zaterdag 31 maart 2018
This triangle of energie consistius three intergalactic cleaning ladies. They have been traveling the universe trying to escape the ever consuming grey mass 'shvna'. Now seeking refuge on the ADM where the shvna still has not fully taken controle they can bundle their powers with yours. With deadly ska hip-hop and hardcore combinations, lyrical lazer beams and a punk rock passion they combat the ever growing 'shvna' that is eating the soul of Amsterdam.
vrijdag 30 maart 2018
Evolution? Revolution? Devolution? There is no certainty about the vector of Kurws’ music. The way from the debut ‘Dziura w Getcie’ to ‘Alarm’ leads from a primitive sophistication to sophisticated primitiveness. It is a comic, from which the bubbles are being wiped out with each subsequent page, making it more abstract for some and a lot more concrete for others. More important than a genre or clear explanations here are the nerve, adventurousness and controlled instability of the line. It is these that complement the rest and create images and notions. Kurws speak little, but they throw the news of the world into the cogs of their machine made of nerves conjoined with instruments. In one gesture they reflect reality, challenge it and dodge. ‘Alarm’ is Kurws wrestling with their limitations. Doing splits in asynchronous performance, in expanding their patience and organising silence. There are escapements with the use of many layers, recording tracks with a tape recorder, taking advantage of tape’s physical imperfections. Kurws train in composition, improvisation and – which is relatively new – in casting spells on coincidence, riskily falling out of structures, evading their own habits. They form, lose and cover their tracks. Can you dance to this material? Of course you can, but it is not going to be either the well-remembered Tanz mit Kommune 1 or a clumsy dance with Colossus on clay legs. This time it is a dance on a volcano. Pascal Quignard has concluded that there is no sleep for hearing. This is why various devices to wake you up appeal to your ears. Sight can be turned away or covered by eyelids. You cannot switch hearing off, though. Kurws exploit this passivity of the ear to the fullest, yet doing so in defiance of the oppression encoded in the music. They use sonic violence in service for peace. They generate tension which releases and diffuses greater tensions. They are like the madman raving in the street that you listen to only to recognise your own fears, neuroses and frustrations. ‘Alarm’ is an alarming album for alarming times. You need to decide yourselves whether it is a fire alarm, a nuke alarm or no more (and no less) than a common alarm clock. Karol Paczkowski https://kurws.bandcamp.com/album/alarm
maandag 26 maart 2018
Drawing inspiration from Wire’s frenetic ‘Pink Flag’-era, Aussie degenerates X, and the bleak stride of Crisis, Structure delivers jagged lines on a cold steel frame of tense dense discontent to vandalise your dirty mind. The band’s debut 12-inch features six originals, including the future dance floor filler ‘Disco’. And is out now on HARBINGER SOUND (Sleaford Mods, Chaos UK, Nachthexen). With members of Men Oh Pause and Die. https://structurestructure.bandcamp.com/releases
zondag 25 maart 2018
Saturnus (1971) by Ludo Mich (filmed with a self made fish-eye lens) is one of the top works of Belgian underground cinema, still fascinating young generations everywhere. Strange pictures and sounds are received from outer space, they show us the bizarre life on one of the moons of Saturn. In a self-designed setting, several characters: a king, a queen, torturers, gladiators and bush women. They speak an unintelligible language (Lingala) and are dressed up grotesquely, painted Ensorian style. The soundtrack for Saturnus was made using fucked up sound sculptures, heavy tape machines, non stop sax outburst and African poetry and was released in 2005 as part of the Ultra Eczema LP Music from Films by Ludo Mich. One of the leading roles is played by Nicole Van Goethem (1941-2000), Oscar Winner for her animation film Een Griekse Tragedie in 1986. Director, director of photography, screenplay, camera, set design: Ludo Mich Editing: Ben Mangelschots, Ludo Mich Sound: Jules Goris, Louis Goyvaerts, Jo Van De Velde Music: Daniel Doncq (sax), Ludo Mich (vocals), Wally Van Looy (percussion) Narrator: Magie Dheere Actors: Nicole Van Goethem, Guillaume Bijl, Lea Wijns, Vera Fret, Daniel Doncq, Marceline Bertens, Mie Van Cakenberghe, Rina D'Hertefeld, Harry Meeusen, ... This movie was originally screened on 16mm reversal film in black & white.
