Delodio label’s managing duo (Fafane and F.M), have been piling up tonnes of tapes and cassettes in their studio for many years. The tracks compiled here, by an as of now unidentified artist, come from one of these cassettes. One thing is certain, the artist who made this instrumental cosmic music loved / loves soaring synthesizers with arpeggiators and drum machines. Throughout the 8 tracks on this album, you get the impression of wandering through a planetarium or listening to an early 80s sci-fi movie soundtrack.
For more than thirty years, Ruud Lekx has been corrupting hearts and minds with his unmistakable brand of synthesizer music. Under his Rude 66 mask, this titan of electronics returns to Bordello A Parigi with twelve darkened tracks for ‘Conditioning Consciousness’. Tempos glide low in the opening incantations. From the breathy murmurings of “Magick Angels’ Invocations”, the listener is brought into Rude’s world. Shauna Lekx’s signature vocoder lyrics and blackened subject matter are central tenets, as are hauntingly delicate melodies. “The Riddler In Me” is a deep psychological journey through cable and circuit, an unsettling monologue accompanied by liquid analogue lines. BPMs are allowed to rise for the shimmering warmth of “In Exile” and in the reverb soaked “The Chariot”. But these are the outliers. Across the collection, percussion drives without ever being a central force. Instead, the focus is the bewitching and brooding compositions. Take the drugged low slung groove of “The Talisman of Algol” or the loose modulations of “Le Sagittaire”, here the listener is brought into the heart of the machines and the musician. The curtain close, “The Five Swords Of Venus In Aquarius” gathers a spread of influences, bringing them together into one piece. Synth. Soundtrack. Strings. All culminate in this superb climax, a climax to an album that broaches the boundaries between terrifying and terrific.
Gifted & Blessed returns with ‘Heard and Unheard’, an album that distills years of making music in a variety of styles and under different names into a singular statement. In addition to producing electronic music as Gifted & Blessed since the early 2000s, Gabriel Reyes-Whittaker has dabbled with many other aliases over the years: as Frankie Reyes, he explores his Puerto Rican heritage by playing Latin standards and originals on vintage keyboard instruments; as The Abstract Eye and The Reflektor, he creates dancefloor anthems with electronic hardware; and as GB and Julian Abelar, he’s released sample-based productions and techno adjacent dance music.
Jonathan Fitoussi & Julie Freyri are Model Alpha. 8 years on after their first album Dimensions, Perceptions is the duo’s second album and was entirely composed on analog synthesizers. Model Alpha is inspired by electronic artists such as Kraftwerk, Laurie Spiegel, Manuel Göttsching or early Detroit techno productions. An elegant blend of synthesizers and drum machines including remix by Chloé (Thévenin).
‘Teachings In Stone’ is a self released album by Greek producer Aggelos Baltas AKA Anatolian Weapons. It is available for download only on his bandcamp page. All tracks produced 2019 and remixed 2020.
What are the differences and similarities between human and artificial sound, between oscillations generated by vocal cords and synthesizer voices, voltage amplified by speakers? On ‘Silencio’, his latest album for Tresor Records, Moritz von Oswald works with a 16-voice choir to explore this concept. Drawing from the ensemble works of long-standing inspirations Edgard Varèse, György Ligeti and Iannis Xenakis, von Oswald and Vocalconsort Berlin delve into the space between sounds, creating a deeply textured collection that shifts between light & ethereal and dark & dissonant. The vast dynamism of the human voice adds to the profound weight of electronics while offering up a rhythmic source and sonic noise palette unexplored in von Oswald’s repertoire. In Silencio, von Oswald dredges a dank murk, pulling clouds over a distant pulse. It hangs, ready to take on new forms.
‘LXXXVIII’ is the ninth Actress album to be created by Actress (Darren Cunningham) and the very first presentation of Actress’ voyage into luxury sonics. A lifetime in the making, ‘LXXXVIII’ is the culmination of 25 years’ honing mind-shorting, soul-igniting audio infusions for dance floors, rave dens, festivals, and concert halls. ‘LXXXVIII’ pays dividends to meditate on an instrumental facet of its creation: game theory. Indeed, deep strategic thinking – more readily associated with economics and chess than artistic practice – was fundamental to Actress’ process as ‘LXXXVIII’ was channelled into existence.
