Recent posts: Album

Label: Hymen Germany
Catalog#: Y 806
Release date: 19-02-2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 155 mb
Genre: Electronic
Style: Experimental, Ambient, Electronic

Tracklist:
1. Sleepwald 4 (05:23)
2. Diggers (05:03)
3. Vere (02:45)
4. FM Sleep (02:45)
5. C52 (02:22)
6. Plim Mill Wall (06:33)
7. Sleepwald 6 (05:24)
8. Sleepwald 3 (06:33)
9. Dopplereffect (04:40)
10. Bat Magick (03:31)
11. Bare Demon (04:24)
12. Crazy Law (04:54)
13. Ubaad Ramp (08:14)
14. Perfects Creek (05:11)

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Label: Moving Shadow
Catalog#: ASHADOW22CD
Country: UK
Release date: 28-02-2000
Source: CD, Album, Compilation
Format: MP3
Quality: 320 kbps
Size: 163 mb
Genre: Electronic
Style: Breakbeat

Tracklist:
1. Battlestar (Corduroy Remix) (5:23)
2. Sonix (Sketch Remix) (6:12)
3. Supernatural (K Remix) (5:30)
4. The Stalker (Timecode Remix) (7:30)
5. Manmade Symphony (Mr Scruff Remix) (6:38)
6. Suspekt Device (The Hightower Set Remix) (6:17)
7. Bodyshock (Aquasky Remix) (7:45)
8. Agitator (Remix) (6:09)
9. Rebirth (London Elektricity Remix) (7:36)
10. Zero Tolerance (Remix) (5:57)
11. Bodyshock (Adam Freeland Remix) (6:24)

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Label: Random Soul
Catalog#: RSR025
Release date: 04-03-2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 174 mb
Genre: Electronic
Style: Soulful House / House / Nu-Disco

Tracklist:
1 Another Day (Feat. Chuck Love) [5:09]
2 I Live For The Moment (Feat. Kristen Pearson) [4:50]
3 Hooked Upon Your Love [4:24]
4 Are We (Feat. Kyla Sexton) [4:00]
5 One Night Love [5:16]
6 Hard To Love Me (Feat. Kristen Pearson) [5:40]
7 Mysterious [5:10]
8 Problems In Strength [4:43]
9 Falling Away (Feat. Natalie Conway) [4:43]
10 Time To Funk (Feat. Joshua Heath) [4:38]
11 Tribute (Feat. Louis Hale) [4:18]
12 For All Seasons [5:22]
13 Gravity [5:30]
14 Different Personalities [5:10]
15 A Gentle Sea [5:08]

‘Live For The Moment’ is the debut album from Random Soul, the Australian house duo of Yogi & Husky. The duo have made a big impression in recent years with releases for labels including Strictly Rhythm, Bargrooves, Salted and Large. The album, released on their own label, Random Soul Recordings, presents an effortless journey through 15 tracks that cement their position amongst the most established names in Deep and Soulful House circles, while also showcasing their talent in creating Soul, Jazz and Funk gems.

‘Live For The Moment’ incorporates everything from floating vocals and laid-back soulful grooves riddled with live instrumentation, through to bumping, funky club tracks. The album also highlights their talent as songwriters with a string of captivating vocals featuring strong hooks, often performed by Yogi. Six vocal collaborators include well-known West Coast USA artists Chuck Love and Joshua Heath, as well as Natalie Conway, Kristen Pearson, Kyla Sexton and Louis Hale. All are close friends of Yogi & Husky, and the chemistry of the relationships shines through: “Working with friends always makes the job seem more fun too, so doing tracks with people like Joshua Heath and Chuck Love, usually meant more jokes and laughing than ‘work’ per say. We enjoy getting other people in the studio as it creates such a different dynamic”

Listening to these collaborations and the album in full, it’s clear to hear where many of Random Soul’s influences lie, with the house sounds of Miguel Migs, Joey Negro, Grant Nelson and Groove Armada providing a strong focus, alongside funk and soul artists such as Rae & Christian and Smoove & Turrell.

