out now: Si Begg – Blueprints [Shitkatapult]

 

Artist:
Si Begg

 

Title:
Blueprints

 

Label:
Shitkatapult

 

Cat#:
STRIKE164

 

Release Date:
16th June 2017

 

Format:
CD, vinyl & digital

 

Tracklist:
01.
Heat Resistant Alloys

02.
Slide M2959

03.
Evaporators

04.
Pressure Ratio

05.
Parallel Air Ducts

06.
Thermal Efficiency Of Power Stations

07.
Vacuum Pump Ejector

08.
Energieerzeugung

09.
Isometric Projection

10.
Resistance Is Expensive

 

Press Info:
Pioneering music producer SI BEGG is set to release his sixth studio album, BLUEPRINTS, on Berlin’s legendary label SHITKATAPULT this June. His first LP in four years, BLUEPRINTS is a celebration of raw electronics welded to the ‘romance of engineering’. The project was inspired by the discovery of an old diagrammatic notebook that belonged to Begg’s grandfather, George, in his lifetime a cutting-edge engineer.

Dubbed ‘visionary’ by The Who’s Pete Townsend and widely considered a producer’s producer, BEGG has been making genre-defying electronic music for more than two decades. Backed over the course of his career by the likes of John Peel, Thom Yorke, Leftfield, The Glitch Mob, Bassnectar and Mouse On Mars, he has carved a reputation as a recording artist, DJ and sound designer, and in more recent years as an award-winning composer for television and film.

BLUEPRINTS sees BEGG’s passion for contemporary score collide with his love of electronic music. Since the release of his last LP, 2013’s Permission To Explode, BEGG has written scores for four feature films as well as for Netflix Original series, Lovesick, and Battle Rap documentary, War of Words.

The concept for the album sprang fully formed when BEGG came across the notebook, a beautifully preserved leather-bound volume, annotated in his grandfather’s precise hand. The book was filled with meticulous diagrams of compressors and parallel air ducts, graphs recording comparative noise levels at different factories, statistical information detailing the thermal efficiency of power stations, alongside blueprints for futuristic machines yet to be built.

At the same time, BEGG was reconnecting with his own back-to-basics studio machinery, the voltage-powered hardware instead of the slick high-end software used to create most electronic music today. The parallel discoveries felt like synchronicity and BEGG began producing tracks using analogue synthesizers recorded live in one take, augmented by circuit bend effects units and the electro magnetic field noise created by mobile phones and hard drives. In his characteristically uncompromising way, rather than try to hide the cogs and gears and remove the excess distortion, BEGG decided to champion these idiosyncratic machines. In putting them centre stage, he aimed to demonstrate that not only were these unique tools to create art, they were simultaneously works of art in their own right. Like his grandfather’s designs, they had an aesthetic beauty all of their own, form following function.

The pieces on the album evoke the beauty and romance of great engineering, often overlooked in a landscape of post-industrial gloom – the breathtaking geometry of vast gasometers, the sweeping grandeur of a suspension bridge, the finesse of circuit diagrams, a precisely laid-out city viewed from the air at night. From the hums and sparking pops of Heat Resistant Alloys to the relentless subsonic sine waves underpinning Resistance Is Expensive, raw electrical signals pulse through the heart of the music.

This is a work of complex, evolving mathematical patterns, circuitry bent out of shape. It is a hymn to the voltage-controlled oscillator.

 

Listen:

 

Trailers:

 

Video:
“Parallel Air Ducts”

 

Special:
“Live @ Stilldream”

 

Recommendations:
Si Begg’s EP “Permission TO Explode” on Addictech Records
Cristian Vogel’s album “The Assistenz” on Shitkatapult
Cristian Vogel’s album “The Inertials” on Shitkatapult
Cristian Vogel’s album “Polyphonic Beings” on Shitkatapult

 

Buy CD:
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more soon

 

Buy Vinyl:
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Websites:
Si Begg
Shitkatapult

 

out now: Cristian Vogel – The Assistenz [Shitkatapult]

 

Artist:
Cristian Vogel

 

Title:
The Assistenz

 

Label:
Shitkatapult

 

Cat#:
STRIKE160

 

Release Date:
16th September 2016

 

Format:
CD, vinyl & digital

 

Tracklist:
01.
Hold

02.
Snowcrunch

03.
Vessels

04.
Telemorphosis

05.
Barefoot Agnete

06.
Cubic Haze

07.
Signal Symbol

08.
The Merman’s Dream

Track 7 & 8 are not on vinyl / track order is also a bit differnt.