Philipp's very personal music combines a visually organic aspect with experimental compositions, creating a singular sound world that on the one hand exudes warmth, familiarity and comfort, while on the other hand renders so much yet to discover. Within the music the varying moods are reflected in the titles of the sound paintings, from warm September evenings to rainy days and from a seascape to a wedding. The record was carefully mastered for vinyl by Stephan Mathieu at Schwebung. All cover artwork of the trilogy was designed by Caro Mikalef at Cabina. credits releases April 3, 2018 Mastered by Stephan Mathieu at Schwebung Artwork by Caro Mikalef at Cabina
zaterdag 24 maart 2018
It is known that during the mid to late nineteenth century, amateur music making, in all its forms thrived in the industrial areas of the North of England. In areas of the West Riding of Yorkshire, various choirs, orchestras and bands of varying instrumentation were founded. The Ashtray Navigations, formed around 1881, was one such unit. Until the 1920’s, Ash Nav, as it is often affectionately known, could be described as ‘just another typical local band’. It no doubt suffered occasional successes but probably had its fair share of disappointments. In addition to playing many concerts throughout the area, bands thrived on the spirit of competition regularly meeting each other at the host of local and regional brass band competitions of the time. We don’t know what the particular catalyst was but during the 1920’s a much more determined effort was made by the then members to improve their status among the nation’s brass bands. Better players were attracted, probably from a slightly wider area. The hard work paid off in 1929. Ash Nav broke into the highest level of brass banding when they won both the July and September Brass Band Contests at Belle Vue, Manchester, a feat achieved only once before, and not equalled since. They consolidated their position in the top echelons when then won the September again three years running in 1932-33-34 conducted by their professional conductor, the great William Halliwell. Barred from competing in 1935 they regained the title once again in 1936. They have remained in the top league of brass bands ever since, continuing to feature in the premier championship prize lists, but it wasn’t until 1978 that they managed to win again.
vrijdag 23 maart 2018
Album published in December 2012 in collaboration with the Bordeaux label Les Potagers Natures, the Brussels label Matamore and the English label Ouse Records. Printing of the pocket in offset, sub-pocket in silkscreen three colors by the editions of the parasite. Drawings of Jb, Jo, Nino & Armelle. (...) A quartet in which the instruments (guitars, bass, drums, synthesizer, voice, percussion) are exchanged gleefully to deliver noisy improvisations, between industrial pop, naive serenades and African rhythms. In concert, their music is never fixed and passes voluptuously from tightrope moments in unstable equilibrium to African or Caribbean post-punk trance sequences !! "(i boat, Bordeaux) https://chocolatbilly.bandcamp.com
donderdag 22 maart 2018
Dreamy sounds from Stockholm, Sweden. Conversions, Constellation Tatsu 2017. Recorded by Otto Johansson in 2016 at Telefonstudion in Stockholm, Sweden. Mastered by Linus Giertta in January 2017. Layout by Steven Ramsey and Art-Dept. www.cttsu.com | www.echologmusic.com
woensdag 21 maart 2018
The Ideology Of Pessimism is Razgraad’s new album. It's the suspension between two possibile lives, the unescapable and paradoxical standstill within transformation. After the pagan rituals/myths of The Water Towers, this second effort is a new magical, isolationistic and situational ritual, about the extreme condition of individual Self. Here Razgraad steps away from pure ambient structures, his music moves on rough drone-metal territories and industrial dub influences, obstinate rhythms and an intense work on the idea of Riff. The Ideology Of Pessimism is pure black doomtronica Includes digital pre-order of RAZGRAAD - The Ideology Of Pessimism. You get 1 track now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released. shipping out on or around November 21, 2017 edition of 100
Fuck On The Beach If you don't know what to expect here I can't really help, this is brutal, lightspeed clattering blasts, razorwire treble drenched guitar and whirling layered screaming at it's finest. Plenty of ear splitting distortion, feedback, mics peaking and everything way too loud in the best way. This is fun loving fastcore powervioelce from Japan which I'm pretty sure even has a 'clap-track' on the self titled outro track. Fucking excelent. This side of the split is primarily hyper fast d-beats with the odd blast thrown in, so is sonically the inverse of the Terlarang side. For fants of Japanese style everything faster and louder style grindviolence. Terlarang Lo-fi to the point of incomprehensibility this side of the split goes even further down the slopes of treble-valley than Fuck On The Beach, sounding like the guitars are physically tearing the speaker cones from the amp and the rest of the band are trying frantically to hold them back in. Everything here is fast, no slow at all on this side. Maybe one or two slightly slower than lightspeed d-beat smashers floating about in there but this is really all about the pace. The fast as fuck and don't care nature is epitomised by the cats on the split cover and the last track basically sounding like black metal but being called 'Stop The Hate' in what seems to be a conscious rejection of the bullshit ideals of traditional NSBM. Nice. This split is relentless and will hurt your ears in a charming way, fun frantic ear-splitters from start to finish. credits released December 24, 2017 www.WOOAAARGH.com
