interiors' to close the first side. On the second, 'Est Oan' features a chamber group of swirling shapes and acephalic voices, before the grotty expanse of 'B.G. Feathers' crackins with distortion before the sinkhole of 'Dry Contact' slowly swallows its contents in a gurgling muck soup. Like any good and properly *new* music, Basic House is breaking down convention and rebuilding new forms with each subsequent release..." 

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Michaela Melián - Los Angeles (2007)

Michaela Melián - Los Angeles

Two years on from her acclaimed debut album, Baden-Baden, Michaela Melián now returns with a wonderful new long player, Los Angeles. When Michaela Melián is not working on her multi-media art, participating in exhibitions or playing bass in, probably the best German band ever, FSK, she is also busy composing and producing her own solo recordings.

The mood on Los Angeles is noticably more subdued to that of Baden-Baden - its slow building beats made it a crossover hit and even won over many fans in the DJ community. L.A. on the other hand, is almost completely devoid of said beats, there is a mere sprinkling of electronics, and yet it has no less of an impact. The focus may be on drones and slowly shifting ambient soundscapes, but this is powerful music that will touch you deep within. Classicaly trained musician Melián, again plays a wide array of instruments including violoncello, spanish guitar, ukulele, bass, organ and melodica. And again she has been assisted by fellow FSK member, Carl Oesterhelt, on electronics, programming and production. The impression that Los Angeles gives is intensely poignant. For instance, the heartwrenching and sombre track Föhrenwald, which is taken from Melián’s award winning radio play of the same title. Other compositions, such as Buchberg and Stein, take the shape of loop-based ambient tracks. While Stift is a charming journey through a land of pizzicato strings with an oriental influenced melody. Like Baden-Baden, Los Angeles ends with a cover version of a Bryan Ferry song, Manifesto – a nice touch which shows the pop roots of this highly evolved sound.

It’s a long way from the German town of Baden-Baden to the American city Los Angeles. And Michaela Melián has covered a lot of ground on her sonic journey from the one album to the next. Of course, the cover artwork is by Melián herself which just makes this more of a Gesamtkunstwerk and adds to the overall coherence of the album.

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Rachel's - Systems/Layers (2003)

Rachel's - Systems/Layers

The experimental avant-pop trio Rachel's fifth release is a collaborative dance/theater piece with the New York ensemble Siti Company. The predominantly instrumental Systems/Layers follows eight characters through one day of their lives in the city, relying on urban field recordings and the distinctive subway chamber music of the group to tell these stories. The melancholy strings and plaintive piano on the beautiful "Water From the Same Source" weep with a reverence for their subject that permeates the record as a whole. These mini-films feel like rainy mornings, and the listener can almost smell the diner coffee while hurrying through pockets of cigarette smoke and bakery truck exhaust. The quietly frantic "Arterial" descends into a swirl of spoken billboard ads before replacing its frenzied piano with cellos on the taut "even/odd." Carousels and ice cream trucks provide the backdrop for curbside greetings, and buzzing electrical poles warm pigeons outside the day shelter as the band nears the end of the workday. Imaginary credits roll as the solo piano album closer "NY Snow Globe" gently unlocks the front door of your apartment, leaving a trail of footprints that beg to be retraced. Like David Byrne's underrated orchestral epic The Forest or Philip Glass' Koyaanisqatsi, Systems/Layers is cerebral and human, transporting you without insulting your intelligence.

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??? às 21:25

Om Unit - Threads (2013)

Om Unit - Threads

Threads is the debut album from London producer Om Unit, to be released on Civil Music on 28th Oct 2013.

While this is a debut full length for Om Unit, real name Jim Coles, it is in fact the producer’s fourth studio album, following from work in the 2000s under the name 2tall. Having reset the clock on his artistic output in 2010, Coles has spent the past three years refining a unique sound as Om Unit via collaborations with Machinedrum on Planet Mu, releases on Goldie’s Metalheadz, dBridge’s Exit Records and Civil Music, his own Cosmic Bridge label and the short-lived Phillip D. Kick alias that fleshed out the links between Chicago’s footwork, jungle and slow/fast. The confluence of all this work takes full flight on Threads.