 

Press Info:
THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL’s long career. The trio of dancefloor-oriented records formed by 2012’s The Inertials, 2014’s Polyphonic Beings and now THE ASSISTENZ are sensual pleasures first and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world’s clubs has been put into the creation of sounds that interface with the nervous system and emotional responses with extraordinary immediacy. But there’s much more too: together with the more abstracted album Eselsbrücke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named – but also the final piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There’s a deeper history, of course. CRISTIAN’s productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has influenced too. In fact, as you listen to THE ASSISTENZ, you realise that there’s no point making comparisons with other electronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music – dub, electro, acid, funk – flowing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but somewhat skewed vision.

CRISTIAN’s understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specific frequencies that make up specific sounds and produce specific effects on the human mind and body. And as a result, his own sound synthesis – increasingly done via the Kyma programming platform – is more and more able to reach beyond the “synthetic” and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ’s ghostly centrepiece “Barefoot Agnete”, in the alien radio signals of “The Merman’s Dream” or even in the subliminal “aaah”s hiding in the background of the noisy “Vessels”, but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it’s not just the boundary between human and non-human, or that between acoustic and

synthetic, that get blurred to the point of non-existence. CRISTAN’s creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised critical faculties and go with it. Sometimes that can take you to places where darkness and physicality close in on you as on “Vessels” or “Telemorphosis”, or into haunted spaces on the edge of the void like those of “Snowcrunch” and “Barefoot Agnete”, but even in those, there is euphoria. And in the voluptuousness of “Hold” or the body-rocking funk of “Cubic Haze”, all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science fiction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where machines learn, where images can’t be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN’s experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn’t just experiment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

Text by Joe Muggs, June 2016.

 

Listen:
@ Shopkatapult

 

Trailer:

 

Full Track Streaming:

 

Video Special:
“HY! Festival Copenhagen 30/05/2015”

 

Recommendations:
“The Inertials” album
“Polyphonic Beings” album

 

Buy CD:
Shopkatapult
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Amazon
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more soon

 

Buy Vinyl:
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Deejay
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HHV
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more soon

 

Buy Digital:
Shopkatapult
Amazon
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JunoDownload
iTunes
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more soon

 

Websites:
Cristian Vogel
Shitkatapult

 

© Photo by JM Babonneau

out now: Dat Politics – No Void [Shitkatapult]

 

Artist:
Dat Politics

 

Title:
No Void

 

Label:
Shitkatapult

 

Cat#:
STRIKE154

 

Release Date:
26th June 2015

 

Format:
CD, Vinyl & digital

 

Tracklist:
01.
Junk Funk

02.
Repiloid

03.
Vibrator

04.
Black Hole

05.
Pyromaniac

06.
Echo Radio

07.
Small Cell

08.
Krystal Krank

09.
The Wave

10.
All Long

 

Press Info (English):
“We’re big fans of French synthpop like Jacno, Deux, Ruth and Serge Blenner. This kind of playful synthetic sound mixed with weird and sometimes depressing poetry had a big influence on us as kids and as musicians,” reveal the French duo DAT POLITICS. Since 1999, Claude Pailliot and Gaetan Collet have been working on music shaped by those influences, without referring to them directly. The initial spark that led to the founding of DAT POLITICS happened during the mid 1990s. The two met for the first time at a party somewhere in the Champagne-Ardenne region of France and then started DAT POLITICS in the garage of Gaetan’s parents.

