Recent posts: Album

Artist Freaks
Title Psych
Genre Deep/Tech House
Label Rebirth
Catalog# REB029CD
Released 2014
MP3 Download Source CD (LP)
Play Time 61:21 min
Total Tracks. 12
Bitrate 320 kbps

1. Freaks – Misfit ( 4:55)
2. Freaks with 012 – Conscious Of My Conscience ( 5:51)
3. Freaks with Stella Attar – We Move ( 5:56)
4. Freaks – What’s Your Name? ( 4:43)
5. Freaks with Robert Owens – Right Now ( 5:29)
6. Freaks – Wake Up ( 5:48)
7. Freaks – Getting Down (Album Version) ( 3:51)
8. Freaks – A Short Fuse ( 5:03)
9. Freaks – Situations ( 4:33)
10. Freaks – Are You A Freak? ( 3:37)
11. Freaks – No Way Back (Live Version) ( 8:11)
12. Freaks – Black Shoes (Beatless Version) ( 3:24)

Freaks are on the cusp of releasing ‘Psych’ a long-awaited follow-up to 2003’s heralded ‘The Man Who Lived Underground’. The album is a much-awaited gathering of material from the late 00s onwards into one coherent form, from post-‘Man Who’ sessions right up to their singles featuring Robert Owens and Diz Washington, recently released on the likes of Hot Creations and Rebirth. It was the success of these recent singles that finally crystallised the idea for Luke Solomon and Justin Harris to release a new album. Parachuted into an era of Spotify and iTunes, the album as an entity may almost be a faded thing of the past, but to them Psych is “like the conclusion of something unique and special” between the two, the pair’s chance to retire the long format on their terms, with a collection of tracks that highlight the strange alchemy of two of the UK scene’s most enduring house music artists. Freaks are a musical partnership that’s spanned twenty years and includes the Music For Freaks label, four albums, and an avalanche of singles across everywhere from Playhouse and Hot Creations to Crosstown Rebels, News and International Deejay Gigolos. It also spawned ‘The Creeps’, a single ensnared by the hype machine and consequently a worldwide smash which brought major pressure for an inevitable successor but only caused them to push back against the grain. The only way to retain sanity is to do what feels right, and whatever sales they forsook, Freaks retained what brought them together in that warehouse 20 years ago: a kindred spirit and a sense of their own destiny. In their own words ‘the highs outweigh the lows, one hundred percent’. Bona fide electronic music acts that have had their music played on a John Peel session can probably be counted on one hand, and Freaks are exactly that, an unaffected survivor in a digital world that simply make music with personality.

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Artist: Carnage & Cluster
Title Of Album: The Manhattan Project
Year Of Release: 2014
Label: Noisj – 10071060
Genre: Techno, Hardcore
Quality: MP3
Bitrate: 320 kbps
Total Time: 00:43:37
Total Size: 100 mb

Tracklist:
1. Democracy is Autocracy (Original Mix)4:31
2. Worldwide Corruption (Original Mix)3:40
3. Puppet Masters (Original Mix)4:21
4. Oppressed Masses (Original Mix)4:26
5. World Riot (Original Mix)4:30
6. Battlefield (Carnage & Cluster Remix)4:12
7. Rude Mechanicals (Original Mix)5:07
8. A-Bomb (Original Mix)5:08
9. No World Order (Dismantling the Machinery of Oppression) (Original Mix)3:38
10. Marching Out (Original Mix)3:59

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Artist: Peter Christopherson
Title Of Album: Time Machines II
Year Of Release: 2014
Label: Threshold House / TM2
Genre: Experimental, Drone
Quality: MP3
Bitrate: 320 kbps
Total Time: 01:12:40
Total Size: 166 mb

Tracklist:
1. 1
2. 2
3. 3
4. 4
5. 5
6. 6
7. 7

Peter Marks wrote:

Yet another spectral issuance comes out of the ether and into our ears. This release had been in the planning phases as far back as when COIL still existed so it’s somewhat strange to only get it now that both of them have departed the terrestrial realm, but regardless, ‘Time Machines II’ represents something I’d always wanted to hear: a solo record from Peter Christopherson. Now, some may quibble and say that The Choir was him on his own and there’s something to that; it was still a project name and not his own. For those who own the Amulet edition, what’s going on here won’t come across as being quite so aberrant…everyone else might do well to prepare themselves. Those three ELpH tracks from the ‘Born Again Pagans’ EP were a harbinger of things to come.

I can feel the layers of my mind being gently compressed and re-aligned by this album, just as they were by the first Time Machines record. The difference is that the chaotic aggression present in the debut has been replaced by pitch black darkness. No beginning. No end. One just drifts along with the current directing both thought and action in a very subversive manner. I don’t have the same sense of something violent being done to my synapses but I somehow become more and more aware of my own mortality listening to this thing, perhaps that is what Christopherson was after given that this material was done close to the end of his own life. The shuffling off of that mortal coil, so to speak.

