Out: 19th June
France talent Univers III presents Octogone. MicHell has been instrumental in projects such as Les Fragments de la Nuit, Revok, and Lolito. This new solo work explores a deep and dark sense of atmosphere in which no god or master is respected. Matching the natural frequencies found to be coming from the constellation of Orion, this album defines a passage between the earth and sky. With an album cover designed by Uruguay's Alexandro Nelson Garcia, this astonishing work is set to escape velocity.
A sleek and polysonic tone grows out and up like a huge pipe-organ musing on lost memories. Dismembered curdles with deep resonance and thoughtful drones which mutually hold each other tight as the dreary mood manifests. Quicker arpeggio like motifs then spring from the undergrowth which penetrate with an edgy direction. Waves of strange amplitude join in the middle of the sky as spectral illumination manifests as sound and sweeping searchlights that peer across the land like giant vibratory eyes. Octogone sinks us deep into a state of hypnotic relaxation with the shadows slowly gathering around us.
Particules follows. This features work by Steph G. A silken rise of twinkling tones sparkle in the darkness as a build of piano summons deep and powerful forces. A woodwind calls out through the shaded landscapes with a message of awaiting wonderment. As the composition expands and progresses, subtle energy is used to elevate steps in the story. Next, a humming ambience rises from the nothingness. As it grows, a piercing sense of energy grasps the note and holds it in place. New sonics rumble and manifest within and beyond as suction and flow create rivers of frequency that split into various harmonies. Black Hole is fuelled by abstract and broken synthesiser tones that twirl and sink.
Rounded and shrill tones roll like vibrating cymbals covered in webs and dust. Piano strikes a solitary melody through the haze while awkward and sinister harmonies rise through the film of opaque sound. Where I Landed looks around and absorbs the devastating emptiness that expands in all directions. Organic musings form over digital in a minute tapestry of imaginary sounds. N= -1 perhaps, or maybe it's just the convex nature of existence. Whatever happens in the fundamental realms, the results on the outside are a continually shifting and changing amalgamation of inspiration. Micro Elements builds with orchestral and composed clarity as various tones and sound-effects build a fantastic picture.
Huge and deep piano notes cast devastating magic across the stave. A higher tone begins to pulse in an odd scale which shifts and bends as extra sounds disperse from the body. A distorted guitar plays harmonics into a fizzing cacophony as choral voices rise like hot fog from the night—time tarmac. Somewhere Between Nowhere and Goodbye jostles for space in tight places. It continues with After Moon. Haunting piano splashes over the silence in subtle melodious progression. Minor keys merge with a flow of motion as the composition breaks into outcrops and roots.
Church Of The Latter Day Synths is next. It waltzes into our ears on a slow moving tempo. Harpsichord like notes breeze and blow as if played over pipes, a combination of sounds meet and divulge with each other before dispersing into various room positions. Slow and meaningful melodies work with strange dream-like swirls and gusts that invigorate the flow of feelings. Target is after. A fast and upbeat keyboard melody pulses with rhythmic velocity. Digital beats pulse and strike notes on aspects of progress while stop-start bass rumbles and roils with a degree of intense destination. An updraught of melody begins to cover the pieces with blankets of kinetic sound.
Next is Lost Episode. Cinematic scores of piano strike characterful melodies across a harmony of minor strings which quaver in the tension. Strange and shadow-lined notes step up into amplitude as the next number begins. Progressive steps climb upward as harmonies and chorded melodies chant in repeating lines. The build-up reaches new heights as extra synths cusp the sky with streaks of sound. Exit takes us up and away as drumming punches in the time-code and powers everything up.
Follow Univers III on Soundcloud
Are We There Yet?
Science Cult Records
Out 11th June
Tel-Aviv based 303 magician Itay Davies is making his mark on America's Science Cult imprint. This new EP takes the style and works the rhythm into a frenzy of mixes that aim to please. Including a remix from Orlando Voorn, we get 2 originals and 2 perspective bending remasters that bring Israeli music to the forefront.
It opens with a fun and bouncy rhythm that pops and booms with an elasticated bass-line. Snares jostle with metal-work as the kick provides a steady thrust. Extra layers of synthesiser meld into one another as percussive melody entangles with the rhythm. Harmonies rumble through as the persistent beats continue to bash down their stylised perspective.
