Top 100 Chart placements for Electronica
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Heralding spring in an April shower of effervescent synth flair and crooked beat science, PM+ welcomes the first buds of Ralph Bass Clef Cumbers new project, Myriad Myriads. Anyone who has been keyed into Cumbers sound from his early maverick dubstep cuts through the modular manifestations via love letters to rave and beyond wont need to be sold on checking this release out. Hes got a masterful style which is raw and dexterous in equal measure, not least when it comes to the synth voices he sculpts. Strapped to acutely angled, heaven-sent kicks to maximize the energy in the club, Revelation Waves spirals around the most uplifting of FM synth licks a chrome plated tone which positively commands pure joy without a lick of saccharine on its surface. As a counterpoint, Whos yr imaginary friend? dials back the drums and weaves together more luminescent melodic threads over some positively rude bass spasms. Both cuts guarantee giddy emotional responses and endorphin rushes aplenty, both on and off the floor.
OUR man Quantec is nothing if not versatile. An aficionado of many styles including ambient, deep house, Detroit, dub, dubby electronics, experimental and roots reggae, he can turn his hand adeptly across the musical palette. For this his latest release on Neighbour Recordings it's all about the 'D'; deep ambient, drone and dub techno that's dope with a capital 'D'. Not for nothing is his album titled Journey of Mind. It's a personal and self-assured trip from first note to last - not surprising for a producer with almost 25 years in the game - drifting as it does through contemplative sonic worlds and ethereal soundscapes. And while the label co-owner's handiwork here is from the 'less is more' school of production, it's nonetheless big on atmosphere with an undercurrent of drama or melody never too far away. Notable destinations on this journey include Depth of Immersion, Mind Wandering, Motionless and Perfect Stranger. Bon voyage.
Facta & K-LONE's Wisdom Teeth imprint continues its busy schedule of 10 year celebrations with the debut LP by H TO O: a new collaborative project by Japanese ambient artists H. Takahashi and Kohei Oyamada. Set across six distinct movements, the LP maps the different stages of the cosmic cycle through a series of dynamic ambient set pieces: from the exponential expansion of the universe in its infancy - here invoked by the bright, chiming album opener 'Inflation' - through to it's inevitable collapse and rebirth, captured by the record's driving, ominous closer, 'Ever'. The record started life in Takahashi's hands, initially intended as a solo follow-up to his acclaimed 2018 LP, Escapism. The Kankyō Records founder shared his early sketches with friend and collaborator Oyamada, who began to play with the arrangements, taking the work in an experimental new direction. Naturally the project evolved into a cooperative effort, and its final form is the result of an honest and fluid back-and-forth between the two artists. The collaboration marks a considerable shift in energy to the artists' previous works - most of all in its foregrounded use of rhythm. Where Escapism was built from a series of gently lilting, dream-like vignettes, each movement of Cycle has a clear sense of forward momentum and purpose. Each composition builds from a set of sparse, meandering elements into something dense, cinematic and, at points, discordant. Although Cycle is at heart an ambient record, there is a club-informed feeling of forward motion running through the record, placing it in a similar sonic world to the beatless-but-rhythmic ambient techno of artists like Barker, Lorenzo Senni and Sunareht. Delicate and dramatic in equal measure, Cycle is a vital and exciting debut dedicated to the building of worlds - and to their eventual and inevitable dissolution.
Facta & K-LONE's Wisdom Teeth imprint continues its busy schedule of 10 year celebrations with the debut LP by H TO O: a new collaborative project by Japanese ambient artists H. Takahashi and Kohei Oyamada. Set across six distinct movements, the LP maps the different stages of the cosmic cycle through a series of dynamic ambient set pieces: from the exponential expansion of the universe in its infancy - here invoked by the bright, chiming album opener 'Inflation' - through to it's inevitable collapse and rebirth, captured by the record's driving, ominous closer, 'Ever'. The record started life in Takahashi's hands, initially intended as a solo follow-up to his acclaimed 2018 LP, Escapism. The Kankyō Records founder shared his early sketches with friend and collaborator Oyamada, who began to play with the arrangements, taking the work in an experimental new direction. Naturally the project evolved into a cooperative effort, and its final form is the result of an honest and fluid back-and-forth between the two artists. The collaboration marks a considerable shift in energy to the artists' previous works - most of all in its foregrounded use of rhythm. Where Escapism was built from a series of gently lilting, dream-like vignettes, each movement of Cycle has a clear sense of forward momentum and purpose. Each composition builds from a set of sparse, meandering elements into something dense, cinematic and, at points, discordant. Although Cycle is at heart an ambient record, there is a club-informed feeling of forward motion running through the record, placing it in a similar sonic world to the beatless-but-rhythmic ambient techno of artists like Barker, Lorenzo Senni and Sunareht. Delicate and dramatic in equal measure, Cycle is a vital and exciting debut dedicated to the building of worlds - and to their eventual and inevitable dissolution.