Across its fifteen tracks Threads articulates Om Unit’s musical journey from his beginnings to the present. It references his hip hop background, in the swung out, hypnotic headnod of ‘Wall of Light’ and the positive message of ‘Just Sayin’’, a collaboration with the mysterious Gone The Hero, (who will be stepping out of the shadows on Jneiro Jarel’s Label Who imprint in 2014,) and touches on the music that has impacted him in recent years such as dubstep, the bassweight of which anchors the album. Dubstep’s influence is most obvious in the eyes-down roller ‘Nagual’ and the deeply emotive ‘The Silence’ featuring vocalist Jinadu. There are also hints of slow-mo house’s chug, a sound Coles first experimented with upon taking the Om Unit name. It’s this slow groove that drives the spellbinding ‘Patients’ featuring Young Echo’s MC Jabu, who gives life to the beat with poetic raps, and it’s also central to the 2013 reworking of ‘The Corridor’, a track from the first Om Unit release. Here Coles slows the original’s key elements down even further while managing to keep all the slow moving, hypnotic magic of the original.

Lastly, and perhaps most importantly, the album is grounded in Coles’ junglistic roots, a relationship that has driven much of his recent output and DJ work. Here it takes on its most refined form yet, equally apparent throughout but obviously manifested on the most dancefloor friendly tracks: ‘Jaguar’, ‘Wicker and Pearl’ and ‘Governer’s Bay’. These three tracks close the album but not before one more parting shot, the deeply meaningful ‘The Road’ featuring London’s urban poet, and legend, Charlie Dark.

A key part of the Threads experience is how the tracklisting presents the music, balancing introspective and energetic moments, instrumental and vocal. While stand out moments can be picked, as they are sure to, Threads is an album that works best when the listener lets him or herself be guided by its creator.

It is perhaps cliché for a label to claim that their next release is a standout, or even a classic, record yet Coles’ maturation as a producer over the past decade has allowed him to synthesise all these influences and references into something coherent and unique that takes the listener on a personal yet accessible journey. As such Threads truly feels like it has that classic potential.

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Kraftwerk - Man-Nature-Technology (2013)

Kraftwerk - Man-Nature-Technology

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Matt Thibideau & Jakob Thiesen - Faux Fruit (2013)

Matt Thibideau & Jakob Thiesen - Faux Fruit

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Sano - Sano (2013)

Sano - Sano

Cómeme's Colombian badboy brings a taste of his 'Perro Negro' parties in Medellin full of "thieves, guerrillos and prostitutes" to his debut album. Essentially, Sano's sound is Salsa dosed on lysergic fructose, synching a unique swing between wavey synthlines, discoid bleeps and sub-heavy, robosexual machine groove. His pals Los Malos, Diegors and Daniel Maloso from the Cómeme family all appear over its ten tracks variably running from stripped down numb-but-kinky EBM shuffle on 'Anestesia' to uptempo cowbell grooves on 'Contoneate' and raw, coked-up techno muscle on 'Boquerón' or darker New Beat thrust in 'Necrophilic Love'. Exoticos!

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??? às 13:56

Juana Molina - Wed 21 (2013)

Juana Molina - Wed 21

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Emptyset - Recur (2013)

Emptyset - Recur

The pair have now announced their third official album, Recur. The record will mark the pair’s first full-length venture for Raster-Noton, and sees the pair testing sounds to their limits, making creative use of “compression and rarefaction and the forcing of signal thresholds to their critical point.” 

