Debugger is a new project from Richard Knight examining the hazy area between late night headphones and early morning dancefloors. Based somewhere in the middle of natural beauty and urban decay in the North of the UK, Debugger creates a hybrid sound of artificial soul with a skewed groove. Making inorganic sound sources seem natural and organic sound sources seem synthetic; the outcome is a concoction that is both deep and laced with absurdity.
Knight has been active with unusual sounds in and around Manchester for several years and can usually be found thrashing hard drives until they produce music. His techno influenced releases under his own name and pseudonyms have received support and airplay from John Tejada and Daniel Steinberg among others.
After numerous features and collaborations Obenewa, Kaidi Tatham and dego combine together to form Blacks & Blues.Three song based dance tracks to fill the void of underground vocal club music.
'Spin' is flavoured with S.A house & afrobeatz whilst Obenewa sings about the wonder that is love. 'You Know The Feeling' moves towards the funk that is synonymous with 2000Black and 'Don't Know Why (chant for love)' is purely the marriage between reggae and jazz.
The 4th disc on Young Echo Records is here, and it comes locked & loaded with Jabu re-works from the extended family: SKRS & Jay Glass Dubs at the controls! Pressed to 12′′ with two remixed cuts from Jabu’s Sleep Heavy LP on Blackest Ever Black.
Prins Oblonsky (aka Tobias Fredø), is an Oslo-based composer and producer. He got his musical start studying the trombone and the guitar. Then he bought his first sampler at 18 and, inspired by artists like J Dilla and 9th Wonder, he began to make hip-hop beats and earned his chops by participating in beat battles on the Stones Throw forum. Over the years, Tobias developed a love and fascination for analogue sounds and synthesizers, obsessing over them in all his spare time. At 23, he started working with music and soundscapes for short-films, and his sound move in a more electronic, house music direction, inspired by artists like Floating Points, Four Tet, Rival Consoles, and fellow Norwegian Bjørn Torske.
The Dreams On Hold EP is Prins Oblonsky's debut on the Beatservice label, and it packs a warm punch. The title track launches the EP with an understated four-on-the-floor rhythm and a sparkling, distant arpeggiation. The feeling is indeed dream-like, energetic in tempo but soothing in tone. "Dancing On Graves" follows, presenting mesmerizing lo-fi beats while short pad bursts and echoed synth melodies play in the sonic field. Subtle techno elements characterize "Østerdalen", while the funkiest drum sequence on the EP drives the deepness into forward motion. The EP closes with the introspective "A Farewell To Arms", which ebbs and flows mistily around its warm sustained pad and beguiling synth motif. This is deep house for dreamers.
AFAS Records follows up some head turning early EPs with another fantastic offering, this time in the form of the Treating Patient B EP by label founder Mike Chetcuti aka People Places & Things with Gabe Gurnsey on the remix.
Over the last 12 months, People Places & Things has released on the likes of the legendary R&S Records, as well as here on Art For Arts Sake (AFAS) with two releases that soundtracked the Adidas Spezial campaign
Here, two more terrific journeying tracks, inspired by a recent trip to LA get served up, to further cement his reputation.
Cell Out lurk in the murk of that Solent Estuarine backwash. Tense breaks hold the lid on rave licks - padded mists provide audile sanctuary. Transcendance found in an Oblong Room; the dragons tail of an apocalyptic blowout.
Vinyl will feature Individual, hand illustrated sleeves. Distraction combines thundering bass elements from darker techno with deeper, emotive pads and flourishes to create a meditative yet driving late night groove. Best used to hush dance floor chatter in favour of getting heads down and putting a shift in. Static and Choke also play with juxtapositions of light and dark elements, with Choke being the firmer of the two. Both offer sounds ideal for creating trippy and introspective dance floor moments, while not allowing those hard fought for energy levels to drop.
After 2 years of honing, crafting and sonic manipulation, Books’ debut ‘Station’ album is ready for earthly transmission and this is the sampler to the album. A reimagining of Drum & Bass dynamics, the album will explore expansive depths juxtaposed against impossibly finite intimacy of mind.
Pop down Shamansbury's, pick up a double pack of Gregorian Chanting. Add water, stir in some Acid and a side of Wonk. Microwave for 2mins. Bingo. Arms aloft fun for the whole family.
a. Unknown Artist - Georgian Monastic Chant (Pill Mix)
b. Unknown Artist - Georgian Monastic Chant (Psychedelic Mix)
We introduce Comfort Zone, a young producer from Montreal, who has been making music for around 7 years now. He is inspired by "music from late 90s/early 00s video game soundtracks and the occasional snippets of electronic music I heard as a kid". We find that statement very much reflected in this release, as he masters the challenge of blending mysterious samples and different styles to form harmonious compositions.
On one side of the 4-track EP we have 2 groovy House tracks, reminiscent of early 2000s House by the likes of Lance DeSardi, Ian Pooley and Atjazz, on the other side 2 classic Jungle tracks which uphold our tradition of releasing timeless music.