dinsdag 20 maart 2018
This work is based on a small inspiration by Kudo Tori, with additional material added from the voicemail recordings made by Hashizaka Ai (and her family) and from a Maher Shalal Hash Baz 30th anniversary show in Shinjuku, to make up three levels of sound. 55 tracks double album at 45rpm with 56th track on additional CD ships Jan. 12th 2018 Description 1 Around that time I was still in Wakayama. To help get rid of some pent up anger that had built up while doing hard work, I took the company’s car without permission and three of us went to Kataonami. I wanted to see the ocean. I was sick of Osaka, and I felt so refreshed by the wide open spaces and lonely landscapes that on the way back home, I rented a place in Sonobe that I just happened to pass by. At that time, Ai liked the place, too. The rent was only 35,000 yen for three rooms with a kitchen. When we were trying to choose which apartment would be best, I asked a scrawny old lady who came out to see us whether it was a good place to live or not. “It’s on high ground so the breezes are good, and in the summer you can see fireworks from here. But stay away from building C. There’s a crazy person living there.” On the way out I noticed that the stairs and landings were really wet. “Somebody died in the apartment across the landing, so I’m always pouring water there.” When I got home and checked, I found out that the place was the spot of the famous poisoned curry case. Every day I drove two hours each way to work in Osaka (I didn’t have enough money for the expressway most days). I got home late all the time, but the feeling of crossing the mountains out of Osaka and the smell of the fresh mountain air rushing into my nose when I got out of the car at home was really great. On my days off, we all went to the shore. Kudo-san and Ai and I were all still using flip phones. One time Ai told me, “Tori-san sends me a bunch of melodies to my voice mail, so I record them here with Mari (who was about one year old at the time) and send them back.” She let me hear them, but at the time I only thought they were just fooling around. My work was getting harder day by day and Ai was stuck in that lonely place where she didn’t have any friends or relatives, doing nothing but taking care of the kid and shopping all by herself, bored and upset by the inconvenience, and we started to argue more. One day she said, “I want to go back to Osaka. There’s nobody here to help me. You’re hardly ever here. Did you want to shut me up in the countryside?” That wasn’t my intention, and I was startled by her vehemence. And then, after a little while, I had a kind of seizure at work. Luckily someone was right there and miraculously I got better with no after effects and didn’t die. A-chan from Ebon teahouse and Kaoruko, Kudo-san all came to see me while I was recovering. We had to go back to live in Osaka, and my son was born. After about half a year I went back to work, but I punched the boss and got fired. A few years passed. Ai, Kudo Tori and I had all said, “We want to be the last ones still using flip phones,” but we all switched to smartphones. Mari was crazy about Purikyua/Glitter Force. Ai cut her hair. I lost mine. 2 This work is based on a small inspiration by Kudo Tori, with additional material added from the voicemail recordings made by Hashizaka Ai (and her family) and from a Maher Shalal Hash Baz 30th anniversary show in Shinjuku, to make up three levels of sound. Hashizaka’s sounds are full of the highly entropic sadness of northern Wakayama and Maher at Shinjuku sounds like they were a little angry. Kudo-san says that he picked up a sense of blankness and kindness from these fragments. Something like the feeling you get at an out of the way bookstore that has a nice collection of books, or at a small cheap bar that features fried organ meat, or a bakery, or taking a long trip, or when you’re extremely busy with cooking, cleaning, housework and child care, or other real experiences that make life worth living. Notes by Geshi Nodoka translated by Kato David Hopkins https://www.thewire.co.uk/video/tori-kudo-explains-his-latest-album-with-an-animation
