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darkentriesrecords · Kittin - Cosmos LP SNIPPETS

Tagliabue’s cosmic music is a transcendental journey through introspection and imagination. The latter has no limits, when stimulated by sounds that slowly shade and snake deeply in the listener’s conscious.With “Ambiente Sonoro” the Milan based DJ and producer now introduces his debut mini-album. The concept is inspired by the Italian library music of the 70s from Daniela Casa, Egisto Macchi and Piero Umiliani, characterized by the extensive use of electronic, experimental and psychedelic sounds. It is arranged and produced in a contemporary way, alternating dark ambient, tribalistic sounds mixed with abstract electronic and IDM influences from artists such as Biosphere, Higher Intelligence Agency, Global Communication or Coil.His experience as a music selector and his previous works anticipate the character of this concept album. A record that cannot be placed in a specific genre.Ancestral rhythms, post-industrial waves, apocalyptic chants and drones, suggest a mental projection into a new planetary system consisting of six bodies with different landscapes kept in orbit by a cosmic sound perturbation. A dreamy state of emotional, protracted and reflective abandonment.

While volume two of Dat Pressure's Rip N Run may have already hit the streets, now they're back-pedalling to volume one - OCD garage heads rejoice. As ever label boss Noodles is on hand with more essential wares from the vaults, this time enlisting the mighty Dub Child as a partner in crime. These jams veer towards the breakstep end of the garage spectrum, all boom bap drums and stuttered grooves, not least on the massive but spacious "We Go." "Zip It Up" packs in plenty of rootsy dub tones and soul vocal licks to match the skittering drums, and "Smoking Circles" gets into an almost techy strain of broken beat honed for serious dancefloor consumption. Just hold tight for the bass drop on that last one - it's a monster.DPR Recordings · Groovechronicles Zip It Up Rip n Run vol 1

Voor Harmonium by HellveteIn his essay ‘The Meaning of My Avant-Garde Hillbilly and Blues Music’, Henry Flynt talks about how his music should be analysed as an intellectual tribute to the music of the autochtone, setting aside plain folk references, but adopting academic insights to mold the music one makes as a folk creature. Much of Flynt’s discourse applies to the music of Glen Steenkiste’s Hellvete. Over the past twenty years he has been thoroughly investigating both the ethnic musical language of various regions as well as the contemporary pioneers that preceded him as a drone musician, internalizing concepts such as e.g. deep listening or just intonation. Casting off any redundant ideas or sounds, and stripping down the focus to develop singular concepts, his working method lead to pieces such as ‘Droomharmonium’, in which he shapes the endless variations on a theme, emphasizing detail and nuance rather than multitude. The Indian harmonium here serves as the main device to worship ancient ghosts and masters, and to preserve a continuum in a tradition that touches both folk and avant-garde culture. The materialisations are sustained tone compositions which become a means of appreciation of the people and cultures that paved the way for forms of mutual escapism. This might well be the core of what Hellvete’s music is about. As much as it is a form of self-entertainment – like folk music in the old days – it also invites the listener to a shared experience of sonic reverie, it is a casual gift to the community. This is certainly true for the pieces presented on this album. They were first presented in a smoke filled and darkened art space in Ghent, Steenkiste surrounded by only a couple of candles and just enough stage light to see him erratically moving to the rhythm of the piece, occasionally twiddling the knobs of a Doepfer synth that processed the prerecorded harmonium tracks. Unlike most of his other performances this piece embraced the audience in a trance that was similar to that of an old-school rave club. Flynt writes: ‘The music should be intellectually fascinating because the listener can perceive and participate in its rhythmic and melodic intricacies, audacity of organization, etc. At the same time, the music should be kinesthetic, that is, it should encourage dancing.’ ‘Voor Harmonium’ does exactly that; it builds on the artistic ideas that have long been established in Hellvete’s oeuvre, but the ecstatic nature of these pieces merges the usual spiritual transcendence with one of determined physical bliss. It encourages both mind and body to step into the sound, to be enraptured, to celebrate.

CAM017 - FR - 1982/2020RPInspired by Dadaism, ancient tribes and natural life they self-produced and released this album in 1982.The result is a blend of experimental synth-pop combined with some german spoken word and french madness.For sure "Semite" with its shamanic percussions will get your attention but other synth oddities includes "La Vie des Animaux" , "Auf Dem Lande" and "Kangourou" too.If you're more into french arty synth-pop "Dancing","Nuit de Chine" and "Der Spiegel" will definitely convinced you.Remastered and limited to 300 copies

Erell Ranson confidently displays his renowned character of finely textured Electronics with old school aesthetics on Propersound 007.Electro, Deep Techno, and Downtempo are the styles traversed to you from the machines with emotive class, and ambient pads across 4 lovely tracks.