The End Of Voyage Mix of Are We There Yet comes next. It has a deeper, more wholesome bass tone that lifts the music straight away. Jungle drums chant melodious messages in timed tunes as percussive sounds scratch and jingle on all the beats. A gradual progression builds as the drumming infuses like strong tea into the swirling currents of synthesiser. New layers of harmony unravel like thread and stitch themselves neatly into the ever growing flow. Around the half-way mark, the music breaks down to eerie synthesiser orchestrations that rise into being as the rhythm re-emerges.
Next up is the Orlando Voorm remix. It starts with thumping bass and pounding tom-toms that resonate with rattles and cymbals. Synth bursts colour the atmosphere with firework like explosives before a deep bass thump bell begins to tell its story. The shuddering bass continues to grow and mutate under the weight of the towering drums. Sparkles of ambience drift through the heaviness like shoals of fishes swimming against the flow.
The final number is another original. Euphoric synthesiser rings out to the dig of a thumping bass and clap rhythm. Hats begin and throw the tempo into the next gear before a new layer of bass twangs and fizzes with composed flux. The drumming grows with a gradual progression as extra layers of subtle melody illuminate nooks within the structure. In Front Of Control evolves with each section, layers of synthesiser reverberate and amplify around the continuation of bass and snare.
You can follow Itay Dailes on Soundcloud
Find Itay Dailes on Apple Music
Made Of Cashmere
Stil Vor Talent Records
Out 4th June
Taken from the forthcoming LP release “Made Of Wood”, this single issue offers two blasters from the organic house textbook. Berlin's Oliver Koletzki is preparing to release album number nine and Made Of Cashmere has already hit the desks and decks of everyone that matters. That is as of now, since you've been reading this.
It begins with warm distortive hiss that moulds into a sleek drum and bass rhythm. Bell like chimes resonate on the kick drum as hedonistic cymbals and snare rattle and roll on the top layer. Brush strokes and air bursts fill ambient spaces as echoed percussion ruminates in the void. Jilted synthesiser pushes through, rhythmic swings on tonal progressions build with a flux of drums. Melody builds and an exciting edge is sent upward as the energy progresses.
Next is Serpiente Del Ritmo. Thumping, deep bass opens the track and it digs a dense groove into the dance-floor. Fizzy bass jingles along to the rhythm and it builds with amplitude over an ice bundle of vocal. Spoken word voice chants into the microphone as electronic beats gather and build under a bass and kick-drum sky.
Find Oliver Koletzki on Soundcloud
Speed Dealer Moms
TBR: 18th June
Comprised of Aaron Funk, John Frusciante, and Chris McDonald, Speed Dealer Moms offer a snippet of the archives in this heady release. Since their debut ten years ago on Timesig Records, the group have worked with plenty of artists along the way. The titles have been given their usual format of the location and date and number of takes. Delving into the group's own library of memories, SDM-LA8-441-114-211 highlights 3 landmark escapades into collaborative electronic sound. A limited vinyl pressing and digital version are expected to make their way onto the music scene on the 18th of June. With each offering requiring hours of programming and practice, the art of the electronic music maker is made real every time.
LA August 1. The music begins on dapples of synthesiser that quaver and shimmer in subtle harmonies. Extra sounds sweep and scope around, they bubble and stream, a mixing of currents creates a composition of wide and interesting sound. Rhythm finds a niche, scattered beats and angular tempos lean against the barrage of electronic sound that pushes with a strong tidal force. Each passing section reveals new aspects of the composition and ingenious manipulations of synthesised amplitude.
Chunky bass work in unison with retro keyboard as a steady rhythm is unleashed. Slow and punchy beats cascade through the melodious flow. Wandering bass end notes punch the paper-bag as crackles and snares rampage through a steady assault course. Slow and dreamy melody swings through a fog of noises and harmonies that throb and twang with speckles of heavy rhythm. April One 4 throws a huge selection of sounds into a dreamy thundercloud which breaks open and pours its contents onto the room.
April Two 11 begins on a sliding scale of randomness that creaks and bleeps over intentions of sound. Beats flow through broken sections and insect like melodies flutter in as well. Strange mixtures of digital sound collapse in on an ever increasing singularity. Twisting grunts and tribal runs of padded drums rise in waves of motion as other layers dance alone in their own unique world.