Lywood has worked alongside some of the most prestigious names in art, fashion, music and film - from Led Zeppelin to Louis Vuitton, The Venice Biennale to The Serpentine Art Gallery, in a career spanning over 20 years. JUNK sees Lywood stepping into the limelight for the first time with these eight epic psychedelic dance-floor and spaced out instrumental visions. JUNK is inspired by Vik Muniz’s ground-breaking documentary Waste Land, which tells the story of the landfill site, Jardim Gramacho, on the outskirts of Rio De Janeiro. Recycling fragments of German electronica, disco and 80’s synth from his childhood and fusing these with new, found sounds, Lywood takes us on a journey through his world of JUNK re-imagined. Five of the tracks are named after some of the largest landfill sites around the world, and Trash Vortex is named after the swirling mass of plastic waste the size of Texas, in the North Pacific. Lywood stays close to Muniz's mission to “change the lives of a group of people with the same material that they deal with everyday”. ** Cover artwork by Keith Coventry, the celebrated fine artist represented by Pace Gallery** The debut Cochabamba album comes courtesy of respected sound designer and fine artist Dan Lywood!
After a ten year long career releasing music with many different labels Icicle has taken the logical next step and started his own imprint, entitled Entropy Music. The name derived from his second album ‘Entropy’ still aims to inspire the concept that music behaves as all things do in nature and degrades, falls apart and becomes more chaotic with time. In an effort to confront this, Entropy Music strives to bring controlled, rolling, technically detailed music, without ever overstepping that line when the process becomes inhuman and cold.
On this second release on Entropy Music Icicle teams up with kindred spirit and cousin Proxima to deliver a four track collaborative EP. The opening track which also welcomes Ben Verse to the label, is rolling tech funk pur sang. The weighty and detailed yet simple breathing groove make it a track true to the Entropy ethos and Ben complements this with his trademark Lyrics reminiscent of renegade hardware shows past. On the A2. Icicle brings a near wooden stepper with a viscous turbulent low-end, a firm wink to the past, with Dust Me Off. Icicle’s track is expertly offset by Proxima’s solo offering Retrace a peak into futurism boasting an evolved playful groove which takes on board equal measures of jump up and 90’s tech. The EP is rounded up by the title track Deep Dreaming, where Icicle and Proxima collaborate once more to bring a slight curve-ball. Pianos ring in an eerie musical intro to a dark but sultry track where the energy is second to the atmosphere.
- VORONOI new release explores how sounds behave in aseptic experimental environment to discover a new present of digital fantasy.
- A work of precise and complex sound design that looks over the techno-scientific contemporary from a positive angle.
- Includes extended re-work track by Jesse Osborne-Lanthier who reassembles Vis-Viva’s sonic materials into his unique style.
- RIYL: Mark Fell, Lee Gamble, Gabor Lazar, MESH, Yves De Mey...
Vis-Viva is the surprise of movement, the wonder that leads to imagine new possible configurations of the present, objects created with materials not yet invented move in aseptic and virtual spaces without respecting the normal laws of physics. Used for the first description of kinetic energy in elastic collisions the historical term Vis-Viva titles second OOH-sounds release from VORONOI, a work inspired by post humanism literature, experimental observation and speculative evolutionism where sounds and motion seem to face over the contemporary techno-scientific corpus from a positive angle.
Can sounds behave like particles do? How sound reacts and transforms if treated like organic matter? VORONOI tries to answer back by sculpting a precise and complex sound design in an anti-climax approach to composition. Rhythms are free, unpredictable, tracks always seem to respect some grammars of club-music but abstracting from its normal timbres and denying its conclusions to face a digital fantasy.
Vis-Viva’s experiment is completed by an extended 6 minutes re-work track by electronic music producer and multidisciplinary artist Jesse Osborne-Lanthier (Halcyon Veil, Raster-Norton, WTN?) who reassembles VORONOI’s sonic palette into his unique style. The result is as if everything has traveled outside the lab to be exposed to the outside world.
T-1000’s suspended atmospheres set the Vis-Viva experiment with pulverized granular sound debris, occasional rhythmic pulses and reverberant movements. Built over two distinct parts, in which the second seems to deny the first, SPHERO 2.0 forces a dynamic dialogue between raw and ultra processed sonic material. Elements orbit around a fast and joyous drum pattern that builds up in Marbles, a more complex experiment in which particles slow down and accelerate in chaotic, though controlled, collisions to generate micro melodic bursts.
B-side opens with innovative artist Jesse Osborne-Lanthier who re-works Vis-Viva's raw recordings in an apparent disassembled hierarchy, layering the original sonic elements over an amazingly sounding, erratic texture made out of what sounds like iper-processed field recordings. Gumbody Flash closes with the slower, uncanny precision of an out-of-battery mechanism, whose degree of freedom decreases as its elastic repetitions get looser and contradictory.