Since 2005, Sydney-based Yogi & Husky have become two of the city’s most well known DJ/Producer exports. Combining their production skills, varied musical talents and their mutual love of Soul, Jazz, Funk, Motown, Disco and everything in-between, they have brought the Random Soul sound alive in clubs, bars and festivals around the world, and delivered hit after hit in house music circles. Their distinct studio sound is typified by Yogi’s keyboards and vocals, and Husky’s jumping bass-lines and driving drums – a sound that has given them a worldwide following and seen them command on-going positions at the top of download store sales charts, while picking up countless licenses of their music to international compilation series’.

The first single taken from the album is ‘Mysterious’ and will feature a Richard Earnshaw remix to be released late January/February 2013.

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Label: Absolute Truth Press
Catalog#: ATPCD-001
Country: Finland
Release date: 1998
Source: CD, Album
Format: MP3
Quality: 320 kbps
Size: 155 mb
Genre: Electronic
Style: Drum & Bass

Tracklist:
1. Setting The Scene (1:03)
2. Material Atmosphere (6:41)
3. Meditation (6:45)
4. Descended (8:49)
5. From Shadow (8:49)
6. Substance (7:38)
7. Raga (6:32)
8. Beyond (25:47)

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Label: none
Catalog#: none
Release date: 11-02-2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 84 mb
Genre: Electronic, Rock
Style: Post Rock, Ambient, Shoegaze, Electronic

Tracklist:
1. Looking Back (2:39)
2. Shoreline (3:44)
3. Purpose (2:58)
4. Searching the Sky (4:14)
5. Contact (5:12)
6. Fear Decides (3:45)
7. Come and Go (4:03)
8. Under the Starlit Sky (4:08)
9. No, We Never Had To (5:02)

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Label: Thrill Jockey
Catalog#: Thrill 316
Release date: 19-02-2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 115 mb
Genre: Electronic
Style: Experimental / Vocal / IDM

Tracklist:
1. You (7:02)
2. Very Large Green Triangles (4:43)
3. Mental Radio (3:39)
4. Ross Transcript (2:37)
5. Teen Paranormal Romance (4:47)
6. Tunnel (5:40)
7. In Search Of A Lost Faculty (6:11)
8. Aetheric Vehicle (7:14)
9. E.S.P. (8:03)
10. Ganzfield (∞)

*Excerpts from the album. Now available from Experimedia.net.* *CD version in deluxe digipack with 24 page booklet.* As always, the first Matmos album in five years doesn’t begin with the music itself. It starts with an specific approach, a conceptual framework, and a bold endeavor. Each of the nine tracks that comprise “The Marriage of True Minds” began with Matmos attempting to communicate the methods of their new album to test subjects who were deprived of both sight and sound. It’s a take on the Ganzfeld experiment, of which the Baltimore duo’s last EP was named after. The inspirations proved to be wildly singular: some came in the form of a hummed vocal fragment that was looped and warped, others in a visual depiction that intimated a musical structure to follow.

In translating these sources to song, “Marriage” is often playful and exuberant, exaggerating a voice snippet into an electronic symphony (“Very Large Green Triangles”) or matching what sounds like a Latin marching band with sirens and fire engines (“Mental Radio”). So much sonic material is placed into the album that highlights abound, but “Tunnel” may be Matmos’ crowning achievement on this double LP. The track, which features fellow Baltimore mainstay Dan Deacon, begins with stray scratches of raw guitar that is soon matched by a booming techno beat worthy of a night club dancefloor. “Tunnel” expertly accelerates and slows the swarm of hyperactive sound with a unique swagger until it closes unexpectedly in a fit of coughing.

Yet, for a pop album as varied as “Marriage,” the album is entirely listenable. The styles – ranging from the skittering pulse of tap dancing to the blackened churn of doom metal – are of course eccentric, but they are layered into tight, discernible shapes that are both meticulous and adventurous in a way that electronic pop rarely is. – Ryan Potts, Experimedia

Expanding upon the ambitious premise of their recently released The Ganzfeld EP, Baltimore-based electronic duo Matmos (Drew Daniel and M.C. Schmidt) are now releasing their first new full-length album in five years : The Marriage of True Minds.

Matmos are known for making toe-tapping rhythmic pop out of odd and unusual sound sources. They have always worn genre loosely, but it’s safe to say that this is the first electronic album to start with tap dancing and end with doom metal, and the only album on which members of Nautical Almanac and the Arditti String Quartet rub shoulders. Comprising stomping techno, eerie synth jams, musique concrete, Latin rhythms, and Ethiopian music, at once at home in the academy, the art gallery, the nightclub and the noise warehouse, the dizzyingly diverse assemblage which is “The Marriage of True Minds” is driven by a tightly unified conceptual agenda: telepathy.