Nuron continues to make his mark on De:tuned with the long-awaited new 3-track EP Blanchimont. Nurmad Jusat aka Nuron, one of the key figures from the golden era of 90s electronic music and UK techno, extends his legacy by swinging back into gear. On Blanchimont Nuron combines his signature drum programming with uniquely lush and highly emotional synth arrangements. Futuristic aesthetics and mystic sounds to take over your senses. New and essential material! Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!
Experimental Japanese operator Lemna returns to Mantis with another five intricately sculpted cuts that toy with tension, release and the mysterious atmosphere of the forest at dawn. Lemna adopts a considered, patient approach to her music practice, creating interlocking rhythms which take cues from Autonomic fragmentation as much as techno hypnosis, but its the spatial pressure and textural sound design which makes her music truly fly. Taking predawn walks in woods at the foot of the mountain she calls home, she drew inspiration from five different organisms within the vibrant ecosystem around her to create a collection of tracks she aptly refers to as Nocturnal Assembly.
On Board Music returns for its sixth installment of the Various Artists EP series, but this time with a different approach. Five fresh remixes breathe new life into Point C, originally released in 2021 and consisting of tracks from Foreign Material, Hironori Takahashi, Hiver, Sylve and Alan Backdrop. For the 2024 update, On Board enlists five of the finest deep techno practitioners to twist the originals into bold new forms. US artist Patrick Russell dives deep into his signature, tripped-out zone, with dub and half-time sensibilities grounding the remix in an eyes-down headspace. Estrato Aurora, who remixes Hiver's cut, goes equally subterranean, perfectly setting up the nimble drumming and bright melodies of Polygonia's contribution. On the B-side, Forest On Stasys melts the synths of Alan Backdrop's "Oelo" into an ever-evolving slice of dance floor psychedelia, before Detroit luminary Erika focuses on a syncopated, shuffling rhythm. Together, the five tracks cover extensive ground, all bound by the uniquely hypnotic sound that On Board is well known for. Mastered at Enisslab Studio in Rome Visual by Natascha Mankowski Designed by Sophie Vaillant
Foreign Material, Hiver, Sylve, Alan Backdrop, Hironori Takahashi
2024-04-16 Acid Camp
agraybé, JDB, U-SRD, MAYUDEPTH, Peter Sheppard, Richard Holhburn, Otodojo, Scotia, Shingo Suwa, Akumen, Bézier, Bill Converse, Endash, Jasen Loveland, Abby Echiverri, Force Placement, Jing Lekker, Eric Cloutier, Olin, SPRKLBB, Masha Mar, Cooper Saver, undercurrent, Deep Dark Blue, Glo Phase, Jeremiah Chiu, M Parent, Nark, One Child Policy, Tim Xavier, Pediment, athleisure999, Carrington EFX, Damon Eliza Palermo, Omptu, John Barera
"Body Snatchers" by A4 is an EP of sci-fi, dancefloor-oriented tracks. The release offers a dynamic spectrum, featuring both powerful groove-infused tracks and ambient experiments. The compositions are characterized by distinctive bleeps and loopy sonorities, crafting diverse sonic atmospheres.
According to the situation, there are times when you must rely on a person for something or other. If this is done repeatedly, it becomes a matter of importuning that person and can be rather rude. If there is something that must be done, it is better not to rely on others. (Yamamoto Tsunetomo - Hagakure: Book Of The Samurai)
Anybody Anytime, REALITYCHECK, Lazarus, Cressida, Serenace, Farron, Giordano, Quiem
French producer and hardware specialist Amandra returns to Nous'klaer with four stoic, minimal club tracks that are so delicate and deftly produced that they beg to heard as loud as possible and as quietly as possible, allowing the listener to inspect every nook and cranny of Amandra's sonic tapestry. Opener "Lavanvilla" rides a simple drum loop that's filled out by gated, beautiful noise that gets punctuated by vibey Rhodes 7th chord and a constantly evolving 16th percussion pattern that gracefully pushes that song forward. "Palette Doree" and "Edition Collector" are Amandra's most swung offerings, lively sampled percussion and lush synths that offer endless breathing space for these beautiful numbers to exhale. "Pana Ondine" is the dance floor workhorse with a soft and punchy kick, rough stabbing bass hook, wispy ride and a mesmerizing arpeggio, the track never calls your attention loudly but instead gently lures you into its grasp.