The hardest working reggae band in southern England, Dubheart is on a mission to spread messages of peace, love, unity and resistance through a heady stew of contemporary roots reggae, delivered on live instruments with a hefty dose of dub in the mix. Cool Under Pressure, their latest offering, is the band’s most compelling set to date, a ‘showcase’-style album where every vocal track is followed by its dub counterpart, and the vital contribution of the Brassica Horns—from rising London ska band Chainska Brassica—is another intriguing element that makes this album tougher than the rest.
Drawing on the foundations laid by Jamaican stalwarts such as Burning Spear, Dennis Brown and Culture, dub pioneers like Scientist and Jah Shaka, plus newer vanguards such as Tarrus Riley, Grounation and Conscious Sounds, Dubheart has crafted a distinctly appealing style that is very much their own, based on the organic presentation of their musical vision. Indeed, this fully self-contained five-piece is firmly engrained in the neo-roots movement of the present, with a sound that faces ever forwards.
The south coast-based band was first formed back in 1999, and slowly built a following through their intense live performances, which always harnessed a live dub element. Their first EP, “The Solid Foundation Rhythm,” issued on their own Karnatone label in 2011 and featuring dub mixes by Russ D of the Disciples, became a regular part of Jah Shaka’s live playlists. It was followed by the 7” 45, “We Chant,” featuring the band’s charismatic Bristol-based lead singer, Tenja (who originally hails from France), the track becoming an underground anthem in Japan (via Rob Smith, aka RSD). Dubheart’s first album, Mental Slavery, was released in 2013, a momentous year that also saw the band win the European Reggae Contest staged by Rototom Sunsplash, leading to a European tour with festival appearances at Summerjam (Germany), Reggae Sun Ska (France), Overjam (Slovenia), Sudoweste (Portugal), United Islands (Czech Republic) and the Sardinia Reggae Festival, as well as Rototom in Spain. Then, in 2015, Karnatone issued the dub companion to Mental Slavery, mixed down in a heavy dubwise fashion by drummer Gavin Sant, otherwise known as Fullness; the band was then invited to participate in the BBC television show, The UK’s Best Part-Time Band, leading to their EP of cover tunes, 2016’s “Full Time Pressure,” again with dub versions from Fullness. Part of the band’s appeal lies in its tightness as a recording and performing unit; when you see them live, you understand that this band of brothers is on a higher mission, united in their wish to use music as a means of upliftment. And that sentiment is entirely evident on Cool Under Pressure. The melodic bass grooves of Mark Shepherd act as the perfect buffer to the furious rolls and expressive drum patterns of Fullness; David ‘Daddy U’ Mountjoy adds scintillating melodies on keyboards, including some delightful Wurlitzer lines, and Richard Ramsey’s guitar licks tend towards the understated, aside from the occasional solo pyrotechnics, as heard here on “Rocky Road.” And on songs like “Can’t Wait,” “Watcha Gonna Do” and the title track, the Brassica Horns add further melodic depth through fanfares of treble brass texture. With the rhythms laid entirely through live recording sessions cut at Fullness’ home studio in Bournemouth (with horn and Wurlitzer overdubs done elsewhere), Cool Under Pressure reveals Dubheart as a band on the rise, heading for unstoppable heights.
The dub deconstructions on the disc allow the listener to hear the exceptional quality of their playing, emphasizing each member’s individual talent, while the lyrics tackle subjects we can all relate to, with “Watcha Gonna Do” addressing social inequalities, “Can’t Wait” alluding to the refugee crisis, “Rocky Road” imploring everyone to hold strong in trying times, and “Rise Up” calling for direct action against the unjust system that rules our lands. Overall, the outstanding title track “Cool Under Pressure” really sums up the band’s ethos: the system may burden us with the stresses of censure and control, but our obligation is to stay true to ourselves and resist. And the music can help us to achieve this.
6 tracks of fuel flamed floor movers. Dos, Ray Kandinski, Gallery S, Anthony Fade, Dj Bowlcut and Dj Longdick have all outdone themselves and the fuel keeps burning Baby. Acid infused tracks Floor Moovers all you want in 6 tracks.
Lore’s debut on Kokeshi comes in the form of a 3-track EP featured on 180g heavyweight vinyl, with hand stamped Kokeshi logo. Lore’s influences range from early dubstep, grime and garage, including artists like El-B, Burial, SP:MC, Blawan, Skream, Wiley and Mount Kimbie. The ‘Down The Well’ EP features tracks in the 120–135 bpm range, with dark chunky beats, heavy bass and haunting vocal samples. Be sure to check out his production tutorials on Youtube.
Dark, dread-infused and ready to test even the toughest of sound-systems, here Compa delivers three twisted, distorted and deadly electronic experiments.
Removing all but the most crucial elements, Compa combines crushing sub-bass with skeletal percussion and chilling atmospheres to show yet again through his signature sound how less is always more.
Compa has received DJ support from the likes of Mala, Toddla T, Chase & Status, Mary-Anne Hobbs, Youngsta, MistaJam, David Rodigan, Shades (Alix Perez and Eprom) Hatcha, Om Unit and Plastician among others.
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