For the past four years the band have been conducting parapsychological experiments based upon the classic Ganzfeld (“total field”) experiment, but with a twist: instead of sending and receiving simple graphic patterns, test subjects were put into a state of sensory deprivation by covering their eyes and listening to white noise on headphones, and then Matmos member Drew Daniel attempted to transmit “the concept of the new Matmos record” directly into their minds. During videotaped psychic experiments conducted at home in Baltimore and at Oxford University, test subjects were asked to describe out loud anything they saw or heard within their minds as Drew attempted transmission. The resulting transcripts became poetic and conceptual scores used by Matmos to generate the nine songs on this album. If a subject hummed something, that became a melody; passing visual images suggested arrangement ideas, instruments, or raw materials for a collage; if a subject described an action, then the band members had to act out that out and make music out of the noises generated in the process of the re-enactment. “The Marriage of True Minds” boasts a promiscuous cast of guest musicians, an array of sonic tactics, and a broad swathe of musical styles, but this diversity is joined together with a common purpose: the translation of this archive of psychic experiments into a delirious hybrid of conceptual noise and electronic pop.

After opening ripples of piano and percussion, the voice of Carly Ptak (Nautical Almanac) whispers lyrics that announce the theme of the album as a whole: “Telepathy / We want to know . . .” The song is a deconstructed cover of “You”, originally written by Leslie Weiner and Holger Hiller (of post-punk legends Palais Schaumberg). A sultry and cryptic ode to the mystery of interpersonal communication, “You” exhibits the odd sound design which is a Matmos trademark: the bassline is an amplified rubber band played by Jason Willett (Half Japanese), and the spiky beats are actually the manipulated sound of a tap dancer shuffling on a stone floor. Joining chamber music to tech-house, “You” acts as a primer for the album as a whole that follows it: a promiscuous cast of musicians from incongruous backgrounds all go under the digital editing knife as they are chopped into tight, surprisingly listenable songs which—for the first time in Matmos’ work- prominently feature vocalists and voices.

Already featured on the “Ganzfeld EP”, “Very Large Green Triangles” is an attention-grabbing slice of Gothic pop that overlays a psychedelic vision of geometrical apocalypse onto a stomping Baltimore club beat. The album version is longer and stranger than the EP version, with a free improv honky tonk piano solo preceding the beat drop. The song is based upon a psychic session with the oddball crooner Ed Schrader (Ed Schrader’s Music Beat), who was convinced to re-sing snippets of his own psychic session to build the song’s lyrical and conceptual hook (the song also boasts a lavish animated video which was much celebrated on the blogosphere).

As the album progresses, each song takes a different transcript as a musical launchpad. “Mental Radio” synchs jubilant Latin percussion onto the jostling and sloshing of water in a bucket, only to collapse into near silence until the ringing of a triangle cues an eruption of boisterous free jazz horns, which are joined by fire engines and a berserk synth invasion. Mirroring the free associative switchbacks within a particularly fevered psychic session, “Ross Transcript” is an exercise in the band’s most beloved musical form, musique-concrete, complete with jarring edits of heavily manipulated voices, cut-up plunderphonic noises, and field recordings. Blowing hot and cold, “Teen Paranormal Romance” drizzles melancholic synths onto booming bass-jeep drops and a gnarled modular bassline played by longtime Matmos collaborator Jay Lesser. Spiked with groans and mutters from noise bro DJ Dog Dick and eerie backing vocals by Dominque Leone, the song is at once fast and slow, at once heart-on-sleeve and ludicrous, not unlike the genre of popular occult fiction for which it is named. (It’s based on DJ Dog Dick’s wordless psychic session.)

A patchwork from multiple sessions, “Tunnel” begins with throat singing from Dan Deacon, whose growls and groans give birth to a relentless techno stomp on which Owen Gardner (from up and coming Baltimore band Horse Lords) plays manic, scrabbling Bo Diddley-esque guitar figures. After breaking down for the whispered delivery of one of the more cryptic utterances from the psychic archive (“there a light at the end of the tunnel . . . but it isn’t daylight”), handclaps and tambourines tighten the groove, which climaxes in a vertiginous synth solo, before the whole thing falls apart in a fit of coughing (Sabbath’s “Sweet Leaf” in reverse?).