For its second release of the year, Veyl welcomes composer, producer and visual artist Laggard to the label with new EP, 'Permanent Daylight'. Constructed from sonics that resemble, either literally or figuratively, the unpredictable and unmanageable creaks, cracks and groans of nature at its most volatile, the release consists of five original compositions guided by an implicit narrative: an unknown, cataclysmic event befalls an Antarctic research station. As a project, Laggard is a space in which the artist owns his restlessness and allows for a continuous evolution of sound and space, deploying the tropes of experimental live music and bass music against one another. Inspired equally by the genre-less excursions of Godspeed!, Liturgy and Coil as the sub-heavy deconstructions of Ben Frost, The Haxan Cloak and Mumdance, we also find traces of Ed Rush and the performatively mutant aspects of early grime instrumentals. While also performing as co-frontman of acclaimed four-piece band, Folly Group (So Young/Communion, Ninja Tune), Laggard operates in a different space, finding the overlap between these areas in terms of mood, when "mood" is considered neither an emotional colouration nor decoration upon a structure, but the structure itself. The result is a powerful EP of electronics which is defined by its breadth but bound by one distinct palette, one hyper-specific vision. A truly immersive experience, 'Permanent Daylight' plunges the listener into the unknown realms deep beneath the surface. A place where soil meets rock meets the unknown, articulating the violent shifts of the earth that is deeper than the earth. Laggard explains: As I finished Permanent Daylight, I found that referring to a loose narrative helped guide me through the maze of perfectionist indecision. This story isn't supposed to be remotely explicit, and I hope listeners draw their own conclusions about the events and their chronology. Implicitly, Permanent Daylight documents some cataclysmic event occurring at an Antarctic research station. I used Unity to create an interactive accompaniment that documents its aftermath. My aims were to embellish the world-building whilst providing a fun opportunity to subvert the linearity of the EP format and allow listeners to experience the release in whatever order they like, in a thematically consistent space. I couldn't shake the notion that this music had to sound "tectonic". Serving as a conceptual knot to bind multiple inspirations and narrative threads, the interactive project depicts a liminal Antarctic desert, devoid of life, where meaning can only be uncovered by contact with symbolic monoliths, each representing and becoming one of the EP's tracks when touched.
Facta & K-LONE's Wisdom Teeth imprint continues its busy schedule of 10 year celebrations with the debut LP by H TO O: a new collaborative project by Japanese ambient artists H. Takahashi and Kohei Oyamada. Set across six distinct movements, the LP maps the different stages of the cosmic cycle through a series of dynamic ambient set pieces: from the exponential expansion of the universe in its infancy - here invoked by the bright, chiming album opener 'Inflation' - through to it's inevitable collapse and rebirth, captured by the record's driving, ominous closer, 'Ever'. The record started life in Takahashi's hands, initially intended as a solo follow-up to his acclaimed 2018 LP, Escapism. The Kankyō Records founder shared his early sketches with friend and collaborator Oyamada, who began to play with the arrangements, taking the work in an experimental new direction. Naturally the project evolved into a cooperative effort, and its final form is the result of an honest and fluid back-and-forth between the two artists. The collaboration marks a considerable shift in energy to the artists' previous works - most of all in its foregrounded use of rhythm. Where Escapism was built from a series of gently lilting, dream-like vignettes, each movement of Cycle has a clear sense of forward momentum and purpose. Each composition builds from a set of sparse, meandering elements into something dense, cinematic and, at points, discordant. Although Cycle is at heart an ambient record, there is a club-informed feeling of forward motion running through the record, placing it in a similar sonic world to the beatless-but-rhythmic ambient techno of artists like Barker, Lorenzo Senni and Sunareht. Delicate and dramatic in equal measure, Cycle is a vital and exciting debut dedicated to the building of worlds - and to their eventual and inevitable dissolution.
WRWTFWW Records is flying high as it announces the reissue of the 1997 ambient masterpiece Quiet Logic by electronic music visionaries Mixmaster Morris (The Irresistible Force), Jonah Sharp (Spacetime Continuum), and Haruomi Hosono (Yellow Magic Orchestra). For the first time ever, this iconic album is available digitally. Quiet Logic invites listeners to embark on a captivating sonic odyssey, blending intricate rhythms and celestial environments that push the boundaries of electronic music. Co-crafted at Haruomi Hosono's Tokyo studio in 1997, this album represents a time of rapid transformation in the genre, with these three artists at the forefront of redefining soundscapes. With its unique blend of influences from Hosono's immense contribution to electronic, pop, and experimental music to Morris' worldwide chill out DJ performances and Sharp's pioneering label, Reflective, Quiet Logic remains a timeless piece of ethereal electronica. It was originally only released in Japan in CD format on the Harry Hosono-curated Daisyworld Discs label. Remastered for 2024, this reissue is a must-have for fans of Haruomi Hosono / YMO, The Irresistible Force, Spacetime Continuum, Dreamfish, Tetsu Inoue, FFWD, H.I.A., Fax +49-69/450464, and mind-expanding musics.