“In this mortal frame of mine which is made of a hundred bones and nine orifices there is something, and this something is called a wind-swept spirit for lack of a better name, for it is much like a thin drapery that is torn and swept away at the slightest stir of the wind. This something in me took to writing poetry years ago, merely to amuse itself at first, but finally making it its lifelong business. It must be admitted, however, that there were times when it sank into such dejection that it was almost ready to drop its pursuit, or again times when it was so puffed up with pride that it exulted in vain victories over the others. Indeed, ever since it began to write poetry, it has never found peace with itself, always wavering between doubts of one kind and another. At one time it wanted to gain security by entering the service of a court, and at another it wished to measure the depth of its ignorance by trying to be a scholar, but it was prevented from either because of its unquenchable love of poetry. The fact is, it knows no other art than the art of writing poetry, and therefore, it hangs on to it more or less blindly.” — Matsuo Bashō
maandag 19 maart 2018
Silence is not a word we expect to hear in the world of music. Of course, there was John Cage, but normally what we expect to hear from musicians is music. For the past couple of years we have heard silence from a group difficult to describe but easy to enjoy: LE TON MITÉ. Since the fall of 2014, the group's leader, McCloud Zicmuse, has been travelling, touring, writing, playing, transforming a solo project into a group & recording a collection of songs to be released next February called "Passé Composé Futur Conditionnel". Before that day arrives, the decision has been made to make public, defying the silence & at full volume, a few songs from this collection. This Fall, Crammed Discs pleased to present the first 7" EP in the history of the mythic Made to Measure composer's series: "Mystery Trail to Space Needle". A microcosm of adventure: five soundtracks of a voyage to the past, in the present. For those who are familiar with the quirky sounds and mini compositions of LE TON MITÉ, you may be shocked by sounds that are resolutely pop, but within, creeping to the forefront, you will hear an evolution of what you know and love. For those who know nothing about LE TON MITÉ, get ready for a quick ride, jet streaming over the United States.
After the band members played in different bands all over the world they found each other in their musical roots: 'Grungy' punk songs that are reminiscent of Dinosaur Jr and At the Drive. Special melodies and old-fashioned guitar violence. The vocals (male and female) of all band members provide a diverse sound. From March 2018 they promote their debut album in Europe.
zondag 18 maart 2018
Zea is the solo alias of Arnold de Boer (Makkum, 1974). Using a minimal set-up of guitar and sampler, Zea creates a maximal one-man polemical beat punk future-folk juggernaut that brings him all over the world. De Boer hails from Amsterdam, The Netherlands and was born in Makkum, a village in the northern province of The Netherlands, called Friesland. His first language is Frisian, and this new Zea album contains only songs sung in Frisian. More personal, more direct and intense than before Zea is putting songs like objects in front of the listener, songs you can look at, set between people or take home and hang on your wall. In April 2017 the album “Moarn Gean Ik Dea” (Tomorrow I Will Die) will be released on his own Makkum Records label, together with the Dutch Subroutine Records. The album is more rugged and gloomy than earlier Zea albums, but it's also open and protrusive. There is no black hole pulling you into the centre of this record since the pulse and the melodies keep you swirling around it. When English is a language De Boer can look at from a distance, play with and treat like a meaningful game, Frisian is direct and part of his body; his English lyrics, for Zea and The Ex, are plucked from the air, these Frisian songs are pulled from the ground. https://zeamusic.bandcamp.com/album/moarn-gean-ik-dea
zaterdag 17 maart 2018
With great joy I'd like to introduce the follow-up to the last year's special anniversary compilation of ISTOTA SSĄCA radio show. The first release was a successful attempt and involved the broadest possible circle of friends in creating a record, that could roughly sum up this podcast's diverse range of musical interests covered throughout its entire existence. However, despite the considerable size of the compilation (34 submitted tracks), it was simply not enough to fulfil my personal wish list of potential contributors I still had in mind. Thus it really didn't take me long to decide that I'm going to make a "bonus round" and provide a fresh set of wicked sounds to the listeners. "Eclecticism" seems to be the worn-out word but how to describe what happens here in another way? Take the swinging notes of Twink's toy piano, the saturated deconstruction of Bartosz Zaskórski's (Mchy i Porosty) early chiptune works, the Breakmaster Cylinder's funny take on a dubstep drop cliché or Derbyshiresque retro-futuristic oozes generated by Xylitol (a work originally commissioned by Peter Strickland for his radio play). These are just four tracks mentioned of the twenty-one compiled on this record. At the end I'd like to shout out a huge THANK YOU to all the artists for submitting their beautiful music! It has been a great pleasure working with you! released February 19, 2018
