Karya
Muž Ze Skla

conatala · The Dead Goldfish Ensemble - Walking WallsInspired by Kraftwerk's "Autobahn," Southampton-based musician Steve Hartwell, aka The Dead Goldfish Ensemble, started to craft his own music in 1983 using sequencers and the MSX computer, which could be said as the first generation of home computers available for music production. Hartwell made a tremendous amount of recordings in his home studio until 1993, reflecting his take on minimalist music of Steve Reich and Philip Glass, it featured strange imaginative polyrhythms and friendly playful melodies that innocently bounce around.One circumstance that made this possible was the format of cassette tape publication. From the early 1980s to the early 1990s, it was the most inexpensive and easiest way to release works for independent labels and DIY musicians since it allowed them to dub copies at home, all within their production environment. Various labels in Europe, the United States, and Japan offered artists to contribute their works for compilations. As a result, a vast number of cassette tapes were produced around the world. Those releases eventually led the labels to help form some unique local music scenes and communities by connecting enthusiasts through personal contacts. Essentially, since they were international compilations, it contributed hugely to introducing unknown talented artists from each area to the rest of the world.Hartwell released several cassette tapes from his label Peeved Records and also contributed many tracks to multiple different compilations of home-produced music from labels such as Home Produkt (Belgium), Insane Music (Belgium), EE Tapes (Belgium), IRRE Tapes (Germany), Tonspur Tapes (Germany), and others.This record is The DGE's first album released in vinyl format, compiled from those releases from the cassette era.The cover design is by Yu Yokoyama, featuring the goldfish drawing by Hartwell himself. The sound is digitally mastered by Makoto Oshiro using the original master tape.conatala · The Dead Goldfish Ensemble - All The Hands

In the early-to-mid 1970s, Belgian recording engineer and synthesist Daniel Lacksman née Lanckmans recorded and released a series of pop music records, using early analog synthesizers as a central sonic element. Under an admittedly confusing array of names, Lacksman (who later founded the group Telex) created music that was equal parts innovation and ear-candy accessibility. Those often happy-go-lucky records gained some popularity throughout Europe, but their lasting influence can be heard in the music of Portishead, Massive Attack, The Moog Cookbook, and Air, not to mention among the lengthy list of 21st century artists who have sampled these recordings. And a casual survey online quickly reveals that these records are among the most collectible of their kind, with original copies commanding hundreds of dollars. Among those albums, the one Lacksman recorded in 1973 under the pseudonym Electronic System featured the first full flowering of his synthesizer mastery. His hit recording 'Coconut' had enabled him to buy a modular synthesizer, which offered a vastly expanded sonic palette'if you had the patience to re-wire for each sound you wanted to achieve. Which was the perfect set-up for a studio engineer like Lacksman'the result is an album full of sonic surprises, with each track presenting multiple, unique synthesizer tones and attacks, even on such nakedly commercial moves as his cover of Ritchie Valens' 'La Bamba.' An analog synth tour de force! Our Real Gone Music reissue has been mastered for CD and LP from the original tapes by Lacksman himself, and feature liner notes by Bill Kopp that include exclusive quotes from Lacksman and photos from his private archive.

FATHOP008 - UK - 2021Jerome Hill revives his Itsu Uno guise for the first time in 7 years and starts 2021 with some much needed fun. He serves up 2 Cut n Paste Party Rocking Funk Bombs for the B-Boys and B-Girls. No prizes for guessing the inspiration for "Shooter (Super Sharp B-Boy) although you'll not have heard it like this before. Meanwhile in "Battle Of The Breaks", Itsu Uno goes to town and serves up all manner of funky-ass beats and samples culminating in a finale that will get you ‘jumpin' Fat Hop was started by Jerome in 2009 to house B-Boy Break jams, Old Skool style Hip Hop and Britcore.

Le temps lent by Enfant MagiqueSlowing down time with Eric GingrasThe simple acoustic guitar plucks out a lulling back-and-forth, accompanying a voice that seems to arrive from another, far-off era. Elsewhere, the guitar moves around in the background, repetitive and drawn-out. But here, alone, it takes the time to find its rightful place, much like the deceptive simplicity of a hand-made quilt. This humbly whimsical patchwork seeks out form, succeeds, and is reunited with the voice. Articulate and elastic, it sometimes crisscrosses, sometimes circumnavigates this landscape of song both subtle and rich. Its clear lines of flight point to a remote village and its recent arrivals, a motley crew of hybrid things and beings: woolly sheep, beat-up robots, small synthetic drums, minimalist jaw harps, obsessive alarms, light footsteps on a gravel path, a few propellers, many layers of slow time.The sea’s waves break against this shoreline where our mutant from the 1970s seems to have washed up. He isn’t looking for a fight, and he isn’t looking to show off. However, as the custodian of utopian leftovers from an open agreement between artifice and artful making, he is clever and skillful in a thousand and one little ways. His voice is stubbornly discreet, but also able to take flight, carrying with it words devoid of preciosity and over-categorization. This is a voice that prefers attention to affectation. Bresson-like, it knows how to recount when recounting is needed, articulating both quivering fatigue and deep doubt.Joined now by others, the mutant feels supported, loved. He withdraws, and an assertive, childlike voice moves into the foreground. The mutant accompanies, discreet but fully present. And what better medium for this finely woven poetry and play of childhood’s expression, both clumsy and bold.- Anne Lardeux (translated from French by Simon Brown)