A lot has happened since then. The duo grew into a four-man band and subsequently shrank back into the duo it is today. In these formations they recorded various albums and EPs for labels such as FatCat Records, A-Musik, Chicks On Speed Records and Sub Rosa. DAT POLITICS also toured frequently around the globe with their ecstatic live show. The previously mentioned influences were integrated into their moving sound in every aspect, with an individual touch. But their work was not only influenced by synthpop. Drone, noise and musique concrète are points of reference that clearly come through in their electronic songs to this day and are also closely related to pop music. Their new album ‘NO VOID’ is now being released on SHITKATAPULT, whose label slogan ‘Special Musick for Special People’ fits perfectly to the often euphorically rocking music of the French duo. DAT POLITICS themselves refer to their latest LP as a “hallucinating ride in a space roller coaster: scary and funny!”

This time around, their songs took shape once again under influences outside of music such as astronomy, philosophy and programming language as well as surrealism, fantasy films and their own dreams. The nine tracks, all of them created last winter in a small cabin in northern France, occupy an eclectic territory that includes catchy melodies, versatile singing with pop appeal, and playfully rocking chiptune, synthwave and electro. The whimsical tour de force was recorded using computers, old beat-up synthesizers, worn out keyboards, samplers, voice boxes and kids’ play instruments. Claude and Gaetan whisper into the microphone in French and English, their voices naked or distorted by a vocoder, at times using both languages in the same song, as the track ‘Reptiloid’ demonstrates with poignant levity. Both of them grew up in the 1980s to the music of Depeche Mode, Yazoo, OMD, Jean-Michel Jarre, Jacno and Kraftwerk, and this can be perceived just as much as their love for the music of Tangerine Dream, Klaus Schulze and the soundtrack worlds of Ennio Morricone, Giorgio Moroder and John Carpenter.

Yet DAT POLITICS is not a band that repackages its personal preferences. The duo acts rather as a human filter for all forms of art, which is later transformed into something totally autonomous using a creative ‘cut-up’ method as practiced by Williams S. Burroughs and Brion Gysin. Although you don’t notice it at first, the laid-back, undulating song ‘Black Hole’ is influenced by the comics of American artist Charles Burns. But if you are familiar with the work of the cartoonist, the lyrics will give you a sense of the existential weight that make his comics so special.

In any case, the lyrics of DAT POLITICS never refer directly to anything tangible. They are instead a combination of surreal stories, hidden meanings and a search for clues within one’s own subconscious. They are always written after the music has been composed. And since DAT POLITICS seeks mainly to electrify in a live setting, every new track begins with bass and rhythms. Despite the atmospherically dense interplay between melancholy and joy, this approach is what makes ‘NO VOID’ above all an album intent on rocking it in high style.

 

Press Info (German):
„We’re big fans of French Synthpop like Jacno, Deux, Ruth and Serge Blenner. This kind of playful synthetic sound mixed with weird and sometimes depressing poetry had a big influence on us as kids and as musicians.“ verrät das französische Duo DAT POLITICS. Seit 1999 verarbeiten Claude Pailliot und Gaetan Collet jene Einflüsse in ihrer Musik, ohne wirklich direkt auf sie zu verweisen. Die Initialzündung zur Gründung von DAT POLITICS fand Mitte der 1990ern statt. Damals trafen sich beide erstmals auf einer Party irgendwo in der französischen Region Champagne-Ardenne und gründeten anschließend in der Garage von Gaetans Eltern DAT POLITICS.

Seit dem ist viel passiert. Aus dem Duo wurde eine vierköpfige Band, die heute wieder zum Duo geschrumpft ist. Zu Zweit oder im Bandformat wurden diverse Alben und EPs für Labels wie FatCat Records, A-Musik, Chicks On Speed Records oder Sub Rosa eingespielt. Um den Globus tourten DAT POLITICS ebenfalls öfters mit ihrer ekstatischen Live-Show. Die zu Anfang erwähnten Einflüsse wurden bei allem mit individueller Note in ihren bewegenden Sound integriert. Aber nicht nur Synthpop beeinflusste ihr OEuvre, auch Drone, Noise und Musique concrète sind Referenzpunkte, die bis heute spürbar durch ihre elektronischen Songs spucken und sich auch mal mit Pop verbrüdern. Ihr neues Album „NO VOID“ erscheint nun auf SHITKATAPULT, dessen Label-Credo „Special Musick For Special People“ perfekt zur oft euphorisch rockenden Musik der Franzosen passt. DAT POLITICS selbst bezeichnen ihren jüngsten Longplayer als „hallucinated drive in a space roller coaster: scary and funny!“.