Listen to Speed Dealer Moms on Spotify
Find Evar Records on Bandcamp
Illusion Of Peace EP
TBR: 28th May
Working from his music base in Reykjavik, Mikolaj Gramowski aka KLAVES has created an experimentally fresh EP that aims to explore the genre more deeply. Since the four year space between his last release, the Polish ex-pat is finding handholds on warm synthesiser with lush samples and effects. Having since performed alongside big name electro artists, KLAVES is ready to put out the business at a new degree of class.
Twinkling synthesiser glistens across a lamina of sonic tension that shakes and shimmers into being. A thumping house-style rhythm opens out, garnished by invigorating synthesiser motifs which shifts and evolve like ocean currents. Relaxed sensations work through in cross-stitched lilly-pads that balance on the flow of music. Repeating sections build with new additions and layering as a splash of percussion winds through the dense composition. Illusion Of Peace is peaceful, although within the construction and mastering the pressures must have been tremendous.
Counteraction beings on a moody and atmospheric dive into dreamy imaginings and thought. Dapples of note spark against harmonising hums until a rhythmic section opens out. The quick pace of the drum juxtaposes against the slow and cautious under-composition. Quicker notes then begin to playfully dance on the soft matting of sound that whistles and chirps with a natural pulse. Moody melodics penetrate as luminous bells shine with resonating touches.
A shaky rhythm begins that rattles and rolls on tightly struck percussion. Winding tones begin to snake and grow like ivy across the stable and upright flow of energy. Melody opens out in self-similar motions that adds to a bed of sample which brushes out the cobwebs. Bass digs a paced stability into the growing mix and layers of harmonising subtlety mirror that progression of rhythm. Thin Ice has a crystalline aspect that sheens with angular intention.
The final track is called Sleepwalking. It begins on repeating chimes that have short bursts of presence. The loop of bells and harmony is topped with a smooth rhythm that glides across the top like silk. Reversed drum sounds for a break and a short sample snips the thread before a new batch is run through the speakers. A laid-back progression of layered chimes produces a variety of harmonies and sensations as the groovy beat continues to centre the room.
You can get your copy of Illusion of Peace by KLAVES on Amazon
Listen to KLAVES on Soundcloud
Follow KLAVES on Facebook
Burial Soil Records
TBR: 28th May for Vinyl and 11th June for Digital
This Burial Soil debut for Adrien d'Elzius features a double A release and a double B remix side from two like-minded artists. Brain Surgery is intended to throw listeners into a full-on trip through massive 'scapes and heavy atmosphere. A nod to the rave scene, with plenty of depth that only quality headphones can deliver, these four tracks slot neatly into the collection.
It opens with a scattering of zaps and futuristic sounds. Then, a quick and heavy rhythm is laid out on snare, bass, and more rhythmic zaps. Melody begins to create a distortion of fizz and frequency as various notes are manifested from the machinery. The rhythm pounds with a hyper-velocity sensation that pulls you in. Spacial sound-effects soar and scrape in the periphery as the rampant drums continue to smash down the tempo. Brnsrgry is a massive track that shifts and turns around chicanes of pure sonic topography.
Rumbling bass coils and curls around a snare driven tempo. Bass thrusts in ripples of sensation before a new wave of cymbals are added to the mix. These ride in like a wave which caries effervescent synths which bubble up and harmonise before sinking briefly back. The bobbing oscillations create an uplift that is only anchored by the persistently deep throb-bass. Submarine sounds warp and flow across the beat as drag-currents prevent us from leaving the dance-floor. Toxic Flood brings on the sludge and heavy pressure while letting us glide protected in a bubble of sound.
Umwelt takes the reins for a remix of Toxic Flood. It begins on huge widenings of scrape and gear that crawl into the stereo. Then, a quick bass and snare smashes in. The slow meandering of machinery continues as a vocal sample is allowed to become percussion. A quick marching and intense tempo matches the slower and dreamy under-sound that carries like passing breezes. The next remix is by Lloyd Stellar. The dripping bass is given dominance as the track begins. It seeps with gooey tone as rattling snares and kick rummage under a covering of shade. Warbling synthesiser chants a territorial melody from branches of drum that reach with quick paced micro-beats.
You can find Adrien d'Elzius on Soundcloud
You can follow Adrien d'Elzius on Facebook
Find the music on Bandcamp
TBR: 1st June
Highlighting the luminous talent roster associated with Zone Records, the French electronic music label releases 16 tracks of pure class. Touching base with the old guard and putting the new-comers on a platform they deserve and have earned, this album offers a spectrum of sound that introduces us to over a dozen hot names in the underground scene.