What is most present in these recordings would be the same kind of marauding, disorienting sound field experimentation he did so well along with Jhonn Balance. The weight of these compositions is immense, a density reading would no doubt come away broken. There just isn’t any kind of method or test to define the parameters of the elements at play on here, and even if there were, who’d want the mystery dispelled. The slight of hand card tricks which others happily bandy about as avant-garde just fall down upon themselves and are revealed to be nothing but a faulty house of cards. Sleazy never really got into discussing how he made the music he did… no matter how many interviewers probed and prodded, he would not give anything up.

As with SoiSong, there’s a fabulous design element to what he’s given up here. And, naturally, a highly limited aspect is present as well. Those who want this thing are prepared to pay dearly to obtain it, and who can fault them? Christopherson was, without doubt, a master manipulator of acoustical space, one who could bend choirs out of inert objects and who also had a director’s eye. Remember, quite a few videos were authored by him and many may surprise you. His range was one of personal settings, an arrangement of tastes which made sense to no one else. I’ve read how he constructed the machines used to make this record himself which, if true, would take us right back to the beginnings when Chris Carter built electronic creations for him in Throbbing Gristle.

So it all has come full circle. I suspect I’m going to be hearing more of these kinds of things as I grow older and to tell you the truth, I’ve been waiting for them since my 20s. The end-of-life auditory journals of artists and the machines which are all they have left, stripped of the banality of youth and the trappings of social surroundings… all that remains are those sounds. Long after their creators are no more, the fruit of their imagination lingers on. Flickering, like the wings of myriad butterflies anchoring the rudder of fate.

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Label: Ultimae
Catalog#: inre070
Release date: 2014
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 149 mb
Genre: Electronic
Style: Ambient

Tracklist:
01: Lunokhod (13:34)
02: Selenic Light (05:34)
03: Theory Of Tides (12:10)
04: Ashlands (06:03)
05: 3 Moons (06:23)
06: Imbrium (Featuring Aes Dana) (05:09)
07: Synchronous (08:32)
08: Meteorites (08:08)

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Label: History Always Favours The Winners
Release date: 2014
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 287 mb
Genre: Electronic
Style: Ambient

Tracklist:
01. Video 2000 08:14
02. Re record not fade away 01:51
03. Neon lit atoms 03:19
04. Live for the future, long for the past 06:35
05. Low entropy 03:33
06. Ruined visions 04:55
07. Eventually, it eats your lungs 11:50
08. Speeded up slow motion 04:39
09. Complex Expedition 19:20
10. The start of wars and the end of eras 10:21
11. Fleeting modern 03:28
12. Lie low, pick your moment 05:15
13. The watcher and the watched 07:52
14. We might just lose this one 06:25
15. Locked into situations 05:55
16. Derelict Bar 04:53
17. The Tar Sands 04:55
18. Night Owls 03:27
19. Wanting an absolute beyond 08:06

What is ”Intrigue & Stuff” ? The title may refer to a Martin Hannett quote regarding Factory Records – “There’s an awful lot of incest that goes on” mused Hannett, “Intrigue and stuff”.

The music goes in many angles and directions. As awkward as it’s soothing. It’s the future, it’s the past. Using electronic means, abusing styles. Existing outside of scenes. Personal and Impersonal. Out of time, in time.

Sounds including barely legible renditions of New Beat, Acid, Concrete, emotive synth music and even a John Denver cover – all coated in that impenetrable sheen that characterizes so much of his music. these 19 tracks expand his mottled vision of the future into surreal new territories.

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Label: 1080p
Release date: 2014
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 111 mb
Genre: Electronic
Style: House, Electronic

Tracklist:
1.Hello World 06:13
2.Ghost Story 06:45
3.Infinity Jam 06:05
4.Flight Theme 04:24
5.Everything Dub 06:46
6.Mornings 04:18
7.Nakhodka (ft Via App) 04:38
8.Why Don’t We Talk 06:26

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Artist: Al Dobson Jr.
Title Of Album: Sounds from the Village Vol.1
Year Of Release: 2014
Label: IZWID
Genre: Downtempo, Bass, Experimental
Quality: Flac
Bitrate: Lossless
Total Time: 00:33:06
Total Size: 168 mb

Tracklist:
01. Garifuna (1:35)
02. Everybody (3:18)
03. Dunza Blues (4:14)
04. Maiysha (2:19)
05. Silvercrest (1:06)
06. Sensi Block (1:25)
07. South East Clicks (2:49)
08. Work Together (3:16)
09. Rain Down (1:33)
10. Tiger Dunza (1:36)
11. Inner City (1:11)
12. The Circle (1:48)
13. Everyday (1:35)
14. Tomorrow (3:46)
15. Obeah (1:27)

For the third instalment on Kutmah’s experimental IZWID imprint, south London DJ and producer Al Dobson Jr. creates a 15 track deep, exploration of soulful, tribal drums and abstract musical curation.