Fyoelk (Antwerp, BE) Since 2006 Fyoelk has been making electronic music out of Flensburg, Berlin, Amsterdam and now Antwerp. Starting out as a heavily percussive and sample-based project, Fyoelk recently has been researching the physical energies of early Chicago house and the NY underground dance scene of the 70s and 80s, as well as obscure new wave and cosmic music. African dance music from especially Kenya has also been on heavy rotation and probably influence. The newest live set features a midi orchestra of synthesizers and drum machines, sprinkled with acidic bass and splashes of delay. Fyoelk runs the cassette label Stenze Quo and is one half of freeform acid house duo Laser Poodle (with Sleek Mink). stenzequo.blogspot.be
vrijdag 16 maart 2018
album : The Marion Brown Quartet This 1966 release was saxophonist Marion Brown's debut recording as a leader. There are three tracks here, two of which go on for some time. As was the case with most of ESP's releases from the period, this is a free jazz blowing date. There are two bassists on the program, Ronnie Boykins and Reggie Johnson, along with John Coltrane's future drummer Rashied Ali, and Brown playing with either trumpeter Alan Shorter or saxophonist Bennie Maupin. While the music here feels, and for the most part is entirely improvised for maximum visceral effect, Brown already has his tone and style and is a clear standout. His unique phrasing and attack shows his tenderness, even in the angriest of these exchanges. He holds his own with the rhythm section and is at times lyrical and spacious, particularly in the middle sections of "Capricorn Moon" and "27 Cooper Square." While this is not his best recording, it is memorable as an early showcase for Brown's fully developed voice, and for Boykins' and Ali's fiery playing.
Rooie Waas stops and close off with a new album MAK You know when as a teenager you create a sort of caricature of yourself? Rooie Waas has felt like that for a while now. It was bred from the will to hear something we hadn’t heard before, maybe even to colour the world to our taste. And what we knew was the world of pop music. The sweaty rehearsal spaces, carrying your gear in the snow. Making your own video clips and learning about anything and everything there is out there. It was a loud protest and a hope for change. It became something that had it’s own grammar, a style if you will. An outlook on society and an anchor to plan our lives according to. It is also a project that changed as much as possible in the span of the seven years we worked on the band. It went as far as it could while still remaining coherent with it’s beginnings. It has become time to discard this vehicle, as it is no longer necessary for us. So as a last act for this band we’ll launch our most immoderate, hopefully artistically meaningful endeavour yet. There will be only one live presentation of the whole music on the new album titled ‘MAK’. In Amsterdam, where Rooie Waas started, an album presentation will take place on the 22nd of March. It will happen at Mezrab and on the same note we will have a small edition of our new and last work. A print of 100 Lps, made lovingly by hand will find their way into the hands of those that will not live for tomorrow, but instead will battle the wind, rain and distance to celebrate what for us, and hopefully you – was an inspiring voyage in Music. For thick or thin, that was what Rooie Waas was about. Inspiring. And searching. And limiting our tools in order to communicate better. It’s time to shed this skin and au lieu of critiquing, and polarising – filling the future airwaves with beautiful, transient and diverse sound waves. Our fourth album is coming, but first a videoclip of our song Dan is het er niet meer! made by Bob Borstlap. There’s no I There’s no we. There’s just us. Daag! Gijs, Mikael en Gerri. http://www.rooiewaas.com
donderdag 15 maart 2018
Taximi is the improvisation during the performance of traditional musical pieces, using soloistic folk instruments. It has roots in the eastern Mediterranean and Arabic culture and can be commonly found in Greek music and specifically in rebetiko. Taximi is a free rhythm melody, an author's imagination, alternating between various emotional paths with a passion respective to each one who carries it. The main prerequisite in order to play a taximi is not to have excellent technical knowledge, but rather to deposit your soul. You could say that at this point, rebetiko seems much similar to improvised music. And when that singular sound of rebetiko is embellished by a vast range of sonic influences starting from the blues, traditional music, instrumental exotica and ends in electroacoustic / free improv fields alongside distinctive electronic manipulation, it is certain that we are talking about an experiment moving on the fringes of unexplored improvisation, perhaps pushing them even further. And if you asked us to guess which people are responsible for that, the name of Mike Cooper would certainly be the first to come to mind.