It begins on an intro track by Kittin. It welcomes us to the anniversary release of Zone's latest records. It rings like Enigma who also had a similar introduction. Next a chunky bass riff enters with a kick and snare driving the rhythm. Synthesiser bass spans out, increasing its scope of reach with the waveforms. Progressive sound growth brings out layers and aspects that mix like fitting jigsaw blocks. Vocal whispers top the cake as they repeat and chant with close-up vibes. Alessandro Adriani offers up the WSB Vocal mix of Control Machine.
The Hacker is next with Nano Technology. Sounds like a cryptocurrency I collect. It begins on spooky synthesisers and cracking digital drums that spark with attack. Electronic crunch sounds begin to scale the cliffs of rhythm as the beats continue to hammer down. Banging sub-bass meets garbled upper notes that dance in circles around a tight drumbeat. This is followed by a scratchy rubber style synthesiser melody that reverberates and scouts around a sunken rhythm. Slow moving tempo doubles up with hats and snare mixing with synthesise that pulses in a continual progression. Maelstrom with Est grows gracefully across digital beats and exploratory sounds that build from the solid rhythmic foundation.
A banging rhythm comes after, it booms with heavy kick and electronic bass. Drums smash down a heavy dance rhythm as hats and shakers bring out a crumbled top layer. We are the cream and we pour over the pudding with moves of our own design. A constant one-two pulse pushes the symphonic mixtures of synthesiser into hypnotic phrases. Slow Heal by Cardopusher has a kinetic power that wants to keep going. A strange track by The Populists follows. UltraViolet begins on a digital distortion and an oddly skewed melody. Zaps and beeps fill out the rhythm and slapping snares and continual kicks rage through the digital jungle. Chimes and melodic motifs work together underneath the driving percussion. As it progresses, the bass elevates and the drums gather pace and energy until it's brought to the boil
In Aeternam Vale brings us Milky Way. A funky melodious bass rhythm unfurls that brings out a sensation of 80s disco. Tappety hats roll and bounce in a constant flow of percussion as the steady bass brings on the dance. Synth harmony builds gradually from within, reaching out to the sides and lifting itself up onto the ledge of bass. It jostles for space within the notes and deciphers its own perception of the energy within the track. Next, a series of blips echo into the void as a whining synth scans the horizon. Kick then begins, a fast pace is injected and provides a backbone for a scattered progression of notes. Robotic and digital sounds jangle on strings tied to a marching machine. Flash Burst by Commuter takes us into computerised forums of flow.
Digging synth bass and scatterings of zap open and a vocal-line begins to chant. A mix of mashed-up beats and notes roll over each other as the voice pushes down a tempo on the drums. Electronic sounds fizz and hum as the distortion and voltage combine in sonic discoveries. Gesaffelstein offers Icia. It is abstract and intense with a solid rhythm all the way through. At the half-way mark it breaks down into synth chords that resonate like church organs. The voice-over begins to take on a haunting atmosphere. Followed by a high-end dancing pulse beat, electro hats and toms pop alongside crack snare and room-sized reverb. Then, a choppy synthesiser melody begins to repeat to the drum. Bass in the keys brings the music into the middle and floats on low density bubbles. Screeching slippery sounds occasionally reach up as rhythms grow and merge with flowing breaks and interludes. Jensen Interceptor & Kris Baha bring Out There On The Ice .
Djedjotronic is next with Zonorama. A deep and aerated bass full of power surges like electricity in slow wavering rhythm. As soon as we've adjusted, a series of drums and synthesisers fall into place. Heavy kick and repeating melodies allow an industrial sound that rumbles and creaks under mechanical energy. Staggered keyboards shoot machine-gun like barrages of notes into the flow and the casual dynamic simply absorbs them and carries them away. Underground warbles of synthesiser swell up from the silence left behind. A vocal cries out, drums begin and their body of sound builds into the full kit. After the introduction, a forward-facing upbeat dance energy ensues as the bars carry through. The vocal repeats and changes, it's a live addition and not a sample. Extra layers of synthesiser begin to swell and boil in neat patterns around the non-stop beat. Zone by Kittin repeats the word over and over.