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??? às 12:44

Various Artists - Ghostly International SMM: Opiate (2013)

Various Artists - Ghostly International SMM: Opiate

"SMM: Opiate is the second release in Ghostly's SMM series, which is an ongoing exploration of the evocative possibilities of sound, with a focus on classical minimalism, electronic and drone composition, film soundtracks, and fragile imaginary landscapes. Opiate is the follow-up to 2011's SMM:Context, and as with that record, it's a carefully chosen selection of music, compiled over some two years from around the world. The record opens with Simon Scott's "Water Shadow," a luxuriant piece of beatless ambience that's like a wash of warm water or the first touch of the summer sun on your face after a long, cold winter. It's a warmth that doesn't last, though — "Ti Prego Memory Man," by A Winged Victory for the Sullen, is no less beautiful. It's a stately, alpine beauty, its chilly sounds a harbinger of things to come. Celer's "Nothing So Mystical" is more minimal still, while Black Swan's "Passing Heartbreak" brings whispers of humanity, its sound coalescing out of an atmospheric whirl of vocal textures. The wryly titled "This Is Radio Sweden," by Jim Haynes, is all brooding background noise that's shot through with what sounds like an old-fashioned telephone engaged tone, a track that seems shot through with connotations of absence and loss. EN's "White" is both somber and somehow transportive, setting plucked chords from what sounds like a banjo over a glistening synth figure, while Pjusk's "Dorsk" slows to a sort of stasis, with only the faintest of basslines to indicate any sign of life. Fieldhead's "37th" is like a slow, mindful from such a reverie, and Noveller's "Bright Cloud Blooms" brings the cycle to a close with another brief flush of precious warmth. As a whole, the compilation seems to follow a narrative arc, descending through a series of stages into near-complete stillness, and then slowly ascending back to where it began. As a whole, the experience is certainly evocative of the opiated sensation evoked by the record's title — but really, it's a compilation that invites you to find your own meaning in it, or simply to appreciate the beauty of its music and escape the world for a while."

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??? às 11:32

DeepChord - Prana ⁄ Tantra (2013)

DeepChord - Prana ⁄ Tantra

“Prana” features slowly building percussion, icy high-end, and minor chords on the upbeats, but while the constituent parts of dub techno rarely change, it’s immediately apparent when a particularly exceptional slice of the stuff lays in front of you. “Prana” is quite a bit brighter and more swinging than we usually hear from Deepchord, but few would mistake it as anything but Modell’s work. Its kick drums and sub-bass lines entangle just so — the same of which applies on “Tantra.” “Tantra” is more subdued in its approach, but as delayed elements pan around the stereo field and samples swell in the background its hard to think of anything else more hard-hitting. Like any good yoga class, Prana/Tantra hypnotizes with its physicality and its contentment to just let a good thing be the way it is. It may not try to rewrite the playbook, but Prana/Tantra has lately been the first thing I reach for when needing to escape to another place for 20 minutes.

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Various Artists - Il Pergolese (2013)

Various Artists - Il Pergolese

Il Pergolese pays tribute to 18th century composer Giovanni Battista Pergolesi (1710 1736), and considers his relationship to the art music and the popular music of Naples, from a highly contemporary perspective. The text of the Stabat Mater translated into Neapolitan by Maria Pia De Vito and the opera arias, are transformed into songs and vivid narrative, open frames providing the key to reinterpreting Pergolesi. François Couturiers arrangements widen Pergolesis structures, offering space for improvisational interaction. But this is a real group project, a discourse among acoustic sounds, with rhythms of drums and metals, and sampled and real-time electronics. Sound textures grow dense with the richness of instrumental counterpoint or are set free in electronic soundscapes and along coloristic, percussive lines, as cello becomes voice or voice becomes an instrument. The project was commissioned by the Festival Pergolesi-Spontini of Jesi in 2011. The present version was recorded in Lugano in December 2012, and produced by Manfred Eicher.

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??? às 09:24

Fuck Buttons - Brainfreeze (2013)

Fuck Buttons - Brainfreeze

ATP Recordings are proud to announce the worldwide release of Fuck Buttons' 2nd single from their critically acclaimed 3rd album 'Slow Focus'. Backed by brand new b-side 'Royal Flush'.

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