woensdag 14 maart 2018
www.soundcloud.com/kilamanzego www.soundcloud.com/madamdata Dug from the old vaults of Madam Data and Kilamanzego, Like Daggers is a fucked up mish mash of wonky, experimental, and ambient bleep bloops representing this mess of a world we live in and the struggles K and MD have faced in the name of creativity. From questioning if it's worth it to continue music as relatively new producers to what's actually good and what isn't, it's always resulted in pushing through the distractions because ultimately this is who we all are: artists who can’t imagine living life beyond music, with or without words, with or without support. We know that treading the path to feeling accomplished feels like daggers, but dodge them and keep grinding. Enjoy the quirky adventure and feel free to say what's up.
dinsdag 13 maart 2018
On the 1st of Oktober 2014 four zombies played 4 hours of symphonic noise. Bandmembers: Frank Vis on Vocals and Keys, H.A. van Hees on Feedback, Hellash on Guitar, Seerp on projections and bits. Released, 2014, Plattegrond. Band, Improvisation Group, Symphonic Noise Nightlife, Soundsystem. Supported by BSE Recording studio and Radioshow at Radio Patapoe.
Dj Urine helps himself to some noise directly in the record's flesh, cut with fists as well with surgical precision. Disassembled into slices, the music is then reinvented, rebuilt, and rendered through startling plastic, acoustic, and analog processes developed by your truly. Samarinda (2015)
maandag 12 maart 2018
Martin Duvall is the music alter ego of all-round artist Martin C de Waal from Amsterdam. Bordello A Parigi will release Duvall's first single ‘All Night’ on limited 12" vinyl! Martin C de Waal is interested in the aesthetics of the outsider. He studies the outward and inner qualities of subcultures, eccentrics and loners. In his work - which can range from metal-hommages, spectacular opera-installations and classic photographic portraiture - he tries to emphasize the importance of diversity and equality within a society. http://www.mcdewaal.com
zondag 11 maart 2018
zaterdag 10 maart 2018
FAUT HAUT IS: JOEP BOLLINGER // VOX/BASS/PERC TIM VAN OOSTEN // DRUMS/PERC WITH ON THIS ALBUM: MARNIX DORRESTEIN // GTR/VOX/PERC PYKE PASMAN // KEYS AND ALSO WITH: NICK CROES // GTR ON 7 & 8 GINO GROENEVELD // CONGA'S ON 2 PETER KEIJSERS // SOUSAPHONE ON 3 & 8 ALL SONGS / WRITTEN & PRODUCED BY JOEP BOLLINGER / ARRANGED BY FAUT HAUT / RECORDED BY PABLO VAN DE POEL / AT ELECTROSAURUS SOUTHERN SOUND STUDIO / MIXED BY PABLO VAN DE POEL & JOEP BOLLINGER / MASTERED BY WIM BULT AT / INLINE MASTERING ARTWORK BY JOEP BOLLINGER / SLEEVE HAND PRINTED / AT BOEKDRUKATELIER HET Y WWW.FAUTHAUT.COM
vrijdag 9 maart 2018
This one is considerable. It’s so gigantic, that you'd better not try to listen it without smiling animal whispers in the head. All the circuits of the electronic titan are participating the study of indeterminacy, all of them sound with glaring copper green. kavkazka sound are broadcasting the dance of transients, born with colossus steps, catching condescenting wave flows, feeding the colossus with photon clusters. Enjoy the pleasures of green colossus.
ray song: vimeo.com/213947440
dōryoku (kyiv noise fest): vimeo.com/193724454
ray song: vimeo.com/213947440
dōryoku (kyiv noise fest): vimeo.com/193724454
creditsreleased October 5, 2017
donderdag 8 maart 2018
Awott - the Liberator, protects those who recognize it. AWOTT is ether, air, fire, water and earth. All the physical desires are satisfied through it. Knows 64 Rithms, AWOTT gifts joy to the Creator. It is pure transcendental Note and timeless. Universal for any age, shapes, size and hights. Everybody loves and respects.
woensdag 7 maart 2018
tender gay lullabies for the soft soul. released February 15, 2017 recorded in New Haven/Woodbridge/Newtown CT + Saratoga Springs NY mixed + mastered by bean chiodo super special thanks to Judge + Dawson and also Ginger and Talia and Sophie and Ciara and Isabelle and Izzy and Mary and literally every person that has come into my life in some way/shape/form. here is my love in mp3 form.