We get to hear the space-launch again as the new number starts. We have lift off! A bass and drum section begins and the famous words continue. The excitement and radio static combined bring out a sense of the 20th century. Synthesisers bash out rhythmic pounds on the percussion as deep and digging bass-drums and toms flow in a regular wave. Snare lifts the track into a retro melodic section where synthesisers combine in all-kinds of tune and rhythmic layer. David Carretta hits home with Nuit Panic. The next one starts on floppy bass that slobbers over the kick. A gradual increase in amplitude brings on a vocal, We Live We Die is the title and it's by DJ Hell. Dirty and slime ridden bass continues to groove in dingy lines while quick and snappy drums clasp for handholds on the wall. Odd skewered inflections crisp the edges of the main melody as the heart-beat like rhythm pushes onward.
Neowave is next. This track by Millimetric begins on a rummaging rhythm that breaks and folds into a forest of electronic zaps. A pulsing rhythm pushes the sides as space is made for the addition of new drum layers. A heady set of percussive instruments fill the void, a smash and pound style power-kit seeps into digital realms. The final number is calm to begin with. Silky synthesiser streaks across the virtual space as electronic potential fizzes and broods on the cathode. As it builds, a cyberstep rhythm begins to chatter in alien phonics that rhythmically match the drums. The joining of sounds on each beat pulse creates a staggering and towered form that glows with synthesised radiance. Hyperstellar by Monarchy ends the album with a slow and deep drive through subatomic sounds.
You can find out more by visiting Zone Records online
Find the music on Bandcamp
Odd Oswald & Stephen Barnem
Science Cult Records
TBR: 28th May
This premier in the brand new picture disk series, Science Cult present another huge EP from Odd Oswald and Stephen Barnem. Entitled Horror Haus, this record has been made to represent the horror genre of film. Video nasties have evolved over the years but the basic formula has remained the same. Some people are scary and always have been. By designing characters that tick all the boxes for what people shouldn't be like we can conjure up all manner of villains. This soundtrack style release puts those feelings into music as we all know that it's the composition that makes the scene.
With a throbbing chunky bass-line, it begins on The Stalker. A thumping kick that's roughed up on the edges adds tempo to the thundering bass. New synthesiser adds even more dimension to the low zone as it twangs with bouncing rubber. Shrill zaps and chalk-board scratches start to regulate the upper area of sound. Piercing and unnerving harmonics line the corridors like watching eyes under shadowy hats. Drum fills and breaks then tumble through like unaware and happy people minding their own business. A vocal sample starts, insisting and frightening, a scream, then a frenzy of synth, bass, and drum.
A melodic sludge bass begins the next number. Smooth drumming begins on the ramps, sliding and grooving to the pull of sticky ground. Eerie chorus sounds begin to sing in wavering drones overhead while drums and synths build in complexity. More melody knits itself around the skeleton, wandering tones describe subtle shifts in the landscape. Nightmare progresses gently, an ever present tension lingers as the rhythm gradually rises and pulls us into the torrential weather. This is followed by an Elm Street Slumber Party Remix by Jensen Interceptor. It sounds completely different. Looped vocal samples break over scattered drums that slap and slam with fast rhythms. A chunky distorted bass begins to pound on the floorboards as an exciting and terrible atmosphere is kindled and set on fire.
When you flip the disk over you get Hammer. It begins with a robotic voice sample that repeats across a thumping kick. A oscillation bass adds another layer to the deep dance function of this track. The repeating motif continues to vibe as extra percussion gets slanted into the flow of rhythm. As everything builds from the basic and steady kick-drum and vocal sample, extra beats and breaking fills ripple and inflate the pulse. Synthesiser adds a subtle layering of harmony to the progressing bars as the fuelled and pumped sensation of motivation continues to thrive.
The final number starts with scratchy beats that rumble and bounce in an enclosed space. Synthesiser begins to drill a pitch through the body of rhythm before strange voice begins to trip over the first phoneme. Siren like notes swell and coil across the head-space before drums start banging and tapping with rapid breaks laced with cymbals and snare. This manic build of drums and resonant bass draws us into a thundering roll of drums that breaks free into a dancing pulse full of bass. Pink Nails stops and starts a few times yet manages to continue on an upward journey.
Find out more by visiting Science Cult online
Visit Odd Oswald on Soundcloud
Listen to Stephen Barnem on Spotify
and visit on Facebook
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Blue Scream Compilation
Werra Foxma Records
TBR: June 4th
Pre-orders can be taken from the 7th of May so look into that, this record is directly raising money for the Warminster Community Radio Project. Their outdated systems need a complete renovation and the staff all deserve a hot meal. The record is comprised of interesting and intelligent indie electro from across the board. If it's on the Werra Foxma radar then it's on the album. Seventeen hearty pieces of computer and keyboard music populate this fantastic selection from the talented underground scene. When you don't have the financial backing to make you look cool in front of millions then it truly is only about the quality of the sound itself. Let's get to know some artists.
