Vort's debut EP on E-Beamz straddles finely between the Electro/Jungle spectrum. 50 Yen is a atmospheric electro track that could be direct from a 1980s SciFi film, whilst Silverlight leans more on the melodic side of breakbeat electro. Rainfall is pure euphoric jungle rave (all about the second drop) and Tulip is a lushful electro/jungle mix that perfectly concludes the diverse textures from the EP.
a1. Vort - 50 Yen
a2. Vort - Silverlight
b1. Vort - Rainfall
b2. Vort - Tulip
Horsepower Productions - Reefer Max / Phantasy Rush
Following a smasher from Sully earlier in the year, the third installment in the Foxy Jangle series features two blistering jungle anthems from Tim Reaper, featuring a collab with legendary producer, Sonar's Ghost.
On"Pony", Reaper and Sonar's Ghost, channel the heat of an early 90s dancefloor straight into the 21st century. Synths, breaks, old skool sampling and an iconic acidic piano riff feature strongly on a track brimming with smiley-faced energy.
On the flip, Reaper releases a no-holds-barred amen onslaught on "Fridge Magnets". A bed of heavy sub bass provides the foundation for a masterclass in Junglistic drum programming. Hold on to your hats!
Original artwork provided by Dublin graffiti artist, Cisto.
a. Pony (feat. Sonar's Ghost)
b. Fridge Magnets
Üdytü Ützeltürk & His Male Harem - Kairo / Kozak2000 (inc Boris Dlugosch Edit)
A holy grail of European electronic dance music, and a classic at the Italian disco scene and Hamburg’s Front club alike (you might have heard it on their recent Mastermix), is finally available again. Produced in 1984 by two mysterious friends during a hazy studio session in the small town of Aschaffenburg, Germany, it is best described by Discogs member goulashdj as “a funny version of some Imam praying on top of an electronic Groove”, .“Kairo” is all you want from an oddball record: fun and funky, weird and wonderful. Featuring original vocals by one of the two friends, it seems to be offensive to religious fanatics and devout Muslims (you better watch, where you play out the original). Therefore, a philosophical advisory or religious warning: “No religion, god or believer was harmed during the creation of this record. We believe in the right to believe or disbelief in anything and everything that isn’t inhuman.” For safety reasons, it includes a persecution-proof instrumental version by Boris Dlugosch as well as the original B-side and completely atheistic “Kosak 2000”. And to close with Mark Twain: Man was made at the end of the week’s work, when God was tired.
This new LP is a beautiful series of time digger tracks that offer, each time, a meticulous and ethereal amalgam of chords and melodic motifs. They deploy themselves throughout a grand and playful dance, organically - but precisely - pulsing in the front line, transmuting from tone to sound and vice - versa, alternatively, gently.
The reverb guitar and dynamic drums might as well set up for a light - headed and nostalgic journey; however, one is seriously involved in a deep trip to holographically arranged music, radiance, into contemplative fragments.
Elongated tones and desynchronized perpetual chord canons get the forty-five minutes rolling, within which blurry strings and drum slide and extend. Composed chanting runs alongside cinematic melodies, and teach each other features.
Singing lines dissolve in soundscapes, soundscapes travel through digital and analog instruments to utter. Each track is the expression of its characters in certain aspects, it unfolds rather than develops, in such manner that melodies seem to have barely enough time to settle. What leads to take off is the actual take off, which makes it a true master piece for presence. Not one listen is - should be - the same.
Add to that a few ecstatic cadenza sneaking in the underlying and powerful classical music legacy in the otherwise adventurous, psychedelic ambient opus, and you’ve got your pass, visit eleven barometer portals to rimstones of vibrant matter.
Otto Johansson - Guitar, Synth, Electronics. Recorded and mixed at home - Winter, Spring, Summer 2017
Additional mix and pre-master by Linus Giertta - Fall 2017
Mastering Andy Miles @ Stardelta
Support: Norman Nodge, Golesworthy, Severino Panzetta, Tom Ravenscroft, Pathaan, Sean from Balamii and Benji B
On his debut album "Scattered Memories", the composer, musician and true master on the Iranian spike fiddle kamancheh SABA ALIZADEH blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran.
Born in Tehran in 1983 as son of the world renowned Tar and Setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH studied the Iranian spike fiddle with SAEED FARAJPOURY and KEYHAN KALHOR plus photography and later experimental sound art with MARK TRAYLEat the California Institute of the Arts, Los Angeles. His musical activities that lead him all around the globe for performances (a.o. at Carnegie Hall) branch into 2 different areas: on the one side ALIZADEH is a highly reputated virtuoso on his traditional instrument, on the other he likes to approach music from a more experimental / technological aspect in his electronic / electro-acoustic pieces.
This not being enough, he founded Noise Works in 2014, a platform and label for organizing experimental concerts and for the transfer of knowledge of music technologies among young Iranian musicians which makes him a central figure at the forefront of the current, very vivid Persian music scene that gained a lot of attention through artists like SIAVASH AMINI, PORYA HATAMI and of course SOTE who included a track by ALIZADEH on the compilation "Girih: Iranian Sound Artists" that he had curated.In 2018, ALIZADEH self-released his debut "Scattered Memories" on CD in Iran which now, in a reworked version, sees its deserved world-wide release as LP.
Over the course of 10 tracks ALIZADEH melts his 2 musical worlds into 1: tradition meets modernism, eastern sounds meet western production, folklore meets contemporary electronics. An album that will appeal to an open-minded "world music" audience as well as fans of current streams like ambient or drone in its most subtle forms.
03. Colors Wove Me in Teheran
04. Would You Remember Me
05. Elegy for Water
06. Scattered Memories
07. Ladan Dead End (Kamancheh Version)
09. Greetings to Earthfire
Beat Pharmacy - Density / Everything To Gain [7" Vinyl]
We are proud to present our second release by Beat Pharmacy AKA Brendon Moeller AKA Echologist, a singular voice in contemporary electronic, techno, and sound system musics in his various guises. Beat Pharmacy tunes begin life as live hardware jams where reverb, echo and delay rule the day, and rugged textures rub against digital processing.
In “Density,” bass, kick and heavily reverbed piano skanks anchor an instantly enveloping soundworld of deepest dubwise ambience. From around hidden corners emerge the hiss of distant pistons and valves, sentient machinery working in complex relationships. Wobbles, wubs and sweeps communicate across cavernous spaces, as strange rhythmic elements sputter and spatter, tangling and massing in double-time to the point of rupture, only to resolve into crystalline moments of suspension into gorgeous, neck-snapping drops. Simply mesmerizing, and heavy in the dance. “Everything to Gain” is spun from the same heavy metals, with a sparser feel, processed voice, and a buzzing, repeating alarm figure that sounds like a submarine warning that the dive is getting too deep, too dangerous…
Music that is moving, powerful, evocative and kinetic, slotting beautifully into 140 sets while defying easy categorization or description, always following vision over fashion. This is why we love Beat Pharmacy.
Rolando Simmons finally gets his first full EP at Analogical Force, and there will be more!. SD series pulses with a beauty and squelchy character all its own, from its foundations up, and we here are excited. For part one, the swedish producer has assembled 5 tracks packed with melody and melancholy, aching pads and grooving, punchy bass. Written by the lakeside, winter will be summer.