From the album 'zonder webben'. Released on Aspen Edities 1 March 2018. Frederik Leroux: (geprepareerde) elektrische gitaar Kris Vanderstraeten: percussiedrums, horizontale elektrische gitaar, objecten en kleine jachthoorn Alle stukken zijn geïmproviseerd Opname, mixing en mastering door Christophe Albertijn in Les Ateliers Claus Beeldend werk door Bart De Clercq aspenedities.com facebook.com/AspenEdities/
Frederik Leroux + Kris Vanderstraeten - liever lag from Aspen Edities on Vimeo.
dinsdag 6 maart 2018
A duo founded in 2015 by two comrades with a mutual love for the industrial tradition. Channeling the classic sounds of muffled death industrial as well as fierce power electronics into a beast of it’s own. Over their short existence they’ve played alongside Damien Dubrovnik, Hive Mind, Neutral, Dave Phillips, Arv & Miljö, Cremation Lily and more likeminded souls. Both members are active in a variety of projects such as Qualm, Svartvit, Empty Front & Folteraar.
maandag 5 maart 2018
Killer album of ferric, monotone, fizzing electronics, slowed down bunker Techno and heavily atmospheric field recordings unearthed and compiled by Golden Püdel's impeccable selector Nina (veteran of mixes for the likes of Blackest Ever Black's Krokodilo Tapes and Berceuse Heroique) and Tobias Duffner's VIS label. Highly Recommended if you're into Alessandro Cortini or fellow Pudel compatriot Helena Hauff. Scheich in China make exactly the kind of stuff you’d hope to hear during one of Nina’s far-reaching but focussed DJ sets and comes from another one of the club's elusive and extended possee, someone who alongside their nocturnal activities apparently spends their time beekeeping.
Here is the debut release by Italian duo R A D K O… their music is a blending of post/cold wave and shoegaze elements… both the songs and the production have a typical nostalgic feeling but are rather modern at the same time… instead of being overtly dark the sound and overall mood is much more melancholy and dreamy… for sure these two tracks make up for an impressive debut and addictive little 7″ record… https://www.enfant-terrible.nl
zondag 4 maart 2018
Recorded live at Urban Guild, Kyoto, Japan 11/11/2014, this was the first time Leigh & Kawabata (founder member of Acid Mothers Temple) played together. The CD is one (slightly edited) continuous track, but as Bandcamp has a maximum upload ceiling of 291MB, the download version has been split into two tracks. credits released June 15, 2016 Makoto Kawabata (guitar, electronics, voice) Geoff Leigh (flute, soprano sax, jaws harp, electronics, voice) LIVE - 8 March - Occii Amsterdam - http://occii.org/events/mkm-stand-in-solidarity-with-the-dispossessed-improverished-and-embattled-people-of-the-world/
zaterdag 3 maart 2018
vrijdag 2 maart 2018
Eternal Zio first full album follows the self released cdr Vibbria from 2011. While their first release was made of long drones, the new one sees shorter tracks. Eternal Zio spent almost the entire hot summer of 2012 playing togheter in their basement at Ca Blasè (their house, practise space and place of occasional house shows for other bands) recording long jams and cutting six tracks for the new album. The six untitled pieces vary from meditative strumming&humming to explosions of crazyness. Eternal Zio brings music back to its roots, a tribute to the gods, we don’t know which ones.
Everything had been perfectly prepared: the sample had been rewound, the text perfectly memorized, but then the scissors fell from the sky....
Welcome Home In Hyperspace Where Hunabku Loves.. In Lakesh.. darkpsy.. forest.. psytrance.. hitech.. Mexico.. Compiled By JokerFox, releas...
noisy Intervention in early French teknivals... The birth of a school : Exploiting raves to make noise. Muscle Sous Vide (A Tribute To Perpl...
Lyrics/Poetry: Kati Fado Music: Kuba Dykert/Kati Fado Visuals: Julian Jansen/Kati Fado Lyrics/Poetry from the book Aphasia by Kati Fado:...