A mashed computer sound garbles a melodic language of intermittent data as a drumbeat builds within. A crash of symbol brings on a synthesiser string that harmonises and drags through the water like a surfboard. The twinkling of digital noise merges beautifully with the progressive build of bass, rhythm, and tune. Eonlake brings us Windows and Walls and it starts the album wonderfully.
The Central Office Of Information are next with Windows Over Warminster. Drunken trombone sounds curl over a melodic phrase that bounces like a balloon filled with water. Drums and bass crawl in, the slow and meaningful pace draws us in as the synthesiser melody mutates and evolves while carrying the same basic form. The tone shifts from low to high and distortive areas of the wave are moved to kiss various sections. A throbbing bass continues to push a tempered rhythm onwards as meandering notes carry through.
Next, a scattering of hisses and beats unravels into a chunky rumbling sensation. New percussion lands like a helicopter on the rattling and shifting drums. Heavy electronic effects seriously warp the sounds to bring out a mechanical and engineered feel to the beats. These suddenly drop and a gradual humming buzz continues through the silence. Bam, the beats return, bass collapsing the peace with thumps of fizzy depth. Rei Nakatani's Body Movements and Vibrations sounds like something by Autechre with an extra level of aggression.
Next is Bombing Around Lost Pond Not Giving A Shit by Kieran Mahon. It shimmers into being on the radiant waves of multi-tone synthesiser. Streaks of energy fizz and saw as wobbly strings waver in harmonising phrases. Switches are pushed and the tones begin to change, loops and bends in the notes snake around until a wandering bass begins to dabble with the energy. Scattered synthesiser rises in an ever increasing mash-up of sensations and feelings described by note selections and types of synthesiser sound.
A gated synthesiser roars from the silence left behind. It grows in intensity and extra synthesiser tones spiral from the crevices. Rhythm opens, toms and bass work with snare and cymbal to match the flow of paced sonic delivery. A techno feel with a slowed down element works into the sound like a massage as bass and tone thump in a graceful ballet of beats. Untitled by Simon Klee throws the moves while hypnotising with layers of harmony and progressive build.
Runcorn New Town Development Plan by Warrington howls with atmosphere and scope. A stereoscopic sphere of synthesiser chants in slow swishes of fluttering sound. Chimes echo through the haze, deep scratching bass edges fill the trenches of groove as the lighting flashes with charming harmony. Electric lights at night shine with a glare that produces a glow that shines with straight lines that follow as we move. Their angles flicker and catch us as we avert our eyes to turn a corner.
A hissing fizz like a radio gradually finds a station and melodic phrases hum out through the crackling sound. Beats and bass follow, they dig through and calmly assert a feral yet safe energy. Sampled voices chatter in distant phone-calls and it's only our heightened hearing that lets us know. Dripping wet bass describes a cartography of contour that sweeps us along on long roads of sparsely used adventures. Something Larger Than Oneself by Bendu carries us on a smooth wave of heartfelt direction.
Crash Dog Whimpers opens with a windswept expanse, bass and mid range sounds whip through open armed carvers that lead into oblivion. A voice murmurs through the patchwork of moving air and all it carries. Loops and echo work in unison to invigorate the sound with a continually growing presence. Autumna's track moves slowly through the branches, peering through one branch at a time as it draws nearer to the scene. Around half-way, a drum score begins. It suddenly pricks the ears and, with a low-bit feel, begins to add energy to the flow.
A choral voice calls out over the landscape and tweeting birds chirrup nearby. The sun comes out as a sound rolls into a huge wave of synthesiser that shines over every aspect. Blinded by the high-intensity brightness, the sound of the voice carries through in a capsule of protection. Dogs Versus Shadows brings us Reader of Dust, it comes and goes with sudden surges of intoxicating energy.
A high-pitched exploration of oddity ensues as a fat bass pumps the air in hot. We get to sit back a Steve Hadfield outlays Breakbeak. Ambient melodics scamper like woodland mammals through the undergrowth as long stretches of powerful energy float through the treetops. Roots dig down and form handheld connections through the tightly compressed soil. The music progresses, a synthesiser lead takes a wander through the scenery and admires various structures. As the horizon stretches again the whole orchestration adds its dynamic to the dreamy ensemble. It shifts again, this time a whole array of breakbeats and atmospheric curdling sensations top the layer.