Otherworldly and nuanced beats re-imagine the score of the sampledelic funk tale. One that’s non-geographical but rather lost in loops, journeying through the time and space that exists within your headphones. Alternating between cosmic vocal rips and a myriad of loose, soul-infused beat tape-style sketches with its digital flourishes, “Sounds from the Village Vol. 1” sees the sunrise and sunset over a bohemian musical vista.

As with all of the output on IZWID, Kutmah’s hand drawn artwork brings to life the story of the release, revisiting a boundary-less and positive manifesto that reputes the tyranny of genre.

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Label/Cat#: Deep Tech – DTR 075
Year: 23 June, 2014
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 164 mb
Genre: Electronic
Style: Tech House

Tracklist:
1. Soleil Gris (07:32)
2. Wolfadub (07:40)
3. Cendre (07:47)
4. Marcel (07:28)
5. Ombre Phonique (07:20)
6. Millesime (07:24)
7. Vieux Piano (07:47)
8. Songe (07:12)
9. Jour De Neige (07:36)
10. Fiel De Lune (07:41)

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Label: 1080p
Release date: 2014
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 96 mb
Genre: Electronic
Style: House, Techno, Ambient

Tracklist:
1. Colour Block
2. Yves
3. Failed Interaction
4. Pre-Modern
5. Air Traffic
6. Monir
7. Shukran
8. Offshore
9. MTA (Dub)
10. Corridor

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Artist: Tempelhof & Gigi Masin
Title Of Album: Hoshi
Year Of Release: 2014
Label: Hell Yeah
Genre: Disco, Techno, House, Electronic
Quality: MP3
Bitrate: 320 kbps
Total Time: 00:42:18
Total Size: 102 mb

Tracklist:
1. Jolla ( 1:54)
2. The Dwarf ( 3:18)
3. My Velvet Book ( 3:34)
4. Red Venus ( 5:24)
5. Interstellar Bop ( 4:32)
6. Buena Onda ( 5:06)
7. Silver Wave ( 4:10)
8. Joe Jordan ( 4:59)
9. Bow Down ( 5:42)
10. She Left Home ( 3:39)

Hell Yeah is proud to announce the release of Hoshi, another exciting full-length album project that again involves the talented Tempelhof, this time in association with legendary Italian composer, director and musician Gigi Masin.

Fellow Italians Luciano Ermondi and Paolo Mazzacani are known for their hugely musical electronica and late last year released Frozen Dancers, their most recent album on Hell Yeah. It was a master class in spacious and emotive sound that was a joy to get lost in.

For this next album, the pair team up with legendary producer Gigi Masin, who played a key role in his country’s music scene from the 1970s onwards on radio, on television and in theatre with his directorial work. Always a fine source of inspiration for newer generations, the likes of Bjork and To Rococo Rot have been known to sample Masin’s sumptuous sounds before now. Together, then, Masin and Tempelhof make perfect sense as a musical partnership as this album proves across the course of its 10 elegant tracks.

The album is an exploration of peaceful ambient, of organic musical textures and brain soothing soundscapes that are as classically informed as they are contemporarily creative. Some pieces are floating and beat-less and suspend you right at their centre, whilst others are driven by light dustings of percussion from far off in the distance.

Words like water, heaven and peaceful spring to mind when listening to this album – its truly evocative and spacious, elegant and vast in its design. Like the synth delights of Vangelis, this album spreads out in all directions – sometimes synths are joined by sombre twinkling pianos, at other times more real life found sounds or occasionally the sound of distant, drifting voices.

Despite the serenity of this album, it’s also a piece or work that really takes you somewhere: as such it’s too moving and emotive to be truly ambient as it retains your attention from start to finish. Come the end you feel like you’ve been meditating in your own world, free from the distractions of life… it’s that peerless craftsmanship from Tempelhof and Gigi Masin that make this album such a breath taking triumph.

Andrea Amaducci, as always, at the artwork controls.

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Label: BEER ON THE RUG
Release date: 11-03-2014
Source: WEB
Format: MP3
Quality: 320 kbps
Size: 59 mb
Genre: Electronic
Style: Experimental

Tracklist:
1.mediocrity 03:49
2.cum 02:28
3.ƒ + e 01:18
4.fds(x) 03:28
5.sign 02:01
6.X 00:47
7.ver 01:09
8.gland 00:48
9.siel 01:56
10.cmd 02:11
11.trap interger 00:57
12.sdq 01:57
13.removun 01:50
14.bryant 01:09
15.mediocrity pt.2 02:06
16.std 02:03

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