In a convergence of two of the most celebrated names in contemporary electronic music, Karsten Pflum steps out on Central Processing Unit with the Liars EP. As anyone who has followed either Pflum's work for labels such as Worm Interface/Furthur Electronix or the Sheffield imprint's recent run of top-quality electro joints will have expected, this coming together proves to be a match made in heaven. What we have here is a tour de force of modern machine music. With Liars, Pflum achieves that rare feat of making something that is at once boundary-pushing yet also thrillingly immediate, his attention to detail shining through with each well-placed snare hit or leftfield structural choice. Equally apt for home listening or dancefloor deployment, Liars is a delight for heads and hedonists alike. Constantly evolving while also cleaving to a relentless groove throughout, opener 'WAN1' is a brilliant scene-setter for Liars. The track slinks between sections of seething post-Drexciyan acid and eerie vignettes which balance out haunted house synth licks with the sort of punishing bass blasts that recall early grime classics like Youngstar's 'Pulse X'. A sly shift of key halfway through the track only serves to redouble 'WAN1's restless brilliance. After 'WAN1', 'LOLA' represents something of a gear-switch. The track's wiggly opening bassline is a red herring - make no mistake that we're fully into braindance territory on this one, the drums skittering across the mix as Pflum fills the track out with jungle-adjacent delays and softly insistent synth pads. As 'LOLA' goes on, blurts of synth and some stiffening in the drum work pushes the track into pure rhythm workout territory. First B-side 'MOUSFOLK' somewhat splits the difference between Liars' A-sides. This track has 'WAN1's unyielding stomp and prominent acid bass line, but the helter-skelter drum breaks and wandering keyboard lines are very much pulling from 'LOLA's zanier energy. As with the other joints here, 'MOUSFOLK' is elevated by Pflum's composerly touch, the Dane frequently throwing in new sonic tidbits - a skippy snare tattoo, a single-note synth loop which sounds like a hovering spaceship - that reinvigorate the mix. Pflum's musicality is at the fore once more on closer 'BALM'. For the first section of 'BALM', a rich and sombre keyboard fugue, you'd be hard pressed to say whether you're listening to a producer of club music or a contemporary classical maestro. The way Pflum builds this central motif up with deft broken-beat drum programming, a wheezing synth countermelody and distant vocal sighs is equally delightful, the whole track coming off like a kindred spirit of the electronica-infused experiments on Radiohead's 2000 masterwork Kid A. A brilliantly unorthodox collection of electro-braindance hybrids, Liars is a barnstorming Central Processing Unit debut from the seasoned Karsten Pflum. RIYL: AFX, Silicon Scally, DMX Krew, Matmos
Over the moon to present this album by babyxxan to you. In-Tran-Situ was conceived during an extensive time of travel. The artist was on a journey to explore mountains, lands & monuments of the world. On this road that led through water, air and over earth - music was a constant companion. Alike the elements the sounds presented on the album are very much alive, with many textures at times dense and vibrant, than again full of space with lots of room to breathe - always in some sort of trance, following a natural flow. We found the music to be deep, enriching and full of surprises, just like life itself. Enjoy!
Join us as we delve into the sonic world of Tom Ellis - a core member and revered resident of the iconic Freerotation Festival with a prolific discography that includes releases on esteemed labels such as Logistic Records, Minibar Music and Yoyaku. The Midnight Scientist EP exemplify his signature style once more with two originals tunes and one version by Leif Knowles - one of his longtime collaborator and friends. The first track 'Breakout', adorned with the warmth of live instrumentation, features Ellis himself on bass guitar, injecting a microhouse groove with a soulful and organic feel. Renowned for his innovative approach to electronic music, Leif, now part of the AD93 label has transitioned from house and minimal into producing ambient compositions. However, for this project he returns to the roots, delivering a remix that strips away the bass drum yet still serves as a sensitive shaker for the dancefloor, offering a delicate balance of rhythm and melody. 'Paper Tigers' as closing track unveils a departure from the deep house, characterized by a broken beat and enveloping dub chords. Enhanced by ethereal pads, it invites listeners on a journey of introspection and immersion into its hypnotic groove.
Layered asymmetry: With Alluvium, Stefan Goldmann explores new structural paths for machine rhythm in irregular metres. Throughout the album, different non-binary patterns run simultaneously, interlocking into twelve offerings of jagged polyrhythmic magic. Such a framework may juxtapose 11 on one axis, against 7 on another and 5 on a third - building stunningly iridescent edifices of multidimensional time. This is the third album in a series of "first principles" research of metric asymmetry. Veiki (2019) laid the foundation for "real broken beat". Then, Vector Rituals (2022) explored the bending of grids in order to yield idiosyncratic forms of organising time. Alluvium takes these two approaches and expands them beyond their initial reach: Irregular patterns moving along parallel timelines within one unifying grid.