A slow a self-reflective tune is plucked from the darkness as reverb follows behind like ducklings on a dark river. A telephone voice with a deep nostalgia falls into place with grace. We're taken back to dream-worlds where the world seems so infinite. Perhaps the world feels closed now because our grown-up selves sense our own mortality thus defining a period of time to base all measurements on. The music takes us through a cheery yet gloomy juxtaposition between uplifting melodies and deep and meaningful lows. Letters From Mouse gives us Chain Of Flowers. To be 6 again and making daisy chains. My fingers are too big now, I've tried.
A staircase of tone unfolds and we go up and down in a fun loop. Then a vocal sample opens a can of intrigue and rhythms start to coalesce. A shift in pitch allows a growth into more vocal sample, an instructional video perhaps. More drums then roll in, they thump and crash with cymbal, bass, snare, and tappety hats. Strange harmonies grow like ice crystals from tree branches in repeating phrases of sound. The Natural Scientist by Soul Flask reverberates with windswept colours.
Meditation VII begins. This slow-burner by Forest Robots shimmers through stalks of glowing illumination. Humming back-drops flow from piece to piece across bars that glisten with dew and morning reflections. Droplet notes twinkle like juicy ripe bells that shake with condensation as the tones are sounded.
A lively mixture of tones begins to dance like bouncing raindrop. Drums start to rattle and tap with wooden sounds as cymbals grow to meet the organic bass. A deeper kick then falls in, it rumbles with a subtle kick that pushes all else to the side. Gentle flowing notes drape the snowy roadside as moving vehicles crush the ice shapes that have appeared overnight. 1 By Tayus has been remixed by Mike K Smith.
A smooth and ethereal long-distance chime begins to strike abstract melody as a deep bass looms in from beneath. A swoosh of power helps more ghosts to rise from the churning waters that froth and ripple at our feet. More pounding rhythm delicately places new layers down that radiate with a surge of emotion. The Train by Star Madman progresses in a smooth and slow dance towards us with flashing eyes and kung-fu footprints.
String and Rings by Apta opens with a humming and warmth that joins in with plucked notes. Sleepless drones keep an interesting harmony as warm and breathy keyboards rise in sentimental lines. Deep harmony reveals in keyboards that dig and reinforce the delicate steps of child-like introspection. Slow and thoughtful arpeggios scale the distances as dreaming images shine down upon us.
The final number begins on an abstract rumble and deep chime. A marching band rhythm begins to flare the outskirts while the central spongy texture continues to unwind. The rattling snares continue to strike their tempo until everything stops. A brief moment lapses until it begins again with an addition of playful synth that repeats with layers and harmony building over each pass. Inster (Part1) by Darrg is an artistic and experimental drive through old fashioned 2D scenery.
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Time To Recover LP
Sonar Kollectiv Records
TBR: 28th May
When Feiertag released his inaugural production back in 2015, his name and sound quickly took to the electronica scene. Meant to be together, this multi-talented musician took his professional drumming experience into the electronic circuit via clever technology and extra-intellectual rhythms. Now with 2 best-selling EP releases and a whole run of successful singles, Time To Recover offers us a rich polygon of music.
It begins on dusty looped guitar that shimmers in a hip-hop drive. Funky bass-driven drums crack open the rhythm section and sloshy cymbals knit the tones together. Tonal chords strum and bounce around the relaxed yet energetic rhythm. A trip-hop atmosphere pins the poster to the wall. Flurries of synth and string break like waves over a beach of bass. Stranger To One glows with anticipation. Yearn is next, featuring Oli Hannaford and Tessa Rose Jackson. It begins on rattling bass and drum as melodic vocal chants a tempo with words. It begins with Oli and shifts to Tessa as pianos and bass rise and fall in choppy bars. Silken song drifts like loosely windswept banners from tall towers of sound. Plunging rhythms hit home as gut-felt lyrics about not wanting to leave play out.