Auch diesmal waren für Entstehung ihrer Songs wieder außermusikalische Einflüsse wie Astronomie, Philosophie und die Programmiersprache, sowie der Surrealismus, Fantasy Filme und die eigenen Träume wichtig. Musikalisch bewegen sich die neuen Stücke, die alle im letzten Winter in einer kleinen Hütte im Norden Frankreichs entstanden, charmant zwischen einprägsamen Melodien, vielseitigem Gesang mit Popappeal und spielerisch rockendem Chiptune, Synth-Wave und Electro. Eingespielt wurde die spielerische Tour de Force mit Computern, alten ausgeleierten Synthesizern, abgenutzten Keyboards, Sampler, Voice Box und musikalischem Kinderspielzeug. Ins Mikrofon hauchen Claude und Gaetan zudem bilingual auf Französisch und Englisch – mal pur, mal vom Vocoder verzerrt und zuweilen zweisprachig im gleichen Lied wie das Stück „Reptiloid“ mit ergreifender Leichtigkeit zeigt. Dass beide in 1980ern zur Musik von Depeche Mode, Yazoo, OMD, Jean-Michel Jarre, Jacno und Kraftwerk aufwuchsen, ist ebenso spürbar wie ihre Liebe zur Musik von Tangerine Dream, Klaus Schulze und den Soundtrackwelten eines Ennio Morricone, Giorgio Moroder und John Carpenter.

Dennoch sind DAT POLITICS keine Band die persönliche Vorlieben neu verpackt. Das Duo agiert eher als menschlicher Filter für jede Form von Kunst, die später mit einer kreativen „Cut-Up“ Methode à la Williams S. Burroughs und Brion Gysin in etwas völlig autonomes verwandelt wird. Dass ein Song wie der lässig rollende „Black Hole“ von den Comics des US-amerikanischen Künstlers Charles Burns beeinflusst ist, fällt im ersten Moment nicht auf. Wer sich in der Welt des Comiczeichners auskennt, wird in den Lyrics aber jene existentialistische Schwere entdecken, die seine Comics so besonders macht.

Ohnehin sind die Lyrics von DAT POLITICS nie ein direkter Verweis auf gelebtes. Eher ein Mix aus surrealen Geschichten, versteckten Bedeutungen und der Spurensuche im eigenen Unbewussten. Verfasst werden sie immer erst nachdem die Musik komponiert wurde. Und da DAT POLITICS vor allem live elektrisieren möchten, stehen Bass und Rhythmus stets am Anfang jedes neuen Tracks. Eine Vorgehensweise, durch „NO VOID“ trotz eines atmosphärisch Dichten Wechselspiels aus Melancholie und Heiterkeit vor allem ein Album ist, das mit viel Style rocken will.

 

Listen:

 

Video:
“Reptiloid”

 

Free Download:
“Reptiloid”

 

Special:
“Kosmische Musik Mixtape 1”

 

Buy CD:
Shitkatapult Shop
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Websites:
Dat Politics
Shitkatapult

out now: Cristian Vogel – Polyphonic Beings [Shitkatapult]

 

Artist:
Cristian Vogel

 

Title:
Polyphonic Beings

 

Label:
Shitkatapult

 

Cat#:
STRIKE151

 

Release Date:
14th November 2014

 

Format:
CD, vinyl & digital

 

Tracklist:
A1)
Exclusion Waves

A2)
McCaw’s Ghost

B1)
How Many Grapes Went Into That Wine

B2)
Lost In The Chase

C1)
LA Banshee

C2)
Forest Gifts

D1)
Spectral Jack

D2)
Society Of Hands

D1 is vinyl-only.