In Post-Heretic Dracula X Chronicles II the Dracula figure functions as a part fictive and part autobiographical metaphor. Dracula mirrors certain systematic (therefore also internal) conditionings and attributes in its whole ambivalent fluctuations. This character represents the complex relationships of a loving/living person in a neo-liberal capitalist system while oscillating between melancholia & rage, facing the preservation or loss of his love and standing in an alienated position towards the ruling order. The eleven featured compositions and their respective song names (both of them are riddled with references) playfully touch on conflicts between love, life and system-critique, without being too upfront about the subject-matter.
Introducing the vinyl debut of Matteo Mazreku's Soul Data Transfer project. When it comes to music, each track possesses a truly magical and elusive quality. It's the indescribable essence that captivates our hearts and stirs our souls. Recommended for fans of Autechre, Gescom, Ital Tek and Lanark Artefax.
Nous'klaer Audio and Sound & Vision's RE:VIVE initiative have teamed up for the third and final ALBUM in their film scoring trilogy. The collaboration invites two musicians to compose for these archival films from the collection of Sound & Vision, the national media archive of the Netherlands. This final instalment features through and through Rotterdammer, Kems Kriol and the Amsterdam based Turkish composer, pianist and DJ Loradeniz. Kems Kriol accompanies the amateur documentary collage film ''Rotterdam in de Jaren 90'', a dark period of strife, economic and social crisis for the now booming metropolis, with the compassion and empathy of someone who experienced those years first-hand but with enough time removed to reflect with heart. Loradeniz angularly and precisely moves her way through the delicate film ''Tegenlicht'', a surprisingly colorful and fluid educational film about painting, a bold juxtaposition that propels the film into the 2020s.
Following Mattr's remixes for Max Cooper and Grammy award winner Steven Weston comes a slice of melancholy electronica on his own imprint - Loft & Sound. Fusing his signature granular synthesis with syncopated rhythms and warm pads 'Cholia' has a sombre tone and continues his exploration of broken beats and lush soundscapes.
Oolong: Ambient Works is the 17th studio album from multi disciplinary artist Ran Slavin. A 74 min drone-ambient-minimal-symphonic infused LP that takes after various tea's in the far east. Each track is accompanied by a slow and atmospheric visual journey shot by RS in East Asia and the total can be experienced in total and joined as an immersive 74 minute journey. It is the second release of Ran Slavin on Mille Plateaux after his CD/DVD Insomniac City in 2006 where the city is continuously alive, in an animalistic-inorganic way, as Guattari puts it. Oolong (Wu-lung) tea originates from China and is actually transliterated from two words meaning black and dragon in English. Besides its inherent meaning, the two words describe the shape of the oolong leaves in their novel state. Oolong tea goes through a unique semi-oxidization process that ranges from 1%% - 99%%. The immersive tea-walk in Zen radiates an infinity. It is an art of the path. The tea path is first and foremost a drama of water, but each place in Slavins journey represents a whole in itself. Everything in the cosmos is like the cosmos itself. Slavin's tea path functions by adopting processes of neighboring art genres such as video, painting photography and sound. Slavin's Oolong dissolves the environment into a blend of ambiences. The music integrates synthetic textures into a patch-worked concrete soundscape brimming with sonic harmonics, micro-sounds, interferences and designed noise. Slavins music is about catching the world's alienness while reinventing the relation between materiality and the immaterial, the concrete and the abstract, and also between the terrestrial and the extra-terrestrial dimension, what sounds to be here and what seems to be there. The formal restriction to the audiovisual means of expression is similar to the minimalist concept of tea architecture. As an overall work of art, the tea path correlates to and anticipates the cinematic processes of shot, slow motion and montage. The tea path is the art of matter, body and spirit. Its not only about the glitchy ambient sound, but also about the dimension of cinematic production, in which one works with tools such as film material, camera, microphone, lighting, editing equipment and so on. The visibility leads to a comparative discourse with the sound of the movie. It is easy to recognize that the film and the tea path operate with a similar system of selective sounds. The ambient works in Oolong are not merely a signal but represent an ambiguous flow of signs with rich qualities. It is impossible to know exactly what the individual sounds signify. Sometimes it might be the intention to hear the sounds of nature. But its not a question of identifying its source and its effect. These acoustic phenomena have their subtle gradations and nuances that correspond to the vitality of the visual texture of things. Sometimes the sound refers to a traceable source, sometimes it refers to no definable source. The film acoustics, which are virtually generated have a metaphorical character comparable to the soundscape of the tea path. Not only the centripetal, but also the centrifugal orientation of the sound is imaginary. Slavins journey creates an artificial, abstract soundscape that deviates from the everyday perception of the sound environment. A microcosm and the cosmos opens up and reverses the relationship between the finite and the infinite. (Achim Szepanski)
Feels as if we're stepping outside the known universe of Nigga Fox but simultaneously being invited in. It's not about being hermetic, shutting out followers of his trademark dance beats or making an experimental statement per se. All this music comes effortlessly during sessions such as any other, so don't throw away valuable time searching for a concept. "Chá Preto" sounds revolutionary but not so much in his discography, accustomed as we are to game-changing compositional solutions in the afro musical continuum but - never forget - also in Dance Music taken as a broad genre. But is it Dance? Certainly a fair amount of suffering and introspection comes clear throughout the album, namely in the sequence made up of "Má Rotina" and "Mutadoree Leonor". "Mutadoree" is a free, alternative spelling of "much pain" and each listener can process the info as s(h)e pleases. The music is also strikingly beautiful, so there's really no final word on this. Beats come sparse, a very personal phraseology, the dancefloor a memory. Or just something to keep in mind for a future night out. Presently there's no lack of adventure or excitement in these grooves, a uniquely themed one-person show of musical skills and bare emotion. It ends in a snap, not a trace of embellishment. Pragmatic and out of the loop. Rewind and feel it all over again. Any comparison in mind? Flip through History books and you won't find this chapter.