A whisking sound sampled over drum loops begins with a small section of stereo. This fans out with the addition of bass and melodic bells. Tones repeat and loop around a spiral of snare, kick, and hat. Synthesiser samples are thrown into dub effects that echo and fade with each passing wave. Strings rise from harmonising lakes as drifting notes escape into the clouds. Solidity defines the space between hard surface and all its temporary parts. A punch of tone rings out on a red carpet of bass and laid-back drumming. Tessa Rose Jackson returns in Follow. On form, her smooth delivery crafts and crumbles over deep and sensual beats. Synthesiser calls out through triumphant rhythms that crawl in deep and seductive dances. A verse chorus progression twirls on the turn-tables as the progressive pressure gradually rises in the adaptation of the composition.
Rhythmic synthesiser rings over sticks of tempered beats that grow into thick forests of percussion across a section of bars. Chords resonate and vibe across bass and snare that reach through the thickness of sound. Melodic tune is stitched in on a patchwork quilt of soft and comfortable vibrancy. Memoir rises and falls with orchestral clarity, folds of percussive flow trace the patterns onto new forms of structure and harmony. Funky bass collapses into drums and vocal as the mingled sound throws verses into a silken atmosphere. Featuring James Alexander Bright, Alright pounds with classic disco sensations and flowers of hand-picked transition. Uplifting bass chunks and breezy vocals telling us it's okay really does feel like it was needed deeply.
Riptide follows and has the brilliant Tessa Rose Jackson as the singer. Sleek guitar and drums work together in parcels of flow. Tessa progresses the vocal line as the music grows in lush outcrops of sculpted craft. Moreish verses unwrap choruses that use hooks and one-liners to keep the energy in full flux. Rolls on snare and staggered kick drum bring a jiggle of tempo that snugly fits a jazzical mannequin that postures and peers in symbolic gestures. A crackle of snare and kick-drum breaks open the egg with cymbal rising to greet them. Voice curls from the seed, it reaches into loose topsoil and finds the light-source. Gradual growth to the pulse of nature's clock sees a birth of electric guitar and warm reverberations. The voice sample in Remote Island rides on a short wave until the surf washes up into the next track.
Melodic keys create a circular muffled and emotive melody as strings and drum add new perspectives into the layering. Breaks define sectional briefs in the composition that shift like self-made landscapes obeying the pressures of change. Yucca smoothly decorates the airwaves with choppy and dream-inspiring tones. Pretend joins in. A repeating bell chime begins to drift into softened tones. More notes join the repeating phrase which begin to describe something deeper and more story unfolds. Drums crash through the barrier and begin to rhythmically adjust the harmonising flow. New elements of tempo rise into grasping hands of composition. Bursts of colour flow from gaps held together by crashes of drum and lingering synthesiser.
A jangle of hand-claps and spiralling tones fill the air. Rhythm opens further as bass and shakers fill the spaces followed by cymbals and a casual break. Keyboard tones and stringed bass begin to jam along the lines of pulsing synthesiser and character-laden drumming. Effects top the piece with various twinges of loops and reverb that mash together in a sonic celebration of funky grooves. Saccharine 374 flows from the spoon like golden syrup onto tart summer fruits. Msafiri Zawose lends a vocal to the next track. An African vibe calls through spacious synthesiser and marching percussion. Pitches of tone repeat in harmonising rivers of sound as the layers build and loop. Rhythms and compositions flow to the sound of the vocal sample that builds with the ever progressing drum-score. Trepidation is upbeat and euphoric yet continues to surprise with new and exciting changes.
A Spanish guitar leans in, Bilbao riffs with drums and chord forms picked at double-speed. Strings begin to harmonise as the tuba-like bass section wobbles from left to right. A graceful build is kept rolling by a progressive slump through hot and dreamy days. A rumbled crackle opens out with wavering bass. With GOSTO on the mic, Stronger reveals a soft and sensual inside. Deep and soulful builds of tone dress the drums with flowing garbs definitive of evening low-light relaxation. Raise a glass and sit back as the toast to the future wishes us all well. It builds into a static and energy infused delve into dancing frenzies.
Shining tones reflect from rippling lakesides as vinyl like crackle fluff and warm the crevices. A resonant bass launches into the warm stillness as a long stretch of stringed resonance flows outward into yonder horizons. Panorama is the penultimate track and a short breather before we hit the marvellous Where We Are Now. Featuring the beautiful voice of Pete Josef, husky and crisp vocals harmonise with the smooth progression of bass and string. Sombre drums strike a mellow percussive streak which grows as the chorus builds with a heavy push of harmony. With orchestrations and cinema-like atmospheric engineering the music drifts like a loose flag let go of its fastening and allowed to flutter into the unknown. If we look carefully, it's a symbol of a rich human heart.
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