 

Press Info:
Producer CRISTIAN VOGEL, born in Chile and in raised in Brighton, England, represents the inner turmoil within the history of electronic music and techno. Like only a few other artists such as Aphex Twin, he personifies the second wave of techno during which the concept of authorship, previously pronounced dead, returned in full force. His unique approach to composition gave a distinct touch to his sound, which now finds its place very naturally in the context of the modern music; back then though, it did more than just shake up the concepts of techno. “Complex and intricate rhythms dig deep chasms in dark listening spaces.” (Süddeutsche Zeitung)

In 1996, together with JAMIE LIDELL as SUPER_COLLIDER, he made a final attempt to breathe life into electronic music, which was still primarily seen as dance/rave/club music, and produced clustered break funk music that was so relevant to its time that many considered it more a music of the future: science fiction for the dance floor. Although the project was not a failure, it did not succeed even halfway in meeting the expectations of an artist who was rather perplexed by the lack of interest from others in considering music as art and research. Vogel believes that music has a will to unfold, like a jungle from the undergrowth of industrial cities.

Escaping the rather predictable hedonism of the UK club scene, Vogel moved to Barcelona in 2001 and bound his explosive ideas to the Station 55 studio and labels. He continued to curate networks (No Future, Sleep Debt) whilst at the same time, expanding the horizons for his music, creating outstanding work for contemporary dance, sound art and even his indie-rock group. After a decade of mediterranean experimentalism, Vogel relocated to Berlin in 2012 where he made his first new and daring attempt to assimilate everything that electronic music represented to him, on one critically appraised album: ‘The Inertials’ on SHITKATAPULT. Shortly after, his mystical, floating ambient work ‘Eselsbrücke’ was released, already exploring so many inspirations from his life in the new city.

Now in 2014, we present the follow up to ‘The Intertials’ entitled ‘Polyphonic Beings‘ – a true masterpiece in the inimitable Vogel style, as his fans will no doubt agree. ‘Polyphonic Beings’ begins with a surprisingly dub track which twists and turns, the sounds growing darker and more unexpected from track to track, minute by minute. An eerie and unbelievable sound, with all as it should be: every reverb tail, every movement of the fader, every composed note takes the listener piece by piece into Vogel’s own cosmos.

He foregoes interwoven elements for swaying towers of rhythm, powerful sound passages, spaces, roads, mirrors and pathways, leading to a stream of ideas that never wants to end. He aptly quotes Karl-Heinz Stockhausen in the liner notes: These are the „atomic layers of ourselves.“ And so it is. We are what we hear. This is the definitive CRISTIAN VOGEL.

 

Listen:
soon

 

Recommendation:
“The Inertials” album

 

Buy CD:
Shitkatapult Shop
WOM
Amazon GER
Amazon US
Amazon FR
Amazon UK
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more soon

 

Buy Vinyl:
Shitkatapult Shop
WOM
HHV
Hardwax
Amazon GER
Amazon US
Amazon FR
Amazon UK
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more soon

 

Buy Digital:
Amazon
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soon

 

Websites:
Cristian Vogel
Shitkatapult

 

© Photo by Marie Staggat

out now: D.Reamteam – Parade 10.0 [Shitkatapult]

 

Artist:
D.Reamteam

 

Title:
Parade 10.0

 

Label:
Shitkatapult

 

Cat#:
STRIKE145

 

Release Date:
09th July 2013

 

Format:
12" & digital

 

Tracklist:
A1)
Pult

B1)
Kata

B2)
Shit

 

Info:
Born under a bad sign…
SHITPARADE label owners and best friends DANIEL METEO & T.RAUMSCHMIERE finally teamed up in the studio to bring birth to their first release as dad and dad.

PARADE 10.0 under the moniker D.REAMTEAM was initially planned to celebrate the 10th edition of the annual Berlin club festival by the chaotic label that takes place on the 13th of july, on Dr. Motte´s original birthday.

Musicwise this 12” kind kicks off surprisingly soft flowing with a 7 minute club trip without any bassdrum. Clack Clack Clack Clack. PULT is waving afterhour dj food for the drug crowd. B side opener KATA can be translated to a reverse varation of the same material but on a fat ass shuffle beat. B side closing tune SHIT could be described as typical rock techno opera a la T.RAUMSCHMIERE but with this METEO touch

 

Listen:

 

Related Event:
Shitparade 2013

 

Buy Vinyl:
Shitkatapult
deejay.de
decks.de
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Buy Digital:
Shitkatapult
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Websites:
D.Reamteam
T.Raumschmiere
Shitkatapult