Bassline

Kill This Love (Box)

В поистине авантюрном LP Aventure на Couldnt Care More Harmonious Телониус глубже исследует глубины своего уникального видения, объединяя африканские ритмы, европейские гармонии и американский минимализм: заглавный трек остается прежним, но постоянно меняющимся.

«Сборник к 25-летию. Это компакт-диск средней ценовой категории, снимок, демонстрирующий, где мы находимся после 25 лет существования лейбла. Подборка из нашего состава и того, что мы выпустим в 2020 году. Есть один эксклюзив - ремикс DJ Nate от Basic Rhythm. И шесть треков из грядущих альбомов 2021 года, треки RP Boo, Ripatti (он же Владислав Делэй), Jana Rush, Bogdan Raczynski, Meemo Comma и Eomac ».

Sarmacja's sophomore album 'Jazda Polska' follows up on their 2018 debut on Astigmatic Records, 'Tutejsi' is being released by London-based label Byrd Out. Above all there is dub on it - however unorthodox - originally captured. Mystical flow, reckless charges and joyful songs - all without restraint and with uhlan fantasy. The spirit of a holy madman in the sarmatian version hovers over the record - the one who after a few glasses of vodka, covered with gasoline fragrance from the barbecue - once being moved, telling about the misery of the nation, and a moment after falling into ecstasy of stories about bravery in battles. Then in anger - when reminding himself how much the neighbour's diesel burns. Bottom line is simple - having fun, especially until dawn. And even if the stories of the holy madman are slightly slacked, even if at times the vibe gets gloomy, and the story isn't fully true - who cares? 'Jazda Polska' got even more colors thanks to the excellent features of Kacha Kowalczyk known from Coals and Muka. She appeared in two songs on the album - Doktor S?owo & Karaoke Dub.The Orb made a remix of Olimpijczyk to end the LP, commenting on Byrd Out's suggestion of doing a remix "Sounds weird enough", and The Orb's Oak Island Remix has a quintessentially Orb feel. The Oak Island reference is a nod to the Knights Templars link to the Money Pit on Oak Island, Nova Scotia. Sarmacja is Pawe? Bartnik, Micha? Ko?owacik and (now also) Aleksandra Szali?ska aka. FLicker Fox, musicians operating at the forefront of the Polish experimental scene!

Black vinyl repress. Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album 'Outland'.Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless 'Bodied', it felt as if he was building a new sound-world. On 'Outland' he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions. The most beat-driven song here is 'Deadhead', with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like 'Bladed Terrain' the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel. Then there are the stop-start pauses of 'Leaving The Grid', where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they're just waking up, as heard on the atmospheric 'Angel In Ruin'. The sleep-deprived fraying of the senses became Alan's routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like 'Endless' and 'Open Heart' as melodies phase and slip out of time like an emotional Doppler effect. This is also true of the soaring atonal synths at the peak of 'Diamond Child', which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

Italian producer Clap! Clap! returns to Bristol's Black Acre with his third album, 'Liquid Portraits'. Born and bred in Florence, Cristiano Crisci's musical career extends back to the mid-90s where he started out as a rapper, before picking up a saxophone and exploring both jazz and jazz/punk fusion with Trio Cane, and then returning to his electronic roots with A Smile For Timbuctu project - a collaborative effort that released four albums and performed across Europe. By 2008, Crisci decided to strike it out on his own as Digi G'Alessio, channeling the same hip-hop meets electronic music energies as those animating the nascent Los Angeles beat scene for a string of EPs and albums. Soon Crisci hit upon a new formula when he started combining samples from the African continent with energetic drum programming. The results led to the birth of Clap! Clap! in 2013, which has since been recognised and supported by the likes of Paul Simon and Gilles Peterson. The stripped-back, high-energy yet inventive sound caught the attention of Black Acre with whom Crisci has been working with ever since, including his first and second albums 'Tayi Bebba' and 'A Thousand Skies'. Returning to Black Acre, Clap! Clap!'s third album once again deploys his inimitable technique in fine style, however with new eyes as this new project signifies a definite shift in his work having spent the last few years learning the art of mixing which has lead to some breakthroughs: "In recent years I've spent a lot of time studying essential mixing techniques. I then built an acoustic-treated room and set up my new studio. I started to convert digital into analogue and vice versa with good converters and achieved sounds that I've never heard before from my speakers. This had a huge positive impact on my mixes and result on my music." Entitled 'Liquid Portraits', the album - as the name suggests - is a collection of sonic paintings, an attempt at capturing furtive, subconscious memories through sound. The tracks reference trips Crisci took and people he met - from southern Italy to Hokkaido via the Kif Mountains of Morocco - as well as more abstract ideas of loss, calmness, and childhood. Having been approached by Paul Simon to work on his 2016 album 'Stranger To Stranger' after Simon discovered 'Tayi Bebba' through his son, Clap! Clap! is no stranger to collaborations and this album features a small cast of talents, such as south Italy percussionist Domenico Candellori ('Southern Dub'), Belgian artist Martha Da'ro ('Moving On') and harpist Kety Fusco ('Rising Fire').

CD, Album