“In Search of a Lost Faculty” offers the most dramatic, even disturbing evidence for the pronounced similarity of many of the experimental sessions: over and over, whether male or female, British or American, young or old, the psychic test subjects saw, heard or imagined the presence of triangles. The song gathers every reference to triangles experienced throughout four years of experimentation into a sonic archive of collective imagination, punctuating spoken testimonies about this recurring figure with ominous organ, timpani, and violin played by Ashot Sarkissjan of the Arditti String Quartet. “Faculty” ends with a celestial cloud of vocals by Angel Deradoorian of the Dirty Projects and Clodagh Simonds of Fovea Hex, amid processed swirls of bagpipe. Is this song evidence for the reality of telepathy? Is this song evidence that triangles were kind of trendy four years ago? Listen and judge for yourself.

Based upon the transcript of the psychic session of modular guru Keith Fullerton Whitman, “Aetheric Vehicle” is the last transcript-specific song on the album, and offers a hazy, funky variant on the kind of melodies found in Ethiopian music. Over a cascade of meandering synth played by M. C. Schmidt and intricate rhythms made out of the sampled sounds of Chinese checkers and handcuffs, a kind of mutant hybrid of African music and R & B crystallizes. This heady mix is capped with the smoky, wordless wails and moans of Jenn Wasner (Wye Oak, Flock of Dimes), who ends the song in an aviary of whistling, rattles and bells.

Ending with another cover which returns us full circle to the beginning of the record, Matmos save their wildest provocation for last: a polyglot deconstruction of The Buzzcock’s “E.S.P,” which gearshifts across multiple genres over eight minutes, testing the limits of how different styles and moods can flow and fold into each other. “Do you believe in E.S.P.? / I do and I’m trying to get through to you” growls Gerry Mak of Brooklyn experimental doom metal band Bloody Panda in a withering Cookie Monster voice. Heavy doom metal riffs play punk chords at a funereal crawl, until military snare rolls pick the pace up to a black metal blur (played by members of Baltimore occult crust band Pleasure Wizard). This gives way to a shimmering, sunny interlude of cyclic guitar and synth figures that recalls the Matmos of “The Civil War” and “The West” until, audaciously, a drum roll hits and the whole band erupts into something which has always been pretty much unthinkable in Matmos’ work: full on, no apologies riff rock. Connecting the latent family resemblance between surf rock and black metal, the Buzzcocks song plays out until, for the first time in twenty years as a band, M. C. Schmidt and Drew Daniel sing together, harmonizing the words “If you’re picking up on me, then you’ll know just what to do . . .” Abruptly switching off this romantic closure (Daniel and Schmidt are a couple who recently celebrated their 20th anniversary), the song cuts to dead silence as Schmidt delivers the final phrase of the record: “So . . . think.” It’s an emotionally naked and risky ending to one of the strangest records you will hear this year, and a fittingly open-ended conclusion to a sonic experiment in the possibility of purely mental connection.

The album was recorded and mixed at home in Baltimore and at Snow Ghost Studio in Montana, and was mastered in San Francisco by Thomas DiMuzio. Designed by Rex Ray, the album’s packaging presents in the liner notes the complete texts of the psychic transcripts which generated each individual song, along with photographs that document the Ganzfeld sessions. The vinyl version of the release also contains a bonus locked groove of white noise so that the home listener can put on the eye-coverings and headphones which accompanied the deluxe edition of “The Ganzfeld EP” and complete the re-enactment of the experimental conditions that created the songs. The result is an artifact which is both an art object, a scientific report, a practical joke and a daring pop record.

