Press Info:
The Intergalactic Research Institute for Sound proudly presents STAUBSAUGER 001, the first documented experiment in sonic particle collection. Georgian producer Irakli sweeps in with four techno transmissions engineered to vacuum the dancefloor from the inside out.
From the hidden particles of “Under The Carpet” to the sudden electric shock of “Power Cut,” side A explores the mechanics of hoovering. Flip the record and the research goes further: “Silence Is An Input” and “Feinstaub (For Internal Use Only)” release a controlled cloud of microscopic grooves.
Minimal, cosmic, and slightly grimy, STAUBSAUGER 001 is techno for late-night dusty floors and interplanetary basements.
No need to handle with care. Keep some space in the bag.
Press Info:
One of Berghain’s longest-serving residents, Luke Slater has been defining bleepy, polyrhythmic, industrial-strength techno as Planetary Assault Systems since the mid-nineties. P.A.S albums tend to come together in their own time:
“External signals and signs combine until the recipe feels right, both musically and from being ‘out there’,” Slater adds. “10 years since I released Arc Angel on Ostgut Ton, and it’s a fitting pleasure to combine live show ideas and studio work for the new album, served up with raw energy” That patience runs through his whole Ostgut catalogue; since Temporary Suspension brought its machine-tooled weight and alien feeling to the label in 2009, each P.A.S. release on Ostgut Ton has been its own quest for discovery, from The Messenger’s search for sounds not yet present in club music to Arc Angel’s focus on melody to the deep hypnosis of Plantae.
His new album, Planetary People has the deliberate imagination and depth of a record that took its time, shaped as much by live rooms and crowds as by the studio.
“Into The Night” creates a haunting, dystopic environment of corroded acid saturated in echo, absorbing from the first second. “Labyrinth” breaks into buoyant tribal percussion, modulated chirps trading off over propulsive drums. “Quadrant 10” is clean, delay-drenched techno, buzzing with noise splatters over saturated thuds. “Sermon Of The Light Tides” scrambles metallic bell sequences that distort and evolve throughout, reminiscent of a dial-up modem crossed with a game of Frogger, squelching between percussive bursts and stripped-back kicks. “Brave Cosmo” is tormentingly menacing, eerie synths panning around buried vocal fragments over frantic percussion. “Retina Burn” rolls on fierce, cement-mixer 909 cycles, rave stabs over a ride that locks you in, the whole track stuttering and repeating before stripping back to a bare echoing kick and building itself again. “Thunder Major” barrels on open hats and reverb-drenched claps ricocheting through twisting wreaths of delay, mesmeric and relentless. “Beton Brut” marches juggernaut percussion stamping through hall reverb so vast you can visualise the room, the darkest and most unrelenting track on the record. “No Ninja” crunches in metallic and immediate, a wiry plucked lead threading through glitch with the bass held low and deep, mixed so precisely you can see every layer stacked in your mind’s eye. “Ha Jam” is danceable techno with plenty of funk and a sophisticated looseness, a vocal laugh bouncing off clanging metal blocks and rave stabs. “Lynx” lowpasses its rave stabs and crystalline beeps, chirpy hats ticking, cold metal repeats, old school and mesmeric. “Generation Slip” closes everything out, ominous and churning, skittering percussion and electrical sparks rattling through steel, a freight train barrelling on into oblivion.
Digital bonus “Presently My Soul Grew Stronger” immerses in a warm sound wash of otherworldly pads, metallic kickless percussion, scrambling leads and a bell carrying something extraterrestrial, sensually intoxicating and hazy.
Press Info:
Silicon Scally and Fleck E.S.C. need no introduction at this stage. Both artists are veterans not just of Sheffield’s Central Processing Unit label but of modern electro as a whole, with the pair having decades of skin in the game at this point. Their new release, a four-track EP entitled Slip where Silicon Scally handles the first half and Fleck E.S.C. the second, carries itself with the adventurous confidence of a record made by masters of their craft.
Slip opener ‘Phased Array’ is exactly the kind of top quality machine-funk tackle you’d expect from this meeting of minds. The beat programming is deliciously tactile from the off, hissing and clanking like machinery in an old Detroit factory. The feel of ‘Phased Array’ is altered, though, when the chords come in, a series of alternating floating sounds which give the track an altogether eerier feel. When all of this is coupled with the otherworldly synth blurts that periodically force their way to the front of the track, the overall effect is a piece of real depth assembled by an expert practitioner.
‘Phased Array’ is followed up by ‘Stax’, another brilliantly propulsive number. Here we find the drum beat – one which is a little reminiscent of that Kraftwerk tune about the numbers, no less – once more offset by some decidedly more shadowy synth work, all while arpeggiated keyboard licks work against an intricate web of basslines, chords and unidentifiable flying synth tones.
Fleck E.S.C. opens the Slip B-side with ‘Good Ride’, a number where the nudge-wink title is borne out by a track built around looped snippets of sighing vocals. That said, with a bassline that sounds like a blurting old landline telephone, a ghoulish synth lead and all manner of motion-sick breakdowns, the ‘ride’ in question could just as well be a Wipeout-style whizz through hyperspace as anything more suggestive. ‘Good Ride’ also sets itself apart from the other joints here by showing off a swaying halftime breakdown.
‘Intox Remedy’, Slip’s closer, wraps the EP in a manner which continues some of the trends of the record’s earlier tracks – richly tuneful chords, precision-engineered broken beat drum programming and a wide palette of delightfully unusual synth tones are all present and correct. However, there is also something about the chords here which pares back the eeriness of previous joints for a bit more of a wide-eyed, stargazing feel, and as such ‘Intox Remedy’ sees the record out by placing the listener firmly back in the cosmos.
Tough enough for the dancefloor and intricate enough for home listening, the Slip EP is a fabulous collaboration from two of the most respected voices in the electro game.
Artist:
Andrew Blick, Peter Gregson, Land Observations, Simon Fisher Turner
Title:
One Day Band Session 14
Label:
Trestle Records
Cat#:
OBD14
Release Date:
30th March 2018
Format:
download & streaming
Tracklist: 01. ODB14 1
02. ODB14 2
03. ODB14 3
04. ODB14 4
05. ODB14 5
06. ODB14 6
07. ODB14 7
Press Info:
ODB 14 was curated by James Scott Brooks who records under the monicker Land Observations, a London based artist known for minimalist, looped electric guitar compositions that progressively layer into propulsive rhythmical instrumentals. He has released two albums to date on Mute Records and is currently completing the third. The session features Land Observations leading the way with repetitive finger picking bringing to mind the guitar style of 60,70,s American primitivists such as Fahey and Basho and more recently Six Organs Of Admitance. The 12 string guitar flows ever forward setting the mood and rhythm.
Gregson’s cello complements with a range of duties from melodic leads to textured dragging, drones and stacatto. The trumpet is also often played in long droning notes, mourneful and with additional effects creating delays and reverb resulting in an atmospheric quality that is beautifully symbiotic with Simon Fisher Turner’s electronic contributions.
“Having received the invitation to curate and record a one day session for the endlessly interesting Trestle Records, I realised it was an opportunity for me to finally improvise with the musicians, Simon Fisher-Turner, Peter Gregson, & Andrew Blick, who I had initially come into contact with during the recording and performing of SFT’s Ivor Novello award winning film soundtrack The Epic of Everest. Gathering together at Holy Mountain studios, our intention for the improvised one day session was to explore the various timbres of a ‘cello, trumpet, guitar, and drone ensemble’ through a series of cyclical drum-less patterns of varying rhythmic and atmospheric densities.” Land Observations