Even though he lived in the Netherlands for a while, Japanese producer and sound sculpturer So Oishi first discovered SoHaSo on his return to Tokyo, where he now resides. The Lithospere EP is his impressive debut for the Utrecht-based label. So Oishi's music has a unique soothing sensation while its psychedelic undertone resonates on various levels. The four tracks on this EP are simply phenomenal, whether you are into deep ambient soundscapes (Lithosphere, Rays), wonky break beats (BLOSC Figure One) or seeking a decisive Japanese answer to early Autechre-records (Nighthawk). While in The Hague, So Oishi studied algorithmic composition and sound synthesis at the Royal Conservatory. "I was doing geeky programming and developed my own software synthesizer and a composition program when I was there", he looks back on his Dutch years. He still uses both elements in his compositions from time to time. And it shows, because So Oishi has carved out his very own unique sound on the Lithospere EP.
Get ready to embark on a sonic journey as we unveil this anticipated three-track digital record, "Shelford Treehouse" by the talented producer Milan93. Scheduled for release on the 5th of April 2024, this EP promises to captivate your senses with a blend of modern House music that is as elegant as it is groovy. Lucas Feigenbaum, the musical mastermind behind the moniker Milan93, hails from Brooklyn, with a passion for crafting sophisticated and infectious House beats. Apparel Music is delighted to host his debut EP on its catalogues, being "Shelford Treehouse" a testament to his artistic prowess and diverse musical influences. The single "Teddy's Dream" (Bonus Track) drops on the 22nd of March 2024. This bonus track, with its distinct cover, serves as a prelude to the EP, offering a taste of the sonic richness that Milan93 has in store. The true essence of the EP lies in the mystery of the other two tracks, "Nelson's String" and "Georgie Gets Jazzy", which will be revealed only on the official release date, the 5th of April 2024. "Shelford Treehouse" embodies the spirit of modern house music, pushing boundaries and creating a sound that is both contemporary and timeless. Lucas' collaboration with Apparel Music is a proof of the label's dedication to finding new talents and offering them the right platform to express their skills. As we eagerly await the arrival of "Shelford Treehouse", mark your calendars for the 5th of April 2024, when Milan93 invites you to experience his very personal brand of sonic experience. The bonus track "Teddy's Dream" on the 22nd of March serves as the perfect prelude to what promises to be a groundbreaking EP.
Jung/King's debut album. SL Jung and Sam King met on a party when they both lived in Tokyo in 2019. SL Jung just started releasing his first 12"es on his labels Inner Spaces and Seafoam Fiction. Sam was playing all over Japan with his Electronica / Ambient band Hanegi Koen. They soon started to meet regularely in SL Jung's basement studio. Some productive sessions. More releases will come soon. But this album came to live when SL Jung had left Japan allready. Internet age made it possible. Inspired by some of their favorite electronica albums from the 90s like The Bionaut's - "Lush Life Electronica" they wrote the whole album in April 2022. Editing and mixing took some months longer of course. SL Jung also got some mixing hints from his Berlin friend Daniel Paul (Cabinet Records). Mastering was also done in Berlin by Kassian Troyer at Dubplates & Mastering. Expect a soulful dive-in Electronica, Ambient, Deep House journey. The artists just love albums that you can listen through and feel enlightened and lively afterwards. I think they made a good job on this one.