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Label: N5MD
Catalog#: MD207
Release date: 25-02-2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 129 mb
Genre: Electronic
Style: IDM / Ambient / Cinematic

Tracklist:
01. Wake (5:22)
02. The Rising Tide (8:58)
03. Vision Blur (4:54)
04. .Through (Feat. Anklebiter) (7:36)
05. Arc (5:03)
06. What Awaits (6:29)
07. Shadow Fall (3:48)
08. Waning Light (6:13)
09. Set (3:52)
10. The Rising Tide (Radio Edit) (4:30)

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Label: Rephlex
Catalog#: EOD 219 CD
Release date: 04-02-2013
Source: CD, Album
Format: MP3
Quality: 320 kbps
Size: 124 mb
Genre: Electronic
Style: Electro, Acid

Tracklist:
1 Matter (4:21)
2 Travellax Acid (5:58)
3 Zinking (8:32)
4 Innsmouth (4:22)
5 I Hear 3 (5:18)
6 Arrow (3:48)
7 Return To Star Base Zero (4:36)
8 Beyond The Corridors (3:35)
9 The Color Out Of Space (4:41)
10 Retcho (11:37)

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Label: Entropy Records
Catalog#: EF.0107, EF.0107F
Country: France
Release date: 18-02-2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 180 mb
Genre: Electronic
Style: Dub Techno, Ambient

Tracklist:
1. Deimos (6:08)
2. Phobos (7:36)
3. Moonray (6:16)
4. Aureolin (6:56)
5. Atomization (6:39)
6. Sidereo (7:44)
7. Aureolin (Dublicator Remix) (7:01)
8. Moonray (Schindling Remix) (8:44)
9. Moonray (Zoltan Solomon Remix) (9:11)
10. Moonray (Sub.Made Reduced Version) (6:26)
11. Imbrium (6:48)

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Label: Denovali
Catalog#: DEN161
Release date: feb 2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 96 mb
Genre: Electronic
Style: Electroacoustic, Modern Classical, Ambient

Tracklist:
01-The Uncanny
02-Valse Fatale
03-Fatalist
04-History (Fragment)
05-The Repetition of History
06-The History of Repetition

With his new album Field Rotation concentrates on the more classically based production, continuing and expanding upon the musical idea of his ‘Acoustic Tales’ project. ‘Fatalist: The Repetition of History’ is marked by a noticeable inner fragility, the contrast between bitter harshness and stirring melancholy. In the fatalist view of history, the ancient Greeks thought that just as the four seasons of spring, summer, autumn and winter repeat themselves every year, history would do the same and follow a cyclic course. This may or may not be true, however, Field Rotation has certainly succeeded once again in composing an album which will ease as many minds as it will thoroughly shake.

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Label: Fake Four Inc.
Release date: 19-02-2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 140 mb
Genre: Electronic
Style: Hip-Hop

Tracklist:
01 A Long Winter (feat. Ceschi)
02 City In Amber (feat. Lotte Kostner)
03 Exit Theme (feat. Astronautalis & Lotte Kestner)
04 Kill The King (feat. Deacon The Villain)
05 Melancholia
06 Micheal
07 Palmreader
08 Petrichor
09 Russian Roulette (feat. Cage & Yes Alexander)
10 Seven Devils
11 Snow White
12 Song For The End Of The World
13 The Beast

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Label: SQE
Catalog#: 852914 001174
Release date: 19-02-2013
Source: CD, Album
Format: MP3
Quality: 320 kbps
Size: 107 mb
Genre: Electronic
Style: Electronic, Beats, Trip-Hop, Downtempo, Vocals, 2 Step, Leftfield

Tracklist:
1. Caves (album version) (03:56)
2. Others (03:32)
3. Cargo (03:19)
4. Can’t Keep Your Mind Off (03:28)
5. Something To Me (04:29)
6. They (03:40)
7. Only A Few (04:21)
8. Guard (04:26)
9. Paper Thin (03:05)
10. She’s Been High (04:59)
11. Waiting Place (02:36)
12. Finish Round (05:12)

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Label: MB Disco
Catalog#: MB9001
Release date: march 2013
Source: WEB
Format: MP3
Quality: VBR V0
Size: 125 mb
Genre: Electronic
Style: Nu Disco

Tracklist:
01. Badabing (5:35)
02. Humming Bird (6:08)
03. Oh Yeah (5:11)
04. Agogo (5:40)
05. Strings Attack (6:20)
06. Don’t Stop The Dance (6:22)
07. Funky Gura (5:52)
08. Vicious Games (5:16)
09. Trapeze Disco (5:18)
10. Wilmer Pt.1 And Pt.2 (11:06)
11. On The Island (6:12)