Obliques and Atmospheric present their new album “Golden Apples of the Sun”. It is the result of close cooperation between Suzanne Ciani and Jonathan Fitoussi. The American electronic music pioneer has joined the French composer to sign a four-hand album around mythical synthesizers like Buchla, Moog and Ems. Mainly recorded in California, facing the Pacific Ocean, the white sound of synthesizers mixes constantly with the sound of the waves and wind. The music generated is directly blended with the surrounding elements of nature. It is both organic and live, hypnotic and rhythmical, powerful and dreamlike.
Cosmica Bandida’s debut studio album “Lagrimas Saladas” is an amalgam of sounds influenced by the diverse backgrounds of the members, who find themselves in Munich a city where the leftovers of cosmic music and 70s disco meet cumbia and tropical vampirism. Dark cumbia and psychedelic music collide with the moods of space disco in an album that engages the body. On the flip side, a group of eight remixers has united to deliver remixes for all the Club enthusiasts out there. Lipelis sets vinyl lovers on fire with his Dubby Disco Remix of “Salsa Bandida”, while MaSpaventi, Volta Cab, Los Pulpitos, and Hektisch Sprengen DJs bring their soulful and dubby trip-hop torch songs to the release. Prepare yourself for Grischerr & Heap’s glitchy and deconstructed industrial reggaeton remix of “Pájaro del desierto”, along with a powerful deconstructed club beatdown by Kobermann. Jacques Satre’s psychedelic stupdep remix adds the perfect finishing touch to the package.
Sure Thing presents Well of Sand, its second compilation. Six tracks from label friends and favorites, each new to the roster and offering bold, untempered explorations of tempo and weight, a concise yet expansive collection recalling the deliberate cadence of rippling sand and the sheen of shimmering oases.
Youcef Debbihi continues to impress and surprise after already his 3rd volume as Sea of Disillusions, output on Sound Metaphors. This 4 tracker extends what was already started and established in the previous volumes, expanding his studio excellence into more break beat oriented directions, either at high speed in the form of almost Drum’n’Bass with “K2” or slowed down as a more trip-hop tempo with “Break Whale”. B-side slows down to upper 90BPM range of driving rhythm under atmospheric dubby hints of humidity “5deF”, and, finalizing with a beatless Ambient mix of “Loon River” which sounds like the slow motion intro to an epic trance anthem that never fully takes off, setting the stage for something heavy to be mixed in. Downtempo, triphop, tribal, dubbed out atmospheric nuances, grandly produced.
Funk The System! The recipe is simple: Dig deep, listen to your heart, record everything you got on a dusty old desktop computer, leave it to simmer for the time of a pandemic, and if it’s still fresh, serve it up on the finest plate of black wax! This collaboration started in Düsseldorf in the year 2018. Locked up for a week in the Flanger Studios, Wolf Müller and Credit 00 recorded everything: from the jaw harp to smartphone apps, chopping up GDR Jazz breaks and squeezing the Funk out of every synthesizer and drum machine at hand. You will hear the open mindedness towards all sorts of musical influences from the first note. Each of the five tracks showcases a wild mix of flavours: Disco Reggae, B-Girl Breakbeats, Protest Folk, Subway Funk, Tabla Rhythms, you name it… they’ll take it and shake it! It is obvious these two got sonically socialized and educated by the multiculturalism of Hip-Hop in their early days.
A new compilation explores the far reaches of the post-punk, experimental and electronic landscape in Switzerland on Senza Decoro: Liebe & Anarchia in Switzerland 1980-1990 curated by producer / DJ Mehmet Aslan. The first single is ‘Kabyl Marabù’ by Dr. Chattanooga & The Navarones. Based out of the Italian-speaking part of Switzerland in Chiasso, the band started out playing “rupturing, dispersed sounds,” before honing their sound into a melting pot of folk, rockabilly, punk, new wave, Latin and African influences and electronics. Hallucinatory and visionary, they used their own hybrid language within their lyrics, drawing on elements of English, Spanish, French, German and even Japanese. The band’s guitarist, Franco Ghielmetti aka F.J. de Bratislava, lived in Paris for a while and frequented a local hotel / bar run by the Kabyle people (a Berber community from Kabylia in the north of Algeria). Influenced by their music and the marabout business cards collected from shops in the neigbourhood, ‘Kabyl Marabù’ is a tribute to their Berber friends, singing the names of the marabouts and using words, noises and memories from a trip to Morocco.