Arvid Wretman, AKA Your Planet Is Next, has assumed the role of musical storyteller with a serious mean streak of DIY electro. Wretman's latest album tells its tale through the eyes of an imagined anti-hero. He conjures up the gritty underbelly of an over-populated megalopolis; a world of dilapidation, ruin and sin, where stiletto knives are a dime a dozen and our titular protagonist, the FOG MAN, stalks the streets. In an oddball tradition, there's an absurdist, left-of-centre flex coursing throughout. This is the Stockholm native at his strangest, radiating fuck-off attitude and an embrace of imperfection as he maximises the potential of a limited studio setup. Bleak spoken word lyrics only serving to bolster the narrative storytelling, 'Sad Fog' paints a vivid picture of hardships endured, while 'Fog Power' resembles the inner dialogue of a man teetering at the edge of sanity. Think corrosive, industrial fug and rugged, tape-damaged torque. Through 'No Fog's menacing machine funk to the visceral, downbeat sleaze of 'Freaks' and queasy, Wolfenstein-sampling 'Eisenfaust', the FOG MAN deals that dystopian gear in spades.
"Jlin's detailed and meticulous exploration of rhythm's inner and outer reaches has made her one of the most distinctive and recognisable voices within both the electronic and classical music worlds. Her compositions are consistently appealing and have an accessibility to them, yet often defy expectations. She exists within her own locus solus - no matter the collaborator, no matter where sounds ultimately lead her. Whatever the situation – from composing the Pulitzer Prize shortlisted 'Perspective' for Third Coast Percussion, to 'Godmother' her AI-powered collaboration with Holly Herndon, Jlin always expresses her outlook to the fullest. Her new album 'Akoma' sets a new benchmark in her personal road map, not only since the album features guest appearances from Björk, Philip Glass and Kronos Quartet but for her continued sonic persistence and resistance. Jlin does what Jlin does and it's beloved across genres, across scenes and across generations. 'Akoma' is a new entry point into her sound and a new approach for both those who have been following diligently and those who are just now entering her world. So how did she get here? Here's a rundown for those looking for the facts. She was both a math nerd and a steel factory worker. She got inspired by Footwork and started making tracks with mentorship assistance from RP Boo and DJ Rashad, but her music was far from typical for footwork from the get-go. In 2011, she released her first track 'Erotic Heat' on the Planet Mu anthology 'Bangs & Works Vol.2.' Fashion designer Rick Owens heard it and invited her to soundtrack his Paris Fashion Week show. Already before an EP or an album Jlin was in new cutting-edge territory. And it hasn't stopped since. Everyday Jlin wakes up early and clocks into her home studio working hard on new music. Her discipline and craft-like approach means that those who would try to copy her sound simply can't get to the level she is at. Since 'Erotic Heat' she has released two bold albums, 2015's 'Dark Energy' and 2017's 'Black Origami.' She has also released her soundtrack to Company Wayne McGregor's dance piece 'Autobiography' (2018) and most recently (2023) the mini-album 'Perspective.' She's remixed µ-Ziq, Factory Floor, Ben Frost, Max Richter, Björk, Martin Gore and others. She's collaborated with Holly Herndon and the late SOPHIE. She's worked with visual artists Kevin Beasley and Nick Cave. She composed a string quartet for Kronos Quartet and performed with them live in a tribute to Philip Glass. She also recently completed a tribute to Sun Ra with Kronos. 'Perspective', her very well received percussion work for Third Coast Percussion has further opened doors for her in classical music. She's even thinking of one day writing an opera. She had a residency at MassMoca Museum earlier this year (2023). She's performed live at Pitchfork Festival, Unsound Festival and too many others to mention. She's also worked with Indian dancers, Company Wayne McGregor and renowned choreographer/MacArthur Fellow Kyle Abraham. There's more but you get the picture - she's working in contexts and in ways that few of her peers are able to. 'Akoma' is the next step - all these paths have led to this. We encourage you to tune in. "
In a formidable display of freeform techno from two masters of the art, STOOR present the first recorded work from Speedy J and Surgeon as Multiples. Spirit is the first single of the forthcoming album named Two Hours Or Something.
On March 5th 2024, it was 30 years since Patashnik topped NME's Independent chart. To mark this, Biophon is releasing 4 previously unreleased remixes from 1995 by the Norwegian duo Sketch. Sketch consists of Kai Mikalsen and Tor J?rgensen. Their first album "Reasons To Sway" was released on R&S/Apollo in 1994.
Following last years 'Theta State' EP, Oliver Way continues his take on different states of mind with the Gamma State EP. First of all we have the deep bass and breaks driven electronica of The Fabulous Mr. Baker, a track dedicated to the sadly departed techno and house producer, Tim Baker. Building upon layered pads and heart-felt keys, Oliver evokes the sound of early 90s Artificial Intelligence era techno, drawing warmth and emotion from his machines. This is backed by the jacking foot stomp of no non-sense floor banger Rubberband. Fused with bassy rave stabs, the tracks linear groove propels ever onwards into a dark, sweat-soaked cavern. Dancefloor techno, pure and simple. Both tracks are taken from Olivers second studio album due at the end of the year.
GHEIST has announced the release of their upcoming single "Lose Control" on their own imprint "Radau". Pre-safe Link The Berlin-based trio has collaborated with the Los Angeles-based singer SOFI for this release. The single will be released in two different versions, one on March 14th and the other on March 28th. This release offers us another glimpse into the unique musical universe of GHEIST and the addition of SOFI's vocals is sure to make it even more exciting. The first version is breakbeat-driven and truly underlines the musicality and beauty of the harmonies and melodies. It allows you to dive deep into a unique musical landscape of perfectly crafted synthesizers, topped by Sofi's mesmerizing and haunting vocals that take you on a journey within. The second version is made for the club and comes naturally as a four-to-the-floor driven track. Besides the obvious change of the beat, GHEIST initiated a number of little modifications and adjustments that make a huge difference and allow this song to shine once more in a different light. The Berlin-based trio never ceases to surprise and keeps on showing, with every release, that they are a force to be reckoned with. Inviting their friend Sofi on their musical journey and splitting a release into two versions is just another example of the playfulness with which GHEIST approaches this scene. If you are a true music lover, you should go and see them playing Life whenever you get the chance
"Jlin's detailed and meticulous exploration of rhythm's inner and outer reaches has made her one of the most distinctive and recognisable voices within both the electronic and classical music worlds. Her compositions are consistently appealing and have an accessibility to them, yet often defy expectations. She exists within her own locus solus - no matter the collaborator, no matter where sounds ultimately lead her. Whatever the situation – from composing the Pulitzer Prize shortlisted 'Perspective' for Third Coast Percussion, to 'Godmother' her AI-powered collaboration with Holly Herndon, Jlin always expresses her outlook to the fullest. Her new album 'Akoma' sets a new benchmark in her personal road map, not only since the album features guest appearances from Björk, Philip Glass and Kronos Quartet but for her continued sonic persistence and resistance. Jlin does what Jlin does and it's beloved across genres, across scenes and across generations. 'Akoma' is a new entry point into her sound and a new approach for both those who have been following diligently and those who are just now entering her world. So how did she get here? Here's a rundown for those looking for the facts. She was both a math nerd and a steel factory worker. She got inspired by Footwork and started making tracks with mentorship assistance from RP Boo and DJ Rashad, but her music was far from typical for footwork from the get-go. In 2011, she released her first track 'Erotic Heat' on the Planet Mu anthology 'Bangs & Works Vol.2.' Fashion designer Rick Owens heard it and invited her to soundtrack his Paris Fashion Week show. Already before an EP or an album Jlin was in new cutting-edge territory. And it hasn't stopped since. Everyday Jlin wakes up early and clocks into her home studio working hard on new music. Her discipline and craft-like approach means that those who would try to copy her sound simply can't get to the level she is at. Since 'Erotic Heat' she has released two bold albums, 2015's 'Dark Energy' and 2017's 'Black Origami.' She has also released her soundtrack to Company Wayne McGregor's dance piece 'Autobiography' (2018) and most recently (2023) the mini-album 'Perspective.' She's remixed µ-Ziq, Factory Floor, Ben Frost, Max Richter, Björk, Martin Gore and others. She's collaborated with Holly Herndon and the late SOPHIE. She's worked with visual artists Kevin Beasley and Nick Cave. She composed a string quartet for Kronos Quartet and performed with them live in a tribute to Philip Glass. She also recently completed a tribute to Sun Ra with Kronos. 'Perspective', her very well received percussion work for Third Coast Percussion has further opened doors for her in classical music. She's even thinking of one day writing an opera. She had a residency at MassMoca Museum earlier this year (2023). She's performed live at Pitchfork Festival, Unsound Festival and too many others to mention. She's also worked with Indian dancers, Company Wayne McGregor and renowned choreographer/MacArthur Fellow Kyle Abraham. There's more but you get the picture - she's working in contexts and in ways that few of her peers are able to. 'Akoma' is the next step - all these paths have led to this. We encourage you to tune in. "
2024-03-01 TYME
Slone, Shackleton, Hidden Function, Nastya Vogan, Koloah, Ennio, Knish Knash, Pavel Milyakov, Rhomb, Poly Chain, Schacke, Isabel Soto, Valentino Mora, In Half Light, MzR, James Harbrecht, Nobel Cortex, Cressida, Splinter (UA), Louwave, Compact-Disorder, Egotot, Csilla, Shifty, dxrvo, ezzeo