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Label: Bronzai
Catalog#: BRZ 055
Release date: 15-02-2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 138 mb
Genre: Electronic
Style: Tech House, Techno

Tracklist:
1. Chippenham Avenue (07:29)
2. Erosion (07:21)
3. Morphosis (07:29)
4. No One Here (06:36)
5. Spirale (07:08)
6. Up & Down (07:29)
7. Yes No (06:24)
8. Wrong (05:25)

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Label: Cold Tear
Catalog#: CTR036
Release date: 18-02-2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 102 mb
Genre: Electronic
Style: Dub Techno, Ambient

Tracklist:
01 Averment
02 Jardin d’Acclimation
03 Particles in Rhythmus
04 Surfacant
05 Oh No Dub
06 Spring Rain(ge)
07 Chromium Waves
08 Machine Dub
09 V-Code

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Label: EMI
Release date: feb 2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 100 mb
Genre: Electronic
Style: Disco, Electropop

Tracklist:
01. The Wiggle (5:16)
02. The Scene (4:33)
03. Femme Fatale (4:38)
04. Down (4:49)
05. Wonderful (3:58)
06. The Highway (3:17)
07. Forever Awake (3:48)
08. How Can I Be Sure (3:58)
09. Nothing’s New (4:21)
10. 39 (5:10)

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Label: Ghostly International
Catalog#: GI-172
Release date: 19-02-2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 119 mb
Genre: Electronic
Style: IDM, Techno, Electronic

Seattle-based producer Jeff McIlwain’s work has long inhabited the fertile border zone between electronic pop and experimental electronic music — it’s a place that’s home to music that has both a brain and a heart, and McIlwain’s been exploring its boundaries for the best part of a decade now.

The Waiting Room is his third full-length release for Ghostly International under the moniker Lusine, and his first album since 2009’s A Certain Distance. As with all McIlwain’s work as Lusine, this is a record that’s characterized by both diversity and coherency. Its tracks traverse a variety of sonic landscapes, from the widescreen atmospherics of appropriately-titled opening track “Panoramic” through the digital soul arrangement of Electronic’s “Get the Message” and the club-friendly bounce of “First Call” to the slow-building Detroit-inflected closer “February”.

But for all The Waiting Room’s eclecticism, it’s also notable that it plays out as a coherent whole, with McIlwain’s deft production creating the sense of a single, logical journey — an album, rather than a simple collection of tracks. It also continues the excursions into vocal-led tracks that characterized A Certain Distance — exactly half of The Waiting Room’s ten tracks employ vocalists, most notably the aforementioned “Get the Message,” wherein guest vocalist and wife Sarah McIlwain makes Bernard Sumner’s words her own: “I don’t know where to begin / Living in sin,” she sings calmly, “How can you talk? / Look where you’ve been.”

As a whole, this is an album that’s both cerebral and visceral, a record that’s both rewarding of a serious headphone session and also warm and melodic enough to make listening as engaging in an emotional sense as it is in an intellectual one. Many artists flirt with these two extremities of electronic music; few tie them together as well as McIlwain does.

Tracklist:
1. Panoramic
2. Get The Message
3. Lucky
4. On Telegraph
5. Another Tomorrow
6. Without A Plan
7. First Call
8. By This Sound
9. Stratus
10. February

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Label: Senufo Editions
Catalog#: SENUFO040LP
Release date: 03-01-2013
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 65 mb
Genre: Electronic
Style: Ambient, Electronic

Tracklist:
01 Alpine Panorama
02 Candles
03 Silhouette Couple
04 Seascape_Ship
05 Still Life
06 Silhouette Couple (On The Beach)
07 Sunset_Sunrise
08 Roses On Piano
09 Abstract
10 Close-Up

*Limited Edition of 300 – Each copy come with an individual / unique cover made from recycled sleeves* Sensitively warm and abstract radiophonic/collage bloopery from Andrew Pekler – a member of Groupshow with Jan Jelinek and an artist with previous form for Dekorder, ~scape and Kranky. His ‘Cover Versions’ is an enchanting exercise in sampling/plunderphonic collage techniques, injecting frayed and dilapidated samples with new life in delicate and effervescent ecologies. I guess the title is meant to be taken on more than one level: at its literal meaning, the original source material is transformed into abstract versions of the songs they were born from, while on a physical, concrète level – one perhaps even more relevant to this album – these small fragments of sound feel ripped, scraped and extracted from their homes to make versions in the dub sense of the phrase, all decayed and dusty ghosts of shellac and vinyl displaced into a trans-dimensional digital/analogue ether. But while that might infer something darker, the sounds and the way they’re used implies a woozier, dreamier effect very close to Jan Jelinek’s recent Faitiche outings or the rarified recordings of Senufo Editions boss Giuseppe Ielasi’s Bellow recordings with Nicopla Ratti, gently blowing warm, human life into finely smashed particles of exotica, easy listening and library electronics.