Berlin based Philipp Otterbach debuts on Offen with a seven tracks album, “Correct Me If I Am Incorrectly You”. Post-music phantasmagoria for the world in which the past became more unpredictable than the future. Deconstructed entertainment for hopeless romantics and testament to Otterbach’s unique artistic language.
The Athenian producer Aggelos Baltas alias Anatolian Weapons captures on the album “Earth” the feeling of an optimistic future that grows on the soil of the sweet bitterness of the present and the past. Under his pseudonym Anatolian Weapons, Baltas combines polyrhythmic percussion and wailing tones of Greek folk music with a thrilling and open Krautrock attitude. The album “Earth “takes us on a mystical journey through the northern Greek highlands, backed by Baltas’ unique machine-assisted folk, infused with psychedelic drones and exuding an aura that is neither then nor now, neither there nor here. Instead, it exists in a small pocket of its own cosmos. A crossroads of dimensions. A mystical offering to nature and the divinities. The album reconstructs a sonic narrative of ancient traditions, enhanced with psychedelic and space-rock elements. In the reverb cycle, one hears a certain agrarian reinterpretation of the world, filled with harvest rituals and celestial incantations.
Weith returns to Brokntoys with “Intimate Entropy”, a new exclusive album comprising sixteen tracks. The result of two years of composing and research, “Intimate Entropy” traverses a wide sonic landscape, ranging from drone pieces to tension-filled meandering journeys. Dense and rich in details, Weith presents an introspective, melancholic, and immersive listening experience.
This collection contains 4 spiritual folkloristic tracks, in very different vibes and tempos. The first track is a beautifully extended edit by Dion Monti of a traditional song from Rosa María (Ecuador) which feels like ‘House Music’: the bassline, the 4 to the floor kick, the strings… then wait for the singing to come in. Carmen is Private Dancers’ rework on a track from the 1983 movie score with the same name, pure heat. BORȘ, dj and producer from Moldova created an uptempo floorfiller using traditional samples that she is giving some more space in the breaks… and Robotic AF edited some instrumental parts of a Bollywood song into a 152 BPM acid banger.
First 7” release from Dressel Amorosi, the duo of Federico Amorosi (bass) and Valerio Lombardozzi (keys, synth & programming). Halfway between cosmic-funk and Italo-disco, the two tracks on this release are infused with the fusion- and electronic-oriented spirit of late ’70s and early ’80s Italian soundtracks and library music. “Synthporn”, on side A, is a midtempo instrumental with a voluptuous electronic feel, a mixture of glamour and retrofuturism driven by Amorosi’s pulsating bass and Lombardozzi’s elegant oscillators. “Cargo”, on the flip side, brings infectious ’80s dance vibes to the table with a warm slice of synth-pop that can fit any scenario and filmic mood, from action to comedy.
“My Brutal Life” delves into the profound aspects of our artistic endeavors encompassing brutalism, the environment, and humanity. Throughout our ongoing creative journey, we consistently gravitate towards these themes, documenting and exploring the human experience within these environments. Our unwavering fixation on Symmetry, Synchronisation, and Repetition are the driving force in our artistic expression. Moreover, we strive to peel away superficial layers to expose the underlying emotional strata of the human aspect, unearthing the often overlooked beauty within the ordinary. Although frequently disregarded, the human aspect resonates with echoes from the past, enlightening and guiding our artistic process. Even the failures encountered serve as poignant reminders of the delicate structures we construct. My Brutal Life constitutes a pivotal component within an enduring exhibition, meticulously crafted to delve into the aesthetic and human facets of brutalism.
The Hipodrome Of Music 