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Label: Stroboscopic Artefacts
Catalog#: SACD003
Release date: 18-02-2013
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 155 mb
Genre: Electronic
Style: Ambient, Dub Techno, Dub, Experimental, Electronic

Tracklist:
01. Vibration
02. Truth
03. Life
04. Path
05. Circle (feat. Edit Select)
06. Death
07. Transfer (feat. King Cannibal)
08. Arrival
09. Unbroken Continuity
10. Experience (feat. Øe)
11. Existence
12. Iridescent Fragment

“‘You Are Eternity’ is the third album to be released on Stroboscopic Artefacts and comes from two of the minds who have shaped the label since its earliest days: Dadub. Recorded over a period of two years, but containing fragments and ideas that stretch back a decade ‘You Are Eternity’ has been mixed together to form a continuous piece rather than twelve discreet tracks. The effect? An immersive journey that encompasses the descriptors brutal, ferocious, ambient and aqueous.

It would be easy to describe the album’s structure as that of two halves, but it’s not that simple. The structure that Dadub has developed is cyclical at its most compliant, and elliptical at its most oblique. Within these forms the sounds that emerge run the gamut of electronic music. ‘Existence’ and ‘Unbroken Continuity’ explore futuristic, atmospheric states. ‘Path’ swaggers with rippled dub. Embedded into ‘Truth’ is a polemic sample of Henry Waxman questioning Alan Greenspan. And the same record houses ‘Transfer’, a staunch cut that’s more than fortified to do some damage.

In the studio Dadub’s process is nothing short of alchemical. Their characteristic sound originates from entirely digital sources, but their sound treatments reanimate this raw material filling it with warmth and human emotion. The source loops and synthesised lines are run through countless channels and complex chains of effects to arrive at a destination unrecognisable from the points of origin. Dadub are true sound materialists.

Knowing that Dadub place so much emphasis on process, it’s all the more interesting to hear their collaborations with other artists and ‘You Are Eternity’ is graced by fellow SA cohort Edit Select, the sound experimenter Øe and Ninja Tunes stalwart King Cannibal. It is indeed King Cannibal who teamed up for the album’s most ferocious cut ‘Transfer’. Whereas ‘Experience’ ft. Øe is a hazy slither of atmospherica. And the only straight kick of the entire record is to be found on the track with the most elusive subject matter, ‘Death’ ft. Edit Select, a collaborative elegy on the ultimate unknown. ‘You Are Eternity’ tends towards spaces that are undefined, that are unquantifiable – this album is a foray into Jenseits.

The album title hints at the almost spiritual origins of the album, Dadub’s search for music that goes further, that spreads away from the confines of the time and place in which we find ourselves, music that seeps into the cavern of the eternal. Tucked into ‘Vibration’, the very first track, is a sample of the Afrobeat pioneer Fela Kuti. He leans close and says: Music is a spiritual gift, and those who misuse it, die young. Sage words. ‘You Are Eternity’ is a record that refuses to take any chances, Dadub are clearly producers intent on being around for quite some time.” Clare Molloy

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Label: none
Catalog#: none
Release date: 07-06-2011
Source: WEB, Album
Format: MP3
Quality: 320 kbps
Size: 119 mb
Genre: Electronic
Style: Bass, Ambient, UK Garage, Future Garage, Dubstep

Tracklist:
1.Translocation 00:50
2.Blacklight 04:45
3.Witchdoctor 05:58
4.Dirt vs Wind 05:20
5.Balconies 05:42
6.Zealous 05:40
7.Bridge Market 04:56
8.Truce 04:42
9.Future Mistakes 05:13
10.Walk After Supper 02:34
11.Chasm 